Page 1: Table Of Contents
Check out some Patches! 21 Access more assigned parameters in the Patch 22 Variations 22 Load a new Patch from the internal memory 22 Check out some Performances 23 Access assigned Performance (Global) parameters 23 Loading another Performance from the internal memory 24...
Page 2 Assign parameters to a Morph group 44 Deassign parameters from a Morph group 46 Edit parameters in a Morph group 46 Copy a Morph group from one source to another 46 Morph groups in separate Variations 46 A word about the Keyboard Morph 46...
Page 3 Windows 98SE/2000/XP, Apple Mac OSX 55 When editing more than one G2 55 Installation of the usb driver 56 Installation of the Editor on a Windows PC 56 Starting up 57 Launching the Editor on a Windows PC 57 The Editor application 58...
Page 4 Basic module functions 71 Cables and connectors 71 Module output sample rate 71 Module input sample rate 72 Red and blue outputs, bipolar and unipolar 72 Yellow and orange outputs, logic states 72 Yellow and orange inputs 72 Display boxes and graphs 73...
Page 5 NORD MODULAR G2 V1.4x Knobs and controllers 89 The Parameter Pages window 89 Assign a parameter to a knob 90 Assign all module parameters to a set of knobs 91 midi controllers 91 Morph groups 92 Assign parameters to a Morph group 93...
Page 6 NORD MODULAR G2 V1.4x Patch Mutator reference 103 Which parameters will be affected? 104 Exclude from mutation 104 The Quick Lock buttons 104 Probability distributions 105 Permanently locked parameters 105 Modules excluded by default 106 Mutate 106 Randomize 107 Interpolate 107...
Page 7 Setup menu 125 Options 125 Tools menu 125 Parameter Pages {Ctrl-F} 125 Using Parameter pages to make knob assignments 126 Parameter Overview {Ctrl-L} 126 Using Parameter Overview to make knob assignments 126 Virtual Keyboard {Ctrl-K} 128 Patch Browser {Ctrl-B} 128...
Page 8 Signal types in a Patch 134 Definitions 134 Audio signals, red connectors 135 Control signals, blue connectors 135 Logic or gate signals, yellow and orange connectors 135 Bandwidth considerations 137 Resolution and audio signal headroom 137 Self-optimizing modules 137 Experiment! 138...
Page 9 Common LFO parameters 187 LfoA 189 LfoB 189 LfoC 189 LfoShpA 189 ClkGen 191 Random group 193 Common random generator parameters 193 Clocked random generator inputs and parameters 194 RandomA 195 RandomB 195 RndClkA 196 RndClkB 196 RndTrig 196 RndPattern 196...
Page 10 NORD MODULAR G2 V1.4x Envelope group 197 Common Envelope Generator parameters 197 EnvADSR 200 EnvH 200 EnvD 201 EnvADR 201 EnvAHD 201 EnvADDSR 202 EnvMulti 202 ModAHD 202 ModADSR 203 Shaper group 204 Common Shaper parameters 204 Clip 205 Overdrive 205...
Page 11 NORD MODULAR G2 V1.4x Mixer group 216 Common Mixer parameters 216 Mix1-1A 217 Mix1-1S 217 Mix2-1A 217 Mix2-1B 217 Mix4-1A 217 Mix4-1B 218 Mix4-1C 218 Mix4-1S 218 Mix8-1A 218 Mix8-1B 218 MixFader 219 MixStereo 219 Pan 219 X-Fade 219 Fade1-2 220...
Page 12 NORD MODULAR G2 V1.4x Level group 226 Common Level module parameters 226 Constant 226 ConstSwM 226 ConstSwT 226 LevAdd 227 LevConv 227 LevAmp 227 LevMult 227 Ringmodulator 228 LevMod 229 EnvFollow 231 NoiseGate 231 CompLev 231 CompSig 232 MinMax 232...
Page 13 CtrlRcv 259 NoteRcv 259 NoteZone 260 Automate 260 Keyboard Shortcuts 262 Synthesis basics 264 Subtractive synthesis 264 Modules - the building blocks 264 Connections 265 The oscillators and waveforms 265 Pitch 265 Waveform 266 The filter 270 Filter types 271...
Page 14 NORD MODULAR G2 V1.4x...
Page 15: Introduction
, offered as a G2 system computa- NGINE tional engine without any panel controls BOUT THIS MANUAL Every time this manual wants your attention to an object on the synth panel, the name of that object will be printed , e.g. ‘press the S button’. The...
Page 16: Clavia On The Internet
Just like these mentioned devices, the G2 modules have inputs and outputs. Connecting the modules is as easy as plugging a cable from the output of an electric piano into the input of a power amplifier. The amount of modules needed for a specific sound depends on how complex you want that sound to be.
Page 17: Variations
Internet through email. Patch-files have the file-extension *. Even though you have to use the Editor to create your own Patches, it is possible to use the Editor program to only transfer Patches from the computer to the synth, then disconnect the synth from the computer and use the synth as a stand-alone synthesizer on stage.
Page 18: Playing Multitimbrally
ERFORMANCES The idea of a Performance is that it contains ‘as much as possible’ of what you need to perform a song, and you can recall all this ‘at the push of a button’. A Performance in the Nord Modular G2 system doesn’t necessarily have to be just four layered/split Patches.
Page 19: Focus
There are currently over 160 different types of modules available in the G2 system. The G2 is not limited to use only one module of a specific type in a Patch. Several identical modules can be used together, creating, for example, really fat multi- oscillator sounds.
Page 20: Morphs
1. Introduction: G2 Basics NORD MODULAR G2 V1.4x assigned to them: A to E. The three pages in a row have a number assigned to them: 1 to 3. Each can be selected by referencing the character and the number, like P...
Page 21: Synth Quick Tour
After all, it is all about making music. If you go through this and the next chapter step by step, and try out every step immediately, you will get to know your new instrument intimately in no time.
Page 22: Access More Assigned Parameters In The Patch
2. Synth quick tour: Check out some Patches! NORD MODULAR G2 V1.4x eight are numbered 1 to 8. Play some notes on the keyboard and press one of these numbered buttons. Listen to how these V are indeed complete new sounds, although all...
Page 23: Check Out Some Performances
ISPLAYS This means that a total of 600 knob assignments can be stored in a Performance, 120 for each Slot plus and extra 120 in the Global pages. The assignments in the Global pages can be a mix of module knob assignments from all four Slots.
Page 24: Loading Another Performance From The Internal Memory
R to select another OTARY A:EnvADSR1------ Attack Decay Performance. If you like you can also switch between Banks by pressing the U AVIGATOR Scream synth button. Then load the selected Performance into the Slots by pressing the P button.
Page 25: Working With The Synth
ORKING WITH THE SYNTH This chapter refers to the G2 Keyboard and G2X models. If you have a G2 Engine model you can still read this chapter if you desire to do so, as virtually all described G2 Keyboard and G2X panel functions are also available as ‘soft’...
Page 26: System Functions Section
# information, but is only MIDI CC used to control the entire instrument’s output level. To affect the volume of an individual Patch through (.e.g. from a sequencer track), you can use #7, which is hardwired to the Patch Gain knobs...
Page 27 NoteOn through the jack of MIDI MIDI OUT the synth will also be transposed, meaning that in this mode the G2 keyboard acts like a Master Keyboard. KB H ANIC Press the KB H button to make every note or chord you play sustain until you press any new keys.
Page 28 Lets you split the keyboard and play/control Slots from a left hand and a right hand keyboard zone. The two left most Slots A and B will be assigned to the left hand keyboard zone, while the two Slots C and D will be assigned to the right hand keyboard zone.
Page 29: Edit System Settings
Note that as changing a Patch parameter will only have an effect on the currently focused patch you will have to first select the Patch you want to apply a change to with the Slot buttons. You can do this by simply pressing the Slot button the Patch is in.
Page 30: List Of Functions In The G2 System Menu
OTARY Note that if you want to transpose up from A to Bes you just go one semitone up. If you would need to transpose down from A to E you will have to go 5 semitones down, so the display shows ‘-5 semi’.
Page 31 G2 panel. Alternatively, the controller device can be MIDI programmed to send a SysEx command to the G2 to initiate this function each time a variation change is initiated from the controller device. See also “1.5 All Controllers Request”...
Page 32 SysEx ID’s on each of the two synths, you will be able to “direct” the SysEx dumps from the sequencer to one of the G2’s while the other one will ignore the dumps. Just make sure that you define a separate SysEx ID before dumping the sounds to the sequencer.
Page 33: Sound Functions Section
HIFT AVIGATOR same as using the Delete key on a computer keyboard.) If you want to move all letters to the right of the cursor one step forward and thus make room for more letters, hold down S and press the R...
Page 34: Editing Patch Settings
7. The Delay-time of some Echo Delay modules can be synced to the Master Clock 8. When several Slots are active they can all sync to and follow the current Master Clock rate, as the Master Clock is global to the whole G2 system.
Page 35 Select Voice Mode (Poly, Mono or Legato) with the Button below the Knob. In Legato mode, the Envelope modules do not retrigger when you play in a legato fashion, i.e. when you play a new key before releasing the previous key.
Page 36: Working With Patches
Sound engine recalculates the Patch data EARCH FOR AND LOAD A ATCH By default, when you load a Patch into a Slot, by first selecting Bank with the U AVIGATOR buttons and then turning the R and pressing P...
Page 37: Acessing (Edit) Any Parameter In A Patch
Sometimes the clue is pretty clear, like when a module is named FltNord or OscA. Other times the name might be obscure. If tweaking a knob in a module that you have no idea about what it is doing should give strange and unwabted behaviour you can simply restore all tweaks in the Variation you’re in by pressing Shift and the current Variation button.
Page 38 If you want to assign these types of “combination parameters” to an Assignable Knob and Button, you have to copy the knob parameter and paste it by turning the Assignable Knob for the parameter combina- tion to be assigned properly.
Page 39: Patch Parameter Variations
ATCH PARAMETER ARIATIONS HAT IS A ARIATION is basically a memory of all current knob settings in a patch both for the module knobs and the ARIATION global patch parameter settings. See “Variations” on page HANGE A ARIATION 1.
Page 40: Store A Patch
ATCH NAME To make it easier to find different types of sounds in the G2 system memory banks, it is possible to define a category for each Patch. When you’re looking for a specific type of sound you can then search by Category, instead of Alphabetically or Numerically.
Page 41 User1 Reserved for your own Sound Category User2 Reserved for your own Sound Category To store a Patch in a specific Category and change the Patch name, do like this: 1. Hold down S and press S (Store as...). HIFT...
Page 42: Copying Patches
TORE ANY OTHER Note! If you started to save a Patch by only pressing the Store button and then change your mind and want to change Category and/or name, you can press Shift+Store right after you pressed Store the first time. This way you don’t have to abort the initial storing procedure but can continue right away.
Page 43: Rename A Patch
ENAME A ATCH Renaming a Patch is the same as saving the Patch with a new name to the same memory location. Just follow the instructions in the paragraph “Storing with new Category and/or new Patch name” on page 40 and select the same memory location.
Page 44: Changing Edit Focus But Not Keyboard Focus
Parameters in a Patch, ORPH using only a single control source. This lets you produce radical changes in a sound in a very fast and easy way through a single physical controller like the Modwheel, a Footpedal or an Assignable Knob. See “Morphs”...
Page 45 . The Velocity and Keyboard Morphs don’t show the actual parameter SSIGNABLE ISPLAYS values as you play on the keyboard. It’s made this way because it gets irritating after a while to watch all flickering s as you play. Note: If you have assigned the same parameter to several Morph groups and control the parameter simultaneously from the different Morph group control sources, the parameter values will be added together.
Page 46: Deassign Parameters From A Morph Group
The Morph range will always start at the current position of the parameter. The relationship between the setting of the parameter and the Morph range will be fixed, even if you move the setting of the parameter after a Morph range has been set.
Page 47: A Word About The Pitch Stick Morph
When moving the Pitch Stick to the right the Morph travels to the upper or end limit of the Morph range. If you move the Pitch Stick to the left the Morph range will be mirrored, so from the start limit to the mirrored value of the end limit.
Page 48: Load A New Performance From The Internal Memory
REATING A ERFORMANCE First of all you need to activate the Slots you plan to use for your Performance. Do this by holding S HIFT and pressing the S buttons you want to include as described in “Layering Patches”...
Page 49: Global (Performance) Parameter Pages
AYER Since Slots A and B will be played from the lower part of the split point and Slots C and D from the upper part, you can split the keyboard and play layers of two Patches on each “keyboard half”. Just select Patches for all Slots, and activate Keyboard Split.
Page 50: Keyboard Zone
AVIGATOR tion is the same as using the Delete key on a computer keyboard.) If you want to move all letters to the right of the cursor one step forward and thus make room for more letters, hold down S...
Page 51: Extracting Patches From A Performance
Performances; sounds that you will not find in any of the internal Patch memory banks. You may want to extract such a Patch from a Performance to play it on its own, and/or to save it as a single Patch in the Patch memory. See also “Performance Mode”...
Page 52: Deleting Performances
) button. (This function is the same as using the Delete key on a computer keyboard.) GATOR If you want to move all letters to the right of the cursor one step forward and thus make room for more letters, hold down S and press the R ) button.
Page 53: Nord Modular G2 Engine Front Panel
USB LED button PDATE ODE BUTTON This button is used in the factory to manually set the G2 Engine in Update Mode. For information on how to update the system software see “Updating the Synth OS” on page 140. MIDI LED...
Page 54 Note! Since the G2 Engine lacks a volume knob, be careful when you use headphones so the volume isn’t too loud. Make it a habit of always lowering the Patch Level in the Editor before using headphones with the G2 Engine.
Page 55: The G2 Editor Software
A currently ‘state of the art’ computer, like a Pentium IV running at 2GHz or faster, will easily be able to edit four G2’s and still have fast graphic screen refreshing for all the s on the modules in a patch.
Page 56: Installation Of The Usb Driver
2. Run SetupModularG2_V1_4x.exe located in the Modular G2 folder and follow the instructions in the setup program. 3. The Editor software will be installed in a folder named Clavia in the Program Files folder on the hard disk. During the installation you will be able to select an alternative location for the software.
Page 57: Starting Up
Nord Modular G2 to a sound system. We suggest that you start by connecting output 1 to the left channel and output 2 to the right channel of the sound system. Turn on Nord Modular G2 first, followed by the sound system.
Page 58: The Editor Application
Knob that has the focus Effects Area Monophonic modules You will use the Toolbar a lot when making or changing a Patch. So, let’s first have a look at the functions in the Toolbar before delving deeper. Page 58...
Page 59: Toolbar
The focused Slot has a white frame around it. Note that only one Patch can be focused in the Editor at the same, so you can only edit one Patch at a time. To edit another Patch in another Slot give that Slot the focus by clicking on its Slot button.
Page 60: New
5. The Editor application: Toolbar NORD MODULAR G2 V1.4x this button to go into or leave Performance Mode. You can also switch mode on the connected synth by clicking the Performance Mode button on the G2 frontpanel. See also “Performances” on page Creates a new, empty Patch window.
Page 61: Undo & Redo
Press Enter on the computer keyboard to enter the name and exit the Patch name box. To exit without changing the name, press Esc. If the Patch is active in a Slot of the synth, the name will be shown in the M as well.
Page 62: Voice Mode
HAKE CABLES Click on the {S} button to reposition - shake - the cables in a Patch. This can be useful if it is hard to see where the cables are actually connected, or if they hide visual information (display boxes etc.) in the Patch.
Page 63: Patch Window Split Bar
Output modules connect signals in a Patch to the physical LineOut and Headphone connectors on the back of the G2. So, its a good idea to always start with an Output module to be able to hear sound while patching.
Page 64 Click and hold the mouse on the rightmost knob named R and try to turn it so the display reads 1.60s. Again play some notes on the keyboard. You hear how the played notes die out more slowly after you released the key.
Page 65 The sound of this Patch is not really something special, it sounds overly bright, a bit thinnish and not very lively. It is time to do something about the timbre by adding a filter module that will give more character to the sound. This filter will be inserted between the OscDual output and the EnvADSR input.
Page 66 Note that there can be a lot of sound coming in on the FX-In module when routing a polyphonic patch into the FX Area and a lot of notes are played at the same time. This might cause the mix of the Voices to hit the signal headroom and cause clipping.
Page 67 Lev knob on the EqPeak module to about 80. Now press the Ctrl key on the computer keyboard, keep it pressed, and turn the Lev knob fully open with the mouse. You see that this leaves a red area on the Lev knob that shows the Morph range.
Page 68: Popup Menus In The Editor
Store. Note that the original Patch in the selected memory location (if any) will be overwritten by your new Patch. Make sure you do not overwrite Patches you want to keep! It is a good idea to save a backup of all your Patches on the computer, just in case.
Page 69: Module Popup
Select desired module by clicking on it from the list. A phantom frame appears and the cursor gets a plus-sign next to it. Place the phantom frame where you want the module to be placed in the Patch window and click to drop the module.
Page 70: Parameter Popup
The rest of the serial chain will remain unaffected, meaning that the first part of the chain will still work, and the last part will be connected but non-functional (input-to-input connection(s) only). If you choose to break a connection at an output, the connection(s) between the output and the first input of one or more serial chains will be removed.
Page 71: Basic Module Functions
Oscillators, all generate the audio at a 96kHz sample rate. You can tell the sample rate of an output signal by the color of the output connector, if it is red or orange the sample rate of the output signal is 96kHz.
Page 72: Module Input Sample Rate
72) like the Gate signal of the keyboard. It is very well possible to use signals at the 24kHz sample rate as audio signals, but they will have a slightly ’LoFi’ character, especially at higher audio frequencies.
Page 73: Display Boxes And Graphs
Yellow and orange inputs that react on a Trigger (these inputs have an arrow symbol next to their input), and receive a red or blue signal, react to the moment when the red or blue signal changes from any negative or zero value to any positive value. This moment is sometimes named the ‘zero crossing’.
Page 74: Buttons
12 o’clock position.Knobs are the prime controllers to interactively tweak the sound of your patch. When you want to tweak a knob from the front panel while playing, assign it to one of the assignable panel knobs.
Page 75: Scroll Buttons
These buttons are a powerful way to create your own user interface for your patch. If the button is on a mixer module you can type the name of the sound that is controlled by this mixer knob, e.g.
Page 76: Modulation
The method of controlling one function in a module with another function is named to modulate. When you play on a keyboard and the oscillator changes its pitch when you wiggle the Pitchstick controller, you are manually modulating the pitch with the Pitchstick. Modulating can be done automatically (as opposed to manually) by means of varying control signals.
Page 77: Mod-Amount Knobs (Attenuators)
After recording a knob movement through a # in a -sequencer program MIDI MIDI CC MIDI on a computer the sequencer data will show the knob positions, and not the values displayed at the top of the Page 77...
Page 78: Modulation Examples
100 at knob position 127. 2. If you want to modulate the pulse width from an exact square wave value (50%) to a very thin pulse at the maximum value (99%) with a bipolar LFO waveform (a control signal with a peak to peak level swing from –64 units to +64 units), set the initial pulse width (PW) to 75% at PW knob position 64...
Page 79: Maximum Modulation
G2 system. And there are modules that modulate between two ‘limit’ values, like the Pan mixer where ‘left’ and ‘right’ are the Panner limits. In this last case modulation can not exceed the two limits.
Page 80: Modulation Level Knob Names
NORD MODULAR G2 V1.4x Modulation depth on the G2 can in general be very deep from a musical point of view, the G2 is capable of much deeper modulation than was possible on the analog modular systems of the past.
Page 81: Working In The Editor
G2 system. This G2 mailing list and forum are maintained by G2 users themselves and it is up to you if you want to join them. But there is so much valuable information shared over there that we from Clavia wholeheartedly recommend you to at least check them out.
Page 82: Rename A Module
Any connected cables will extend themselves and other modules will move out of the way automatically. You can also move several modules at the same time by placing the cursor on the Patch window background and click-hold and mark the modules you want to move. Another way of selecting several modules is to Shift-click on the desired modules.
Page 83: Coloring A Module
This depends on the actual application. If a connection is not possible to make, this will be shown; the cursor will not change to a cable with a dot as you reach the “illegal”...
Page 84: Edit Module Parameters In A Patch
An input can be connected to only one output and optionally share that output with other inputs Two outputs can never be connected to each other Several inputs can be connected to each other, but they must be connected to one single output to actually receive a signal...
Page 85: Voice Area And Fx Area
Voice Area, and consequently will not be duplicated for each voice in the Patch. This gives two big advantages: • A module in the FX Area is able to process whole chords from the Voice Area, and not just a single voice, affecting the sound the same way an external audio processor would.
Page 86: Download A Patch To The Synthesizer
ATCH TO THE SYNTHESIZER If you have opened a couple of Patches in the Editor while the synth wasn’t connected and you want to download one of the Patches from the Editor to the synth, do either of the following: 1.
Page 87 Sound Category for each Patch. There are 13+2 different categories to choose from. Select Category from the drop-down list to the right of the Patch Name display box in the Toolbar: ATEGORY ESCRIPTION...
Page 88: Delete A Patch
‘Getting Started’ chapter: Locate the row of Variation buttons to the right of the Voice Mode arrow buttons at the top of the Patch window. As you can see, the Variation 1 button is already focused. This is because as soon as you create a Patch, you have automatically also created a Variation within that Patch.
Page 89: Save A Variation
SSIGNABLE NOBS UTTONS be assigned to almost any parameter in a Nord Modular G2 Patch. You have direct access to 5 x 3 pages with 8 assignable controllers each for a total of 120 assignable parameters per Patch. ARAMETER AGES WINDOW...
Page 90: Assign A Parameter To A Knob
Parameter Pages window and select ‘Deassign’ Alternatively you can keep the Alt key pressed and drag a knob from a module to a grey display area on the Parameter Pages window.
Page 91: Assign All Module Parameters To A Set Of Knobs
6. Working in the Editor: Knobs and controllers OVE ASSIGNED PARAMETERS By click-holding on a display box and then dragging the cursor to another display box and releasing, you can move the assignment to another A . If you want to move a parameter...
Page 92: Morph Groups
The Morph function lets you continuously control defined ranges of several parameters in a Patch, using only a single control source. This lets you produce radical changes in a sound in a very fast and easy way. Nord Modular G2 features eight separate Morph groups per Patch. A parameter can also be assigned to several Morph groups - all Morph groups, actually - and thus be controlled differently from several sources.
Page 93: Assign Parameters To A Morph Group
A red sector will appear, indicating the Morph range. The range will also appear in a yellow hintbox next to the parameter. The initial Morph value is where the black line is on the knob. Note that if you assign buttons to a Morph group, the Morph range will always be fixed at the maximum range.
Page 94: Edit Parameters In A Morph Group
The Morph range will always start at the current position of a knob or slider. The relationship between the setting of the parameter and the Morph range will be fixed, even if you move the setting of the parameter after a Morph range has been set.
Page 95: Uploading A Performance To The Editor
Performance mode and you can store the whole setup in a new Performance. Later, while in Performance mode, you can still do all types of edits on the patches in the Slots. So you see, Performance mode is mainly about how to group, store and recall whole setups, which reflects how you organize your work and keep together what belongs together in a song or project.
Page 96: Keyboard Split (Keyboard Range)
This KB Split mode sets up the Keyboard range settings, but in a simplified way. The KB Split sets the same left range for Slots A and B, and the same right range for the Slots C and D. Four predefined split points can be chosen and are indicated by four s right above the keyboard.
Page 97: Storing A Performance
Performances; Patches that you will not find in any of the internal Patch memory locations. You may want to extract such a Patch, to use as a single regular Patch, or to make it part of another Performance.
Page 98: Extract A Patch And Save It On The Computer
XITING ERFORMANCE To exit Performance mode, click the Prf button in the Toolbar, so it is not highlighted any more. Now you return to the regular Patch mode. Note that the four Slots contain the same Patches they had in Performance mode and also that any Layering and Keyboard Range settings remain unchanged.
Page 99: The Patch Mutator
In an interactive process inspired by natural evolution, the Patch Mutator creates a number of variations for you, based on one Mother sound, or based on a Mother and a Father, or more or less random. You listen to these new Children sounds one at a time, and select which one will be the parent of the next generation of children.
Page 100: The Patch Mutator Window
At any moment, a Child sound can be saved for future use in a Temporary Storage. Also, any sound from the Temporary Storage can be brought back into the breeding process as a parent. The G2 architecture allows eight variations to be stored with the patch, and any sounds from the temporary storage can easily be transferred to the eight variation buffers, and be saved as a patch in flash memory or on disc.
Page 101: Using The Patch Mutator
• The Temporary Storage, which serves as a scratch pad during the evolutionary process. You can save sounds you like by dragging them to a box in the storage, and later you can drag them from the storage to one of the parent boxes in the row above, to continue breeding. A row from the Temporary Stor- age can quickly be transferred to the eight patch variation buffers by clicking on the “v”...
Page 102: Quick Start
Try this step-by-step example of how to use the Patch Mutator to get a feel for what it can do. See the Patch Mutator reference section later in this chapter for a detailed explanation of each operation and further hints on how it can be used.
Page 103: Patch Mutator Reference
Instead of starting with an existing sound, you can click Randomize to generate six completely random children. Some of these may be very ugly, or even totally quiet. That is part of the game. If none is good, try clicking Randomize again. For most patches you will soon find a sound that will work as a good starting point.
Page 104: Which Parameters Will Be Affected
Constant module to modulate the parameter. By adjusting the modulation amount, you can also control the range of the mutations, as in this example: The LFO is excluded from mutations, but the rate will still be evolved within a specific range, controlled with the Rate modulation amount.
Page 105: Probability Distributions
Below each button is a Solo button. Click this if you want to evolve only the parameters of a specific category. It is possible to activate more than one Solo button at the same time. Note that the solo buttons temporarily locks all other parameters, also those that are not covered by the other Quick Lock buttons.
Page 106: Modules Excluded By Default
A number of module types are excluded from mutations by default when you import old patches or create new modules. This is done to simplify the use of the Patch Mutator for newcomers, and to make it easy to evolve new sounds with old patches without tedious modifications.
Page 107: Randomize
Locks and evolve a subset of the parameters. HORTCUTS Mutate from any sound in the Patch Mutator by double-clicking on it, or select it and press the E key on the computer keyboard. The sound is copied to the Mother position and six new Children are produced.
Page 108: Cross
You can also perform an Interpolation without using the mouse. With the Patch Mutator active, select a variation you want to use as parent. Then copy it to a parent box with the O key (Mother) or the T key (Father) on the computer keyboard.
Page 109: The Temporary Storage
You can also perform a Crossover operation without using the mouse. With the Patch Mutator active, select a variation you want to use as parent. Then copy it to a parent box with the O key (Mother) or the T key (Father) on the computer keyboard. With the parents in place, press X to perform the crossover.
Page 110: Saving Sounds
To save a set of eight sounds from the Temporary Storage, arrange them in a row in the storage with the mouse. Then click the “v” button to the right of the row. The whole row will be copied to the eight patch variations (overwriting the current variations).
Page 111: Historical Background
Karl Sims, who designed a system for interactively evolving stunning computer graphics images. Since then, it has been used in numerous graphical applications, but not nearly as much in music, maybe because it is much easier to browse and judge a bunch of images than a bunch of sounds or compositions.
Page 112 7. The Patch Mutator: Historical background NORD MODULAR G2 V1.4x Palle Dahlstedt: Sounds Unheard of – Evolutionary algorithms as creative tools for the contemporary composer. Chalmers University of Technology, 2004 A doctoral dissertation about the techniques behind the Patch Mutator, and other musical applications of evolutionary algorithms.
Page 113: The Patch Adjuster
The Patch Adjuster contains a number of knobs for quick adjustment of all parameters of a certain category, such as all attack times or all resonances. In this way, you can quickly shape a sound in a more general way, without knowing the specifics of the patch.
Page 114 The Patch Adjuster lives as a floater on top of the editor window, like the Patch Browser, the Parameter Pages and the other tools of the G2 Editor. The Patch Adjuster is only available in the G2 Editor, not in the hardware synth itself.
Page 115: Editor Menu Reference
DITOR MENU BAR The best thing to do first is a quick scan through the Editor Menu bar before you actually try to make your first patch. This will help you a lot with getting familiar with all the Editor ‘household’ functions that will make creating your patches easy.
Page 116: Open To
Brings up the file selector and allows you to open a Patch file from disk and download to a selectable Slot. Select a file and click Open to open and download the Patch to the selected Slot in the synth. This command is useful when you select Patches when creating a Performance.
Page 117: Edit Menu
The Paste command results in a cursor with a small ‘+’ sign attached to it. Place the cursor where you want in the Patch window and click to paste the module(s).
Page 118: Patch Menu
Here you select the octave setting of the Patch. This information is saved with the rest of the Patch data in the Patch. Note that this setting is active only if you play the Patch from a Nord Modular G2 keyboard version.
Page 119: Textpad {Ctrl-H
Slots you want to include in the Performance. EYBOARD Click in the check boxes for each of the Slots you want to play from the internal keyboard of the synth and/or respond to Note data on the Global Channel (see “midi Settings”...
Page 120: Download
YSTEM Type in a name for your connected synth and press Enter. This is especially useful if you run several Nord Modular G2 synthesizers from the Editor. The name will also be displayed in the Synth Name display box in the Toolbar.
Page 121 Just make sure that you define a separate SysEx ID before dumping the sounds to the sequencer. Select Instrument SysEx ID by clicking on the arrow buttons. If SysEx ID is set to All the G2 will ignore the SysEx ID in the SysEx data and always accept the SysEx data.
Page 122: Upload Active Slot {Ctrl-U
This command will upload the Patch from the currently active Slot in the synth to the Editor. This is useful if you have closed the Patch in the Editor earlier and want to edit the Patch in the Slot again. A new Patch window will be created for the uploaded Patch.
Page 123: Bank Upload (From Modular)
As the sounds are uploaded from synth, a progress bar indi- cates the elapsed time. Don’t save several Bank files in the same folder on the computer. The Bank file is saved together with all individual Patch/Performance files. If several Bank files should contain the same Patch/Perform- ance name(s), these files will be renamed with a post-fix number and could cause confusion when downloading the Bank files back to the synthesizer.
Page 124: Bank Download (To Modular)
Use this command to send all assigned Controller values to the of the synthesizer. This MIDI MIDI OUT is very useful if you are recording in a sequencer program and want to make sure the sound sounds exactly as you want. Page 124...
Page 125: Dump One {Ctrl-1
MIDI SYSEX MIDI on a computer. The G2 Keyboard and G2X models have a panel button to initiate a patch dump over , but for the G2 Engine model you will have to initiate a patch dump through this command.
Page 126: Using Parameter Pages To Make Knob Assignments
You can quickly make a knob assignment by ‘dragging with the mouse’ the grey display area above a knob in the Parameter Pages window to a knob on a module in the patch. Try it out now and see for yourself how easy and quick this works.
Page 127 # directly to a knob on a module that is not assigned to a MIDI CC panel knob. To do so you have to use the rightclick menu directly on the knob on the module itself. Or alternatively use the function (see also “MIDI-Learn function (L key)”...
Page 128: Virtual Keyboard {Ctrl-K
Click on the keys of the Virtual Keyboard to play single notes. The selected note will be indicated by a black dot on the corresponding key. The note will sustain if you keep the mouse button depressed, just like pressing a key on a real keyboard.
Page 129 Store Patch of active Slot to a selected bank: By right-clicking on a Bank icon in the Patch tab you can choose to store the Patch of the active Slot in one of the selected bank’s memory locations, or delete the entire Bank with all its Patches, or change Sort Mode.
Page 130: Assign Midi To Selection
ANK ICONS IN THE ATCH TABS By right-clicking a Bank icon in the Perf. or Patch tabs you can choose to either store the Patch or Performance of the active Slot(s) to any of the selected Bank’s memory locations, delete all Patches or Performances of the entire Bank from the internal memory of the synth, or change Sort Mode for the Patches/Performances of the entire internal memory of the synth.
Page 131: Tile Horizontally
This will launch the G2 Help file and display the sections Contents, Search or Index. If you right-click on a module or a parameter in the Patch window, you can bring up the help text for individual modules by choosing Help from the popup menu (see “Module popup”...
Page 132 Ctrl + Arrow Dn Decrease Morph Range on Focused Param Ctrl + Arrow Left Set focus to Previous Parameter (same as Arrow Left) Ctrl + Arrow Right Set focus to Next Parameter (same as Arrow Right) Shift + Arrow Up...
Page 133 Ctrl + X Cut selection Ctrl + Y Redo last Undo Ctrl + Z Undo last action (there are many levels of Undo in the Editor software) Ctrl + 1 Dump One (= dump patch as SysEx to the connector) MIDI OUT...
Page 134: Technical Reference
+1 unit corresponds to a half note upwards transposition on a Pitch input on a module. These units have nothing to do with the internal resolution of the Nord Modular G2 system, which is 24-bit, but units are used to easily indicate signal levels in the system.
Page 135: Audio Signals, Red Connectors
Modular G2 are 24-bit at 96 kHz sampling frequency for extremely high quality, and they have highest priority in the Sound engine. Note that the G2 is designed in a way that it will never drop not even a single audio sample at its 96kHz sample rate.
Page 136 NORD MODULAR G2 V1.4x either a low level of 0 units or a high level of +64 units. When a red signal is connected to a module with a yellow input, a yellow output connector on that module often changes to orange (and the blue outputs to red), which indicates that the module will now use the 96 kHz bandwidth inherited from the red signal on its input.
Page 137: Bandwidth Considerations
HAT HAPPENS WHEN CONNECTING A RED OR BLUE SIGNAL TO A LOGIC INPUT It is possible to connect any type of signal to the logic inputs. The output of a LFO, for instance, can be a good clock source for a sequencer module or could be used to start envelopes. A logic input interprets...
Page 138: Experiment
When the piece of code is short it can be executed many times within the time frame of one output sample, so there can be many voices. But if the piece of code is very long there might not be the time to execute it for a lot of voices, so polyphony will drop to what just fits fully in the available time.
Page 139: Calculation Order For The Modules
‘module group’, e.g. when you place the first LFO in a patch you will see that it uses a rather large amount of memory, but the next LFO module will only use a little memory. The reason is that some modules in a specific module group need to ‘talk to each other’...
Page 140: Updating The Synth Os
Synth Updater pro- gram. 5. When the G2 synth has started up with the new OS you can exit the Synth Updater program and start the G2 Editor. Note! If the Synth Updater program shouldn’t recognize...
Page 141: Midi Implementation
MIDI OUT MIDI modulated directly with signals generated within the Patch. Of course it is up to you to send commands and data that will make the other instrument do sensible things. YSTEM OMMANDS...
Page 142: Midi Global Channel
Slots. When the G2 receives a Program Change conmmand on the channel set for a Slot, the Slot will load the corresponding Patch from the Patch memory. When the G2 receives a Progam Change command on the...
Page 143: Midi Controllers
5 would load a Performance (and load all MIDI MIDI four Slots) and not just load a Patch in Slot2 only. This is why it can be quite important to set the MIDI Global Channel to a different channel as the channels used for the four Slots.
Page 144: Midi Automation
Modwheel will always work, no matter the brand of the equipment. But for the freely assignable MIDI #'s it is the Wild West, and you can pretty much do what you like. Note that Pitchbend is not a MIDI #, as it is handled by a dedicated pitchbend command.
Page 145: Midi-Learn Function (L Key)
2) Turn the knob on the other machine that should control the knob in the G2. 3) Right click on the knob control in the G2 editor and first check if the Assign to CC# xx menu item indeed shows the # that the other instrument is sending.
Page 146: Midi Cc# Auto Assignment Function
Receive check marks in the Controller section are indeed check marked. It is important to check these settings, especially if you keep your G2 powered on all the time. As maybe the Assign to CC# xx shows the last...
Page 147: Midi Talkback Function
MIDI Clear is a very dangerous function, it will not ask you if you are really sure you want to do this and MIDI it clears the assignments immediately. But don't worry if you hit this button accidentally, immediately use the Undo function in the Edit menu of the editor, or alternatively use Ctrl-Z on the computer keyboard to undo the clearing.
Page 148: G2 Midi System Exclusive Specification
ODULAR 1.1 P ATCH EQUEST PATCH SPECIFIED BY SLOT When receiving the SysEx message specified below the Nord Modular G2 responds by sending the specified patch over as a S dump (see description of SysEx Patch Dumps). MIDI Byte (hex)
Page 149 End of System Exclusive 1.3 P ERFORMANCE EQUEST ACTIVE PERFORMANCE When receiving the SysEx message specified below the Nord Modular G2 responds by sending the specified performance over as a SysEx dump (see description of SysEx Performance Dumps). MIDI Byte (hex)
Page 150 When dumping patches to, or from, the Nord Modular G2 over , each patch will be split into one MIDI or more SysEx blocks. Each of these SysEx blocks has the following format structure: Byte (hex) Description Start of System Exclusive Manufacturer ID (Clavia DMI AB) <Device ID>...
Page 151 When dumping performances to, or from, the Nord Modular G2 over , each performance will be MIDI split into one or more SysEx blocks. Each of these SysEx blocks has the following format structure: Byte (hex) Description Start of System Exclusive Manufacturer ID (Clavia DMI AB) <Device ID>...
Page 152 Spare <data 1> Performance data <data n> Performance data <checksum> Least 7 bits of the sum of all bytes sent in this SysEx block except the checksum itself and the EOX byte. End of System Exclusive Page 152...
Page 153: Midi Implementation Chart
NORD MODULAR G2 V1.4x 12. midi implementation: MIDI Implementation Chart MIDI I MPLEMENTATION HART Model: Clavia Nord Modular G2 OS V1.1xDate: 2004-02-18 Function Transmitted Recognized Remarks Basic Default 1 – 16 1 – 16 Channel Channel 1 – 16 1 – 16...
Page 154 12. midi implementation: MIDI Implementation Chart NORD MODULAR G2 V1.4x Page 154...
Page 155: 13. Module Reference
When you add a new module to a patch, the Nord Modular G2 mutes the outputs for a short moment, as the Editor program will have to optimize the...
Page 156: In/Out Group
Modular G2. By using these Bus channels you can route audio from one Patch to another internally. You will need at least one 2-Out module in a Patch to be able to listen to audio signals created in the Patch.
Page 157: 2-Out
1 jack on the back of the G2. The M signal can then be patched from the Out NPUT 1 (or L) output of the Input modules. A total of four separate audio signals can be patched into the system at a time. If you use the I 1-4 inputs it’s important that you amplify the input signals to line level externally to get...
Page 158: 2-In
Here you select the signal destination: Audio Out channels 1-4, FX Area channels 1-4 or audio Bus channels 1-4. Note that it makes no sense to use the FX channels when the module is placed in the FX Area. See also "Common In/Out module parameters and...
Page 159: Monokey
Unipolar Positive. ELEASE ELOCITY This blue output provides you with the release velocity signal from the keys that you play on the Nord Modular G2, or any release velocity that is received via . The release velocity response of the Nord MIDI Modular G2 keyboard is linear.
Page 160: Device
(+64 units) as soon as a Patch is loaded into a Slot or activated. HIGH This signal can be used to reset or sync events in the Patch that you want to reset automatically after Patch load. Signal: L...
Page 161 The output Ctrl signal output values are these: Voice 1: 0, Voice 2: 4, Voice 3: 8, Voice 4: 12, Voice 5: 16, Voice 6: 20, Voice 7: 24, Voice 8: 28, Voice 9: 32, Voice 10: 36, Voice 11: 40, Voice 12: 44, Voice 13:...
Page 162: Notedet
MIDI HIGH with a velocity control signal, when the selected key is detected. The logic signal will switch to a logic signal, and a release velocity control signal will be sent, when the selected key is released. The Note Detect module is global and affects all voices assigned in a patch. The behavior is similar to the MonoKey...
Page 163: Name
Name module and select ‘Rename’ from the pop-up and type in an appropriate text. Then press Enter to apply the text to the module. Note that this module does not show in the G2 panel displays and only serves as a hintbox for the Editor program.
Page 164: Note Group
ANGE KNOB Scales down a full input signal range between -64 to +64 semitones to the smaller range as shown in the associated display. If the input range is smaller than full range, e.g. between -32 and +32 semitones, then the actual output range will be also half of the range shown in the display.
Page 165: Partquant
NORD MODULAR G2 V1.4x 13. Module reference: Note group APTURE Select ‘Evenly’ with this button to force the module to “split up” the key quantization grid in equally big sections per octave. We have selected the notes input values E, F and F# to quantize to in every octave.
Page 166 Note that an increase in value of 1 unit of the input signal level corresponds to a step of one harmonic, provided the Range is set to +63*.
Page 167: Notescaler
ANGE KNOB Scales down a full input signal range between -64 to +64 semitones to the smaller range as shown in the associated display. If the input range is smaller than full range, e.g. between -32 and +32 semitones, then the actual output range will be also half of the range shown in the display.
Page 168: Glide
You can think of this module as a lowpass filter for control signals. The glide effect can be linear (which will produce a longer glide time if the input signal value makes a bigger jump in value) or logarithmic (basically the same glide time for smaller and bigger jumps in input value).
Page 169: Zerocnt
The practical pitch detection range is equal to the default oscillator pitch range when tracking a red or orange signal, or the default Lfo range when tracking a blue or yellow signal (set Lfo to 0.64 Hz).
Page 170: Levscaler
. Take the output from the Level output and tweak the L, R and Breakpoint controls. Best results are when both the L and R controls are set to negative dB values (turn knobs left). Note that when the L and R controls are both set to 0.0dB the Level output produces a steady level of +64 units.
Page 171 NORD MODULAR G2 V1.4x 13. Module reference: Note group Set the break point note number. The value is displayed in the corresponding display box. Range: C-1 to PPER Set the amplification/attenuation slope for the upper key section with the knob. The value is displayed in the corresponding display box.
Page 172: Oscillator Group
The Nord Modular G2 oscillators produce continuous waveforms with a certain pitch and an amplitude swing that is between -64 and +64 units. If you connect an oscillator output to a mix bus, it will generate a constant sound - just as you would expect. If you want the behaviour of a traditional synthesizer, i.e. to generate sound only when you play on the keyboard, patch the output of the oscillator to the audio signal input of an envelope generator.
Page 173 The lowest value in Partial mode is 0 Hz. When an oscillator is at 0 Hz it actually stops oscillating, which causes it to stop generating any sound on its own. At 0 Hz the output will be a DC level (steady level) with a value that depends on both the waveform and the phase position in the waveform at the moment when the oscillator was stopped (was set to 0 Hz).
Page 174: Osca
FM knob and the waveforms used. A common way to use both FM Lin and FM Trk is to use a triangle or pulse waveform for the modulating signal on the FM input and use a flankless waveform like a triangle or sine waveform on the modulated oscillator.
Page 175: Oscb
The detuning of the second sawtooth is an equal amount of Hz over the keyboard range, making the detuned sound too lively in the lower and too static in the higher frequency ranges. Assigning the keyboard morph to the Lfo rate knob can correct the detune, making the unisono effect sound more balanced over the whole keyboard range.
Page 176: Oscc
OscPM oscillator. Tip! If the OscPM is set to 0 Hz in the Part tuning mode and initially reset by a short pulse on the Sync input (e.g. by using the Status module Var. Change output) this module can act as a sine function. To use this option, open the Phase Mod knob fully and add a linear mixer in front of the Phase Mod input.
Page 177 TriSaw is a Triangle -> Sawtooth signal. At 50% Shape setting, the signal is a perfect Triangle and at 99% a perfect Sawtooth. When the Shape is modulated with negative values, the signal is “mirrored”.
Page 178: Oscshpb
13. Module reference: Oscillator group NORD MODULAR G2 V1.4x This Shape oscillator is able to generate a vast variety of waveform shapes. There are eight basic waveforms to choose between and since you can transform and modulate the shape of these waveforms, it’s possible to generate very interesting and varying signals.
Page 179: Oscdual
This is the type of pulse waveform found in ASYMMETRIC most analog synthesizers. At 50% Shape setting, the signal is a perfect Square, at 75% a Pulse with 25%/ 75% pulse width and at 99% a Pulse with 1%/99% pulse width. When the Shape is modulated with negative values, the signal is “mirrored”.
Page 180: Oscstring
(see example below). ECAY Set the decay time of the internal feedback signal through the delay line. The higher the decay value, the longer it will take for the signal to decay to silence.
Page 181: Oscperc
LAVE KNOBS These are the parameters of the two oscillators that generate the basic drum waveform. : The tune of the Master can be set between 20.0 and 784 Hz. The Slave ranges from 1 to 6.26 times the Master frequency.
Page 182: Noise
Range: 0 to 5 octaves. Dcy: With the Dcy knob you set the bend decay time. The bend time can be considered more as a bend rate, since the actual decay time is determined by the Decay knobs of the two oscillators. Range: 0.5 to 45 s.
Page 183: Oscnoise
The shape and dynamics of the envelope that is applied to the metallic noise, plus perhaps some additional filtering, may set where and how hard the cymbal is hit, e.g. on the edge or at the cup. Note that the shape of the applied envelope is as important as the Freq and Color settings to create convincing cymbal sounds.
Page 184: Operator
Select Ratio to set the frequency as a multiple relative to the input value on the Pitch input. Select Fixed to set the frequency as a fixed number of Hz relative to the Pitch input value. If the KBT button is on, the value is relative to the note played on the keyboard (or received via MIDI).
Page 185: Dxrouter
R1-R4 & L1-L4 Here you set the rates (R) and Levels (L) of the envelope. The lower the Rate values, the longer it will take for the envelope to reach the next Level. L3 is the level at which the envelope will sustain.
Page 186 Connect each output of the DXRouter module to the corresponding FM input of each Operator. In the example above, algorithm 18 is used. If you look in the graph you can see that the output signals of Operator 1 is mixed to the DXRouter output. You can also see that Operator 2, 3 and 4 are frequency modulating Operator 1, Operator 6 is frequency modulating Operator 5 and Operator 5 is frequency modulating Operator 4.
Page 187: Lfo Group
Master Clock Sync mode. The Rate Lo range is from 62.9 secs/cycle to 24.4 Hz, the Rate Hi range is from 0.26 Hz to 392 Hz, the Rate Sub range is from 699 secs/cycle 5.46 secs/cycle. The BPM range is from 24 to 214. The Clk sync mode automatically locks on to the synth’s Master Clock and here you set the intervals between 64:1 and 1:64T.
Page 188 (and the MIDI input). Click to select Off, 25%, 50%, 75% or 100%. If KBT is set to 100%, the LFO will track the keyboard at the rate of one semitone for each key. If KBT is set to Off, the keyboard will not affect the LFO rate.
Page 189: Lfoa
Select waveform with the radio buttons. The waveforms are: Sine, Triangle, Sawtooth, Square, Random Steps and Random. The Random Steps signal is “colored" meaning that the effect is more gentle than a true random signal. It contains less radical differences between adjacent values. The Random signal is a smooth random control signal.
Page 190 The Dir input can be used to continuously control the rate and “direction” of the LFO signal. Let’s say we have set the LFO rate to 200 Hz. An input offset value of +64 units on the Dir input will then make the LFO run at 200 Hz.
Page 191: Clkgen
HIGH If the reset signal is not a logic signal, e.g. a blue signal, it will first be transfomed to a logic signal before being use. This signal could come from a Gate output of a Keyboard module, for example. When the clock generator is reset, it also transmits a high logic signal on the Sync output.
Page 192 Signal: Logic. • Try to make a habit out of always using this function if you are using more than one sequencer module in a patch, especially if you want to mix modules clocked with e.g. triplet resolutions with other mod- ules clocked with eighth or sixteenth notes.
Page 193: Random Group
Still, a new value is always generated in some relation to a previous value and it is this relation to the previous value that defines how the sequence of values evolves over a longer time. When there are only little differences to the previous values, the signal will evolve gradually.
Page 194: Clocked Random Generator Inputs And Parameters
So, it is a little bit like a switch is opened or closed at random on the moment the trigger pulse arrives and this switch passes or blocks this incoming trigger pulse.
Page 195: Randoma
In practice, if the rate of a random signal generator is set to 1000 Hz a sequence on the G2 will last over four and a half hours. In this case a...
Page 196: Rndclka
HIGH For every new pulse it is decided if it is passed to the output or not, making the output signal equal in duration to the duration of the input pulse signal. This means that if gate signals of different lengths are used to clock this module, the length of the current gate signal is left unaltered if the module decides to 'pass' this current clocking gate signal to the output of the module.
Page 197: Envelope Group
During these stages, some envelopes can be retriggered. The output control signal from an envelope is usually unipolar, with a range of 64 units (+ or -), but can also be bipolar. All Nord Modular G2 envelope generators feature a built-in envelope controlled amplifier (known as VCA’s on analog synths).
Page 198 0 units. A triggered envelope only needs a short high logic signal to start. When the envelope has started after a Trig signal, it will proceed to the very end of the cycle even if the Trig signal drops to zero...
Page 199 13. Module reference: Envelope group USTAIN Sets the sustain level. This level will be held (sustained) for as long as the logic Gate signal is high. When the logic Gate signal drops to zero, the envelope will proceed with the release stage. The sustain level is displayed in ‘units’...
Page 200: Envadsr
Hold Envelope is used for controlling the amplitude of an audio signal, there may be a clicking sound at the beginning and end, due to the immediate attack and decay times. If you want to be able to control Attack and Release times, check out...
Page 201: Envd
Gate/Trig input and thus create a repeating envelope signal - like a sort of shapeable “LFO” (see figure). You will have to set the Gate/Trig button to Trig for this to work. In this case the Envelope will restart itself after it has finished its envelope shape. See also "Common...
Page 202: Envaddsr
L1 & L2 These are level parameters. The L1 or L2 segment can be selected to act as sustain stage and will then represent the level at which the envelope will be held (sustain) when the Gate signal is high. See also "Common Envelope Generator...
Page 203: Modadsr
Attack, Hold and Release times. The Shape characteristics of this envelope is fixed to Linear Attack & Exponential Decay/Release. Tip! This module can be used to create pulses with a modulatable length when the A and D times are set to very short an the Hold is modulated by a varying control signal. See also "Common Envelope...
Page 204: Shaper Group
NORD MODULAR G2 V1.4x HAPER GROUP In the Shaper module group you will find modules that changes the shape of an input audio signal in different ways. Distortion modules can be found here, for example. Shaper modules will change the...
Page 205: Clip
Toggle switch for the Symmetric and Asymmetric mode. If this is set to ‘Asym’, only the positive peaks of a signal will be clipped. If this is set to ‘Sym’, both the positive and the negative peaks of a signal will be clipped.
Page 206: Saturate
Note that the output amplitude decreases exponentially when the input amplitude is lowered, which means that this module can best be used with fixed amplitude input signals, e.g. equal to the amplitude on the output of an oscillator module.
Page 207: Rect
(full wave rectification). ELECTOR Sets the operation of the module. The first position discards of any negative input signal levels, the second position discards of any positive input signal levels, the third position transforms (mirrors) any negative signal levels to positive levels and the fourth position transforms (mirrors) any positive signal levels to negative levels.
Page 208: Filter Group
(and the MIDI input). Click to select Off, 25%, 50%, 75% or 100% ratio. If KBT is set to 100%, the cutoff frequency will track the keyboard at the rate of one semitone for each key. If KBT is set to Off, the keyboard will not affect the cutoff frequency at all.
Page 209: Fltlp
A III. If the attenuator knob has TTENUATOR a triangle above it, click it to select 1:1 keyboard tracking of the cutoff frequency if the input is connected to the Note output of the Keyboard module (see page 158).
Page 210: Fltclassic
Select the filter type with the buttons. (This selector cannot be assigned to a Morph group). HP is a Highpass filter, BP is a Bandpass filter and LP is a Lowpass filter. BR is a Band reject filter. When the BR filter is selected, the Resonance knob will control the width of the frequency band to be rejected.
Page 211: Fltmulti
6dB mode. An allpass filter will pass all frequencies, but will have two effects on a sound. The first effect is that all partials are shifted in phase, higher partials are shifted more as lower partials.
Page 212: Vocoder
Of course you can use any kind of sound in the analysis bank to shape the synthesizer sound. E.g. when using a sampled drumloop instead of a microphone you can get funky percussive synth sounds. Feel free to experiment.
Page 213: Eqpeak
NALYSIS BANK TRL INPUT Patch the signal you want to use as “modulator” to the red audio signal input on the upper left of the module. This is the input in the “standard vocoder application” where you patch the vocal signal.
Page 214: Eq3Band
With the Lo gain knob you change the gain at 80Hz. Range -18 to +18 dB. With the Mid Gain knob you change the gain at the Mid frequency (see below). Range -18 to +18 dB. With the Mid Freq control you change the center frequency of the Mid band. Range: 100Hz to 8.00 kHz.
Page 215: Fltcomb
13. Module reference: Filter group OTCH By clicking on the up and down arrow buttons you select the number of notches (allpass filters). 1 to 6 notches can be selected. Click to select Notch, Peak or Deep. In Notch mode, the signal notches are attenuated. In Peak mode, the signal peaks are amplified and in Deep mode, the signal notches and peaks are attenuated and amplified.
Page 216: Mixer Group
Note that there is no functional difference between the Exp and the dB curves, it is just a matter of whether you want the knobs to display an exact dB value or the basically meaningless Exp value.
Page 217: Mix1-1A
Name buttons, meaning that they can be labelled with your own text for better overview, these names will show up in the G2 frontpanel displays when the associated mixerknob is assigned to a panel knob. Right-click on a Channel Mute button and select ‘Edit name’. Type in the new name and press Enter.
Page 218: Mix4-1B
The mixer has a Channel Mute button for each channel for enabling/disabling the input. Each Channel Mute button can be labelled. The mixer also has a -6 dB button for attenuating all inputs by another -6 dB. See also "Common Mixer parameters”.
Page 219: Mixfader
‘Log’ for audio signals. The ’Log’ setting is similar to a -3dB knob found on studio mixing desks, to fix what is named ‘the hole in the middle’ of the stereo panorama. When the Pan L/R knob is in its center position both output channels are attenuated by about -3dB, which is acoustically the correct balance.
Page 220: Fade1-2
The amount of modulation is controlled with the knob [A TTENUATOR KNOB Sets the initial mix of the two signals. Clicking on the triangle will set the mix to an equal amount of both signals. INEAR Click to select linear crossfade characteristics instead of logarithmic. See also "Common Mixer...
Page 221: Switch Group
1-8Mux. 2. Now, click on the In 3 button of the 8-1Switch and note that the third LED of the 1-8Mux is lit. 3. Click on the In 8 button of the 8-1Switch and note that the last LED of the 1-8Mux is lit instead.
Page 222: Swonoffm
These Channel Select buttons can also be labelled for better overview. Right-click on a Channel Select button and select ‘Edit name’. Type in the new name and press Enter. Note that the name cannot be longer than 7 characters because of the size of the A...
Page 223: Sw8-1
The 2-1 Value Switch switches between two inputs at a definable Control signal input value. ALUE ARROW BUTTONS Set the lower limit where the switch should change to the On input channel. Range: 0-64 units in steps of 1 unit. See also "Common Switch parameters”.
Page 224: Windsw
ROM KNOB Set the lower limit where the switch should close. Range: 0.0-64.0 units in steps of 0.5 units. Note: if the From value is higher than the To value, the switch never closes.
Page 225: T&H
0 units when it is inactive, this module will instead hold the last value it had on its output and not drop the output to 0 units.
Page 226: Level Group
Switch button. Basically this module is a general purpose knob module producing a control value that can be routed to any modulation input of another module. The Switch button can be labelled.
Page 227: Levadd
13. Module reference: Level group module and how it interfaces with the panel controls, is a very powerful feature of the G2. Use it, as the text you put on the button will give you the right hints in the displays when you’re on stage.
Page 228: Ringmodulator
INPUTS Patch two separate signals to each of the inputs. A signal with a level of 0 units at any of the inputs will close the gain control function, a signal with a level of +64 units at any of the inputs will open the gain control function completely.
Page 229: Levmod
This type of ringmodulator is ideally suited for input signals that have a ‘pure’ harmonic ratio. E.g. a classic ‘ringmodulator sound’ is made when this circuit is fed with two squarewaves with an ‘pure quint’ (3:2) frequency ratio. See “Example of just tuning”...
Page 230 To understand this better take note that there are in fact three inputs on this module; 1) the main input, 2) the Mod input that modulates the main input and 3) the Mod depth input that modulates the amount of modulation of the Mod input to the main input.
Page 231: Envfollow
EVEL LIMIT KNOB Set the level limit for the comparison with the knob. Range: -64 to +64 units. The value is shown in the Display Box. See also "Common Level module parameters”.
Page 232: Compsig
‘level switcher’ on old analog systems. The MinMax module can be used to ‘sort’ two signals. It can be used to ‘split’ two lfo signals into two new signals where one signal is always at a lower value and the other signal always at a higher value.
Page 233: Modamt
Click the m/1-m button to output the signal patched to the input at full level when the Mod depth knob is at its minimum value. If the 1-m function is inactive, the signal patched to the input won’t be output at all at minimum Mod depth value (see example below).
Page 234: Logic Group
In fact synchronization is an art by itself that takes some time to master. Our advise is to take the time it takes and learn it one step at a time. As you will find out this is also how logic works; step after step.
Page 235: Gate
When the module is set to the Set-Reset type flipflop (or RS-type flipflip) the D input changes into a S(et) input. When the S input receives the positive edge of a clock pulse it will set the Q output to a logic high...
Page 236: Clkdiv
NORD MODULAR G2 V1.4x level and the Q-Bar output to a logic low level. The S input is in fact the opposite of the Rst input, but when the Rst input is also brought high the Rst will have priority over the S input.
Page 237: Delay
ULSE TIME KNOB Set the Pulse time with the knob. Range (Sub): 0.10 ms to 1.00 s, (Lo): 1.04 ms to 10.00 s, (Hi): 10.4 ms to 100.0 s. If the module receives another edge trigger during the Pulse period, it will extend the duration, with the value set with the knob.
Page 238: 8Counter
G2 Audio Bus lines. To do so connect the eight triggers to the inputs of a DAConverter module and send its blue output to a Bus line. In another Slot the signal from this Bus line is fed into the blue input of an ADConverter module and the eight triggers will reappear on the outputs of the ADConverter.
Page 239 If you would want to use the 128 output and D7 input you must insert an inverter module between these two connectors and use the full range from -64 units to +64 units in half unit steps. But in many cases it might be easier to predivide the BinCounter clockpulse to one clock for every four 16th notes.
Page 240: Sequencer Group
The sequencer will advance immediately on the positive edge of a pulse in a clock signal. If the clock signal is not a logic signal it will automatically be transformed to a logic signal at this input.
Page 241 Park mode where only the logic state on this chain input will be passed on to the trigger-row output. If this input is left unconnected it is assumed to be in a logic state.
Page 242: Seqevent
‘glued together’ into one longer Gate signal that is actually as long as both steps. ND BUTTON Clicking this button initiates a random set of control signal values for each of the 16 steps. It can be put to good use to randomize a modulation pattern from a frontpanel button. But when used on a note patern it doesn’t necessarily create the proper musical pattern for your music every time you...
Page 243: Seqval
NABLE INPUTS This module has a nice feature that lets you record values ‘on the fly’. To use this feature a control signal has to be connected to the blue Rec input. The yellow Rec Enable input next to the blue Rec input switches the module between sequencer mode and recording mode.
Page 244: Seqctr
Step 1: 0 to <4, Step 2: 4 to <8, Step 3: 8 to <12, Step 4: 12 to <16, Step 5: 16 to <20, Step 6: 20 to <24, Step 7: 24 to <28, Step 8: 28 to <32, Step 9: 32 to <36, Step 10: 36 to <40, Step 11: 40 to <44, Step 12: 44 to <48, Step 13: 48 to <52, Step 14: 52 to <56, Step 15: 56 to...
Page 245 Rst input first. This is to make sure that the first recorded note will indeed record at the first loca- tion in the row, as after a Rst pulse the first clock pulse will always force the sequencer to its first step.
Page 246 Park inputs. But the last sequencer should be able to activate the first sequencer to start the next cycle. You see an extra input on the first sequencer is needed for the last sequencer to restart the first one. This input is the Loop input. Note that the Loop input is specially designed for this one particular purpose.
Page 247 And this start behaviour no matter if the clock is running or not. This means that the reset signal must be set up in a way that this works. The trick used is to make use of the Ctrl output of the switch module and combine this signal with the Clk Active signal.
Page 248: Fx Group
“sweep” effect. Click to select Type I or Type II. The Type I phaser has three notches and Type II has two. With the Rate knob you set the rate of the built-in LFO. Range: 62.9 s/cycle to 24.4 Hz.
Page 249: Flanger
220 Hz with the second and third harmonic present there are three partials in this input signal, one at 220 Hz, one at 440 Hz and one at 660 Hz. If the Shift setting is set to 43 Hz the three partials would change to 177 Hz, 397 Hz and 617 Hz on the Down output.
Page 250: Pshift
By adding a mixer in front of the PShift module and feeding the output signal back to the input there will be a build up of the detuned signals, resulting in what is named the barber pole effect.
Page 251: Scratch
When this knob is in the middle position the output will be silent. Turning this knob a bit clockwise will create an effect that sounds like the audio signal on the input is played at a slow speed, opening the knob more will 'speed up' the audio signal.
Page 252: Compress
A compressor can be very useful on a drum mix or basses to make the sound sit “right in your face”. It can also be very useful on a final mix to add more presence and “punch” to the mix. HAIN The Side Chain input is used for an external audio signal to control the compressor.
Page 253: Delay Group
Time for your application. The ranges are: 5 ms, 25 ms, 100 ms, 500 ms, 1.0 s, 2.0 s and 2.7 s. For example, if you only plan to use a maximum delay Time of 0.4 seconds, select the 500 ms Range.
Page 254: Dlysinglea
Then, it takes twice this time for the second tap to output the signal and three times the set delay time for the third tap to output the signal, and so on. In this module, the displayed Range setting refers to the total time between the input signal and the last tap (output 8) and with the Time knob you set the delay time between adjacent taps.
Page 255: Dlyclock
With the Sample Delay knob you set how many Clock pulses is required to output the sampled value. For example, if you have set the Sample Delay to 72, the value will be output 72 Clock pulses later. See also "Common Delay group...
Page 256: Midi Group
"Common MIDI module parameters”. • Note that if you want to send only the values on the Value input, set the knob to ‘0’. Otherwise the value selected with the knob will be added as an offset to the input signal.
Page 257: Pcsend
END INPUT AND OUTPUT A signal which goes from 0 units or below to anything above 0 units on the yellow input will force the module to send out the current Program number on the selected MIDI channel. Right after the reception of the trig signal, the yellow output will transmit a logic pulse.
Page 258: Notesend
ATE INPUT A signal which goes from 0 units or below to anything above 0 units on the yellow Gate input will force the module to send out the current Velocity and Note values on the selected MIDI channel. When the Gate signal goes back to 0 units or below, the module sends a MIDI Note Off message on the selected MIDI channel.
Page 259: Ctrlrcv
CV OUTPUT Every time a new MIDI CC value is received on the selected CC# and MIDI channel, a high logic pulse is output from the Rcv output. This signal can be used to trig different events in the Patch, for example from external button parameters.
Page 260: Notezone
Select the MIDI channel to receive MIDI Note data, Velocity and Keyboard Gate data from. & M Set the incoming MIDI Note range with the Min and Max arrow buttons. Only the notes within the set range will be recognized.
Page 261 This way the G2 can keep track on what knobs are moved on the other device. Note that if the G2 patch is saved, it now also saves the last knob positions on the other device, as the Automate module had picked them up when changes were made on the other device.
Page 262: Keyboard Shortcuts
Ctrl + Arrow Dn Decrease Morph Range on Focused Param Ctrl + Arrow Left Set focus to Previous Parameter (same as Arrow Left) Ctrl + Arrow Right Set focus to Next Parameter (same as Arrow Right) Shift + Arrow Up...
Page 263 Ctrl + X Cut selection Ctrl + Y Redo last Undo Ctrl + Z Undo last action (there are many levels of Undo in the Editor software) Ctrl + 1 Dump One (= dump patch as SysEx to the connector) MIDI OUT...
Page 264: Synthesis Basics
But functionality-wise, subtractive synthesizers are still built out of the same modules (or building blocks) as they were decades ago. We will now take a closer look at these building blocks. Let’s first talk about three basic modules that actually create and...
Page 265: Connections
The length of a waveform period determines the pitch (frequency) of the sound. The shorter the period, the higher the pitch. If you for example make the oscillator play at a frequency of 440Hz, there will be 440 periods of identical Sawtooth waves generated per second.
Page 266: Waveform
• By Modulation. Modulation allows you to make the pitch vary “automatically”. The most common example is probably to use an LFO to make pitch go up and down, to create a vibrato. But you can also put the pitch under envelope control, or make the pitch vary with your striking force (velocity).
Page 267 The triangle wave does not have very strong harmonics. Furthermore they only appear at odd harmonic numbers. The first fact makes the tone pure, a bit like a flute, and the second fact gives the sound a slightly “hollow” character.
Page 268 Time In the first, the jump happens 5% in from the beginning of the period. This is referred to as a pulse wave with a 5% pulse width (sometimes called duty cycle). The second wave has a pulse width of 10%. The third wave has a pulse width of 50%.
Page 269 NORD MODULAR G2 V1.4x 14. Synthesis basics: The oscillators and waveforms This third wave is a special case of the pulse wave, called a square wave, and this has one peculiarity, it only contains odd number harmonics, which gives it a “hollow” quality.
Page 270: The Filter
HE FILTER The filter in a synthesizer is used to remove or emphasize frequencies in a spectrum. A filter is a bit like an amplifier (a volume control) that is applied differently to different parts of the spectrum. For example, a filter might make low frequencies louder, while at the same time making high frequencies weaker.
Page 271: Filter Types
14. Synthesis basics: The filter As you can see the curve is flat in the low register (which means it doesn’t affect this part of the spectrum at all) and then, at a certain point, gradually starts falling. When applied to the wave above, this filter cuts...
Page 272: Roll-Off (Slope)
Fc (Cutoff Frequency) Frequency OTCH FILTER This filter type (also known as Band Reject) can be seen as the opposite of a band pass filter. It cuts off frequencies in a “mid-range” band, letting the frequencies below and above through. SLOPE Filters of one and the same type (lowpass, highpass etc.) can have different characteristics.
Page 273: Cutoff Frequency
The most important parameter for a filter is its cutoff frequency, which is the setting that determines where in the frequency material it should start cutting. If the cutoff frequency in a low pass filter is set to a very low value, only the lowest harmonics (the bass) will pass through.
Page 274: Resonance
NORD MODULAR G2 V1.4x ESONANCE Resonance in a filter is created by connecting the output of the filter to its input, in other words setting up a “feedback loop”. The amount of feedback is then controlled with a Resonance parameter on the front panel of the instrument.
Page 275: Envelopes
NORD MODULAR G2 V1.4x 14. Synthesis basics: Envelopes shape” is one of the most important factors to how we identify the sound. By setting up a proper volume envelope you can make a sound “soft”, “hard”, “plucked” “static” etc. The volume envelope curve (to the left) determines how the amplitude of the waveform changes over time.
Page 276 Decay parameter. The level of the envelope does not necessarily have to fall all the way back to zero level at the end of the Decay. Instead, the ADSR-envelope has a Sustain setting used to determine the level the envelope should rest at, after the Decay.
Page 277 Decay, only it is not applied until you lift your finger off the keys. • If you set Sustain to full level, the Decay setting is of no importance since the volume of the sound is never lowered: •...
Page 278: Ad-Envelope
The effect of this can be studied in the illustration below: Often envelope levels can be made to vary with how hard you play the keys. This is used to make a sound vary with your playing style, for example to make the sound brighter (filter envelope) or louder (amplifier envelope).
Page 279: Additive Synthesis
The triangle wave does not have very strong harmonics. Furthermore they only appear at odd harmonic numbers. The first fact makes the tone pure, a bit like a flute, and the second fact gives the sound a slightly “hollow” character. Since a “perfect” triangle wave consists of an infinite number of sine waves, it’s not practically possible to get a perfect result, but we can get pretty close.
Page 280: Other Synthesis And Modulation Methods
The practical result of FM is often a “metallic” or “bell” type of sound. The most common wave to do FM on is a pure sine wave, but any type of waveform can be used, both as modulator and carrier (wave to be modulated).
Page 281: Ring Modulation
Fig 3. Amplitude Modulation ING MODULATION Ring modulation is similar to AM, but instead of using a unipolar (goes from zero level to positive levels) modulator wave, a bipolar modulator wave is used. In the example below we use the same carrier wave as in the AM example.
Page 282 Fig 3. Ring Modulation As you can see in the figures above, the main practical difference between amplitude- and ring modulation is the sideband amplitudes and the appearance of the carrier wave. Another difference is that the resulting ring modulation wave phase-shifts 180 degrees every half modulator period.
Page 283 NORD MODULAR G2 V1.4x Index Numerics connecting connecting to Nord Modular G2 2-In module delete 2-Out module 70, 84 disconnect 4-In module editing the appearance in the Editor 4-Out module hide all 8Counter module highlight popup window 40, 87 re-route Acoustic (sound category) shake...
Page 284 NORD MODULAR G2 V1.4x Index gain display editing from the Editor assignable editing from the synth Display Mode button Morph DlyClock module controller snap shot DlyEight module sending from the Editor DlyShiftReg module controllers DlySingleA module 141, 142, 143, 144...
Page 285 41, 87 Fantasy (sound category) editing from the synth file menu Global Parameter Pages Filter group Flanger module FlipFlop module H button in the Patch window FltClassic module help FltComb module contents FltHP module FltLP module In/Out group FltMulti module...
Page 286 Making a monophonic patch polyphonic editing on the synth Making your first patch Program Change enable master editing from synth tune editing from the Editor editing from the Editor Send all MIDI CC# controller values editing from the synth SysEx Master Clock Page 286...
Page 287 SysEx ID knobs and controllers editing from synth LEDs editing from the Editor move Talkback function parameters The G2 as a MIDI controller box popup window MIDI group rename MinMax module replace Mix1-1A module Module Icons Mix1-1S module Module reference...
Page 288 NORD MODULAR G2 V1.4x Index multitimbrality popup window Mux1-8 module putting in focus Mux8-1 module Parameter Overview window Mux8-1X module Parameter Pages buttons 89, 125 window Name module parameter pages Navigator buttons definition Noise module parameters NoiseGate module definition Nord Modular G2...
Page 289 24, 48 loading on synth recent files Mode redo name button editing from the Editor Renaming and saving a patch in the Editor naming resolution in the Editor Reverb module save in internal memory RndClkA module selecting Patches RndClkB module...
Page 290 NORD MODULAR G2 V1.4x Index Rotary Dial Slot indicator Slots definition S button in the Patch window sort S&H module Patches Saturate module from the Editor save on the synth InitPatch Sort Mode Patch editing from the Editor 122, 129...
Page 291 NORD MODULAR G2 V1.4x Index 26, 29 System button on the synth System functions Menu save system requirements Macintosh in the Editor system requirements Windows on the synth Variations definition T&H module velocity Textpad Morph The Amplifier Vibrato The filter...

Clavia Nord Modular G2 User Manual

Introduction

Synth Quick Tour

Working with the Synth

The G2 Editor Software

The Editor Application

Working in the Editor

The Patch Mutator

The Patch Adjuster

Editor Menu Reference

Technical Reference

Updating the Synth os

MIDI Implementation

Quick Links

Table of contents

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Summary of Contents for Clavia Nord Modular G2