NONLINEAR LABS C15 Manual
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NONLINEAR LABS C15 Manual

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Parameter Reference

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  • Page 1 Parameter Reference...
  • Page 2 NONLINEAR LABS GmbH Helmholtzstraße 2-9 E 10587 Berlin Germany www.nonlinear-labs.de info@nonlinear-labs.de Document Version: 1.2 Date: May 24, 2022 Author: Matthias Seeber © NONLINEAR LABS GmbH, 2022, All rights reserved.

  • Page 3: Table Of Contents

    2020 Update. Still, we think it will be a useful source of information until the Legend to signs and symbols latest version will be integrated into the C15 documentation. Envelope A Here a list of new parameters and other changes which are not included in the reference part:...

  • Page 5: Envelope A

    Envelope A Sustain level (target of the second Decay segment). Time of the (polynomial) Attack segment in milliseconds. Time of the (exponential) Release segment in milliseconds (infinite at maximum). Velocity influence on the Attack time. The value represents the logarithmic amount of the reduction of the Attack time by high Note-On velocities.

  • Page 6: Envelope B

    Gain [in dB] of the envelope signal. As this signal modulates Time of the second (exponential) Decay segment in millisec- the Oscillator and Shaper A, the Gain influences the level onds. and the amount of phase modulation and distortion. Sustain level (target of the second Decay segment). Envelope B Time of the (polynomial) Attack segment in milliseconds.

  • Page 7: Envelope C

    Key tracking of the attack, decay and release times. The Level of the Breakpoint between the two Decay segments. value determines how much shorter the times get for higher notes. Gain [in dB] of the envelope signal. As this signal modulates Time of the second (exponential) Decay segment in millisec- the Oscillator and Shaper B, the Gain influences the level onds.

  • Page 8: Oscillator A

    Key tracking of the envelope’s peak, breakpoint and sustain Amount of modulation of the frequency fluctuation by levels [dB per semitone]. Envelope C. At zero, the modulation stays constant, at Positive values: higher levels for higher notes (+1.0 = +12 dB higher values, the envelope applies a time-variant attenu- per octave).

  • Page 9: Shaper A

    Envelope (B) amount for the phase modulation by Oscilla- Envelope (A) amount for the Drive factor. tor & Shaper B (cross feedback). At zero, the gain stays constant, at higher values, the enve- At zero, the modulation stays constant, at higher values, the lope applies a time-variant attenuation.

  • Page 10: Oscillator B

    Mix amount of the ring modulation between both Oscilla- Start phase [in degrees]. The Oscillator will be set to this tors & Shapers. phase position with each Note-On. Amount of phase modulation by Oscillator & Shaper B (local Oscillator B feedback).

  • Page 11: Shaper B

    Mix amount of Shaper A in the signal being used for phase Amount of folding back of the shaper curve for high input modulation (A -> B). At zero, the output signal of Oscillator amplitudes. A is used. At negative values, the signal from the Shaper is 0.0 %: flat saturation, no folding inverted.

  • Page 12: Comb Filter

    Comb Filter Key scaling of the decay time. 0.0 %: equal time for all keys The signal for the Comb Filter as a crossfade between the 100.0 %: shortening to half time per octave, origin at C3 = 60 outputs of Oscillator & Shaper A and Oscillator & Shaper B. semitones Center frequency of the 2-pole allpass filter [in semitones].

  • Page 13: State Variable Filter

    Amount of modulation of the cutoff frequency of the Static value of the filter cutoff frequency at C3 [in semi- lowpass filter by Envelope C [in semitones]. tones], applies to both stages of the filter. The offsets between their individual cutoffs is controlled by “Spread”. Key scaling of the lowpass cutoff frequency.

  • Page 14: Feedback Mixer

    Amount of splitting of the cutoffs of the two 2-pole filters. Feedback mix factor for the output of the State Variable Half of the value is applied as a positive offset to the Filter. adjusted cutoff for the first stage and as a negative offset for the second stage [in semitones].

  • Page 15: Output Mixer

    Level of the (global) Feedback mix [in dB]. Output mix factor for the signal from the Comb Filter. Key scaling of the feedback level [in dB per semitone]. Pan position of the signal from the Comb Filter in the output positive values: higher level for higher notes (+ 1.0 = + 12 dB mix.

  • Page 16: Flanger

    Asymmetry of the shaper curve, generating even (2nd, 4th, Relative amount of the modulation of the delay times by the ...) harmonics. At higher values, it becomes a parabolic LFO and/or the envelope. curve that shifts the frequency of the fundamental to its double.

  • Page 17: Cabinet

    Amount of the cross feedback between the left and the Controls two inverted shelving EQs before and after the right channel, increasing the complexity of the resulting distortion stage. signal. At negative values, the cross feedback is inverted and negative: more distortions at high frequencies will emphasize other frequencies than in the non-inverted positive: more distortions at low frequencies mode.

  • Page 18: Echo

    Sets the difference between the center frequencies of the Sets the ratio between the delay times of the left and of the left and of the right channel [in semitones]. right channel [the value shows the offset to 100.0 %]. In the center position, the offset is zero and both delay times are equal.

  • Page 19: Macros

    Pre delay time, shifting the late reflections. This has a The info text of Macro Control B is user-definable and profound effect on the perceived room size. defaults to an empty string. Cutoff of the filter that damps the lower frequencies of the Sets the smoothing time [in milliseconds] for modulations reverberation signal.

  • Page 20: Hardware Sources

    Hardware Sources This control is the parameter representation of the “Ribbon 1” Hardware Source. It will directly follow the Ribbon and This control is the parameter representation of the “Pedal vice versa. If the source’s return behavior is set to “Center”, 1”...
  • Page 21 Determines the influence of the “Pedal 2” Hardware Source Determines the influence of the “Pedal 3” Hardware Source on Macro Control A. If the Pedal is a returning Hardware on Macro Control C. If the Pedal is a returning Hardware Source, the amount can be adjusted continuously, other- Source, the amount can be adjusted continuously, other- wise it will be switch-like.
  • Page 22 Determines the influence of the “Bender” Hardware Source Determines the influence of the “Aftertouch” Hardware on Macro Control A. Source on Macro Control C. The amount can be adjusted continuously [in percent] and The amount can be adjusted continuously [in percent] and can cover the whole range of the Macro Control in both can cover the whole range of the Macro Control in both directions (-100.0 % …...

  • Page 23: Unison

    Determines the influence of the “Ribbon 2” Hardware Spreading the (Oscillators’) start phases of the unison voices Source on Macro Control A. If the Ribbon is a returning to get different phase cancellations at the beginning of a Hardware Source, the amount can be adjusted continu- note.
  • Page 24 Offset of the second key following the base key [in cents]. At Offset of the 8th key following the base key [in cents]. At zero, the interval to the base key would be the major second zero, the interval to the base key would be the minor sixth of of the equally tempered scale.

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