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NONLINEAR LABS C15 User Manual

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  • Page 1 User Manual...
  • Page 2 NONLINEAR LABS GmbH Helmholtzstraße 2-9 E 10587 Berlin Germany www.nonlinear-labs.de info@nonlinear-labs.de Document Version: 6.4 Date: Oct 14, 2024 Authors: Matthias Seeber, Thomas Jaufmann, David J. Meyer © NONLINEAR LABS GmbH, 2024, All rights reserved.

  • Page 3: Table Of Contents

    2.2 Connections ..... . 13 7.2 Connecting the C15 to a USB Device ... . . 154 2.3 Start and Shutdown .

  • Page 4: Safety Instructions, Precautions

    C15 Base Unit C15 Panel Unit electrical damage on the device! Furthermore, if an external power adapter is used, this will be at your own risk. Nonlinear Labs will not be liable to damage caused by external 2 × power adapters.

  • Page 6: Introduction

    Ribbons, and Pedal inputs. 3. Basic Concepts Every parameter on the C15 can be directly selected by a button. In other words, all This chapter outlines a general approach to the C15 instrument, explaining how to per- functions are software-defined but have a dedicated haptic control surface. In addition, form, how the modulation mechanism works and how everything is organized.

  • Page 7: Setting Up The C15

    Now the C15 is ready to use and can be switched on. In order to disassemble the paired 2. Setting up the C15 configuration, undo above four steps in reverse order. The C15’s Base Unit can also be used without the Panel Unit.

  • Page 8: Start And Shutdown

    Color 2 Pitchbend Sust Pedal voltage is too low. Macro Controls ࣑ Make sure not to disconnect the power supply while you are using the C15 (booting up, performance, shutdown), otherwise its data may be lost. Bender Typical Mapping Ribbons...

  • Page 9: Setting Up A Device For The Graphical User Interface

    Concept solve your problem as soon as possible. The C15 is designed to be of flexible usage and interaction, requiring at least the Base Unit Wi-Fi Settings for connections and performance. In addition, the Panel Unit provides the Hardware User Interface and therefore access to all parameters, presets and settings.

  • Page 10: Pedal Integration

    As mentioned, the safe way of integrating pedals into the system would be when the C15 is switched off. After all connections were made, the C15 can be switched on and all connected pedals will be recognized and integrated accordingly. For more information about pedal integration, refer to chapter 5.4 Using Hardware...

  • Page 11: About This Chapter

    The C15 has a virtual key range of 128 keys (C-2 ... G8). The physical key range of 61 keys is Web GUI projected onto the virtual key range, depending on the Note Shift. Extreme Note Shift may exceed the virtual key range for certain keys, in which case no note is produced.

  • Page 12: Performance (Keybed And Hardware Sources)

    3.3 Macro Controls In Layer Sounds () each voice of Part I will be played simultaneously with the corre- Since version 20-28, there are six additional sponding voice of Part II. Both Parts share parameters that don’t have any connection the same voice allocation, which means or effect by default.

  • Page 13: Modulation Scheme

    The C15 does not have automatic modulation processes (like LFOs - with the exception of the Flanger): all modulating movements are made by the performer. 100 % 100 % 130 ST...

  • Page 14: Presets

    3.7 Organization 3.6 Presets All accessible items on the C15 are organized into functional groups. Parameters are The current sound can be stored as a preset at any time for later use. Presets are orga- grouped according to their functional relations as part of the synthesis engine, the Hard- nized into banks, so that each preset has a unique path (bank number/preset number).

  • Page 15: The Undo Tree

    6 edit 7 same state and focus. The C15’s undo history, on the other hand, is a tree-like data structure. All editing actions Panel Unit are tracked and new branches are created when you undo edits and then make new changes.

  • Page 16: Parameter Organization

    4.1 Parameter Organization...

  • Page 17: Selection

    Macro Controls group. Pressing a Parameter Selection The C15 architecture was designed to offer quick access to all items and aspects, pro- Button twice redirects to the Hardware viding one central area representing the current focus. This main principle (of focussing Sources.

  • Page 18: Parameters

    Chapters 4.3 Parameters 4.6 Presets detail selected parameter- or preset-related items. Further (menu-related) items and access to them will be explained in chapters 4.7. Sound Manipulation 4.16 Graphical UI Functionality. 4.3 Parameters 4.3.1 Editing a Parameter Adjust Control Position, coarse In Split and Layer Sounds there is a colored frame around the main area including an Use the Encoder to adjust the currently indicator for the selected Part.
  • Page 19 Setup Preset Adjust Control Position, fine 4.3.2 Editing the Modulation of a Parameter Sound Store The Fine Button toggles adjustments to Focus on Modulation Aspects high resolution mode. An F will display in the parameter screen. Fine mode is nor- By default, the parameter’s control position Info Fine...

  • Page 20: Macro Controls

    ࣑ MC Position These aspects are logically interconnected. Changing one will affect another. Press Soft Button 1 in order to focus on MC Position and adjust it like a parameter. 4.4 Macro Controls As described, Macro Controls can modulate specific target parameters. The most common →...
  • Page 21 Fast Mapping (Panel Unit only) Rename and edit Macro Control Info The Rename Screen allows you to edit the label and info text of the selected Macro Control. Soft Button 1 cancels the process, Soft Button 4 or the Enter Button confirms and applies the edit (see chapter 4.12 The Rename Mechanism...

  • Page 22: Hardware Sources

    Mod Reset (clear Target Assignments) HW Source Selector When the Smoothing Time of a Macro Con- Press Soft Button 2 to focus on the trol is in focus, Soft Button 2 [Mod Reset] Hardware Source selector. Use the selector is also available. Press it and then confirm like a parameter to select any of the eight by pressing the Enter Button and the target Hardware Sources.
  • Page 23 The Return Behavior determines how Hardware Sources affect Macro Controls. For 4.5.1 Editing a Hardware Source returning sources, the corresponding amounts can be set continuously. The amounts of non-returning sources will behave like switches, either enabling or disabling full-range Adjust Hardware Source Position modulations on Macro Controls.

  • Page 24: Presets

    ࣑ 4.6 Presets When adjusting the Return Behavior, no Hardware Source should be moved or held during this time, otherwise clipping problems in the modulation may 4.6.1 Loading a Preset occur. Preset Navigation 4.5.3 Mapping a Hardware Source to Macro Controls Press the Preset Button to focus on the Preset screen.

  • Page 25: Bank Navigation

    Direct Load The arrow keys can be used to navigate presets (up, down) and banks (left, right). The process of loading Presets can be shortened by using the Direct Load option, which If the external device features a mouse, the allows for loading Presets directly upon selection.

  • Page 26: Store Method

    Store Method → Graphical UI In the Preset Tab, banks can be navigated Soft Button 4 provides three available Store by the corresponding navigation icons (the Methods in the rightmost stack and cycles left and right arrow keys can be used as it.
  • Page 27 4.6.3 Editing Presets and Banks → Graphical UI In the Preset Tab, a Preset menu button is provided. Clicking on this button or right-click- Common Preset editing actions are listed in the table below: ing (or long touch gesture) on a preset element in a (floating) bank invokes the context menu, providing access to all aspects.
  • Page 28 The Graphical User Interface provides another way of moving a bank via the Bank Info window, where the bank number (position in the bank list) can be adjusted The C15 provides two ways of transferring (importing, exporting) single banks in order to directly (see chapter 4.9 Contextual Info...

  • Page 29: Sound Manipulation

    Locking a Parameter Group Locking – a practical example In the Parameter screen showing the Let’s consider a situation where the user wants to use certain groups of preset A as a currently selected parameter, the Edit template for other presets (B, C ...), which shall have those group settings as well. Button provides the lock menu.
  • Page 30 Master: Volume, Tune, Serial FX, FX/Part Pan and FX Mix Mono Presets are marked with a m symbol. Unison Presets have a u symbol. Presets that On the sound screen, Soft Button 4 [Mas- combine both voice modes are marked mu. ter..] opens the Master screen, which con- More information about these parameters can be found in 5.2.13 Main Parameter Groups...
  • Page 31 Sound Screen, two new options provide a quick way to copy the effect chain from one ࣎ If you encounter problems navigating the Setup Menu intuitively, please refer to Part to another. chapters Setup Navigation and Setup (C15 System Settings).

  • Page 32: Part Manipulation

    Locking, A Split or Layer sound can be stored in the parameters of locked groups are not same way as a Single sound. The C15 banks affected by sound manipulations. For can hold presets of all three types. Split presets are marked with a  symbol. Layer example, randomizing all parameters may presets have a ...
  • Page 33 Interface has its own part focus and can ignore part selections in the Graphical Master Volume and Master Tune will also be copied to its Part Volume and Part Tune but User Interface, if explicitly enabled in the system settings, see chapter 8. Setup (C15 Master Volume and Master Tune stay unchanged. System Settings).
  • Page 34 Overlapping Split Points → Split Point Editor[ Graphical UI only ] In earlier versions, the C15 only provided one Split Point parameter in a Split sound, In the Sound Tab, the rightmost icon determining the inner edges of both fully separated Parts , so no overlap was possible.The redirects to the Split Point Editor, providing described behavior is still available by default and referred to as linked Split Points.
  • Page 35 To adjust key fade aspects press the Sound Muting a Part of a Layer Sound Button for the Sound Screen, then Soft On the Layer Sound Screen you can use the Setup Preset Button 2 for the Part Screen. Soft Button 4 Encoder and Dec/Inc...
  • Page 36 ࣎ When muting a Part of a Layer sound, only the final Part Volume stage will be affected, so any signal flow across parts will be maintained regardless. → Fade Editor[ Graphical UI only ] In the Sound Tab, the rightmost icon redirects to the Fade Editor, providing all 4.8.5 Loading from/into Parts related aspects and an interactive visual representation.
  • Page 37 When a Dual preset has been loaded, Soft When the right preset (or part) has been Buttons 1/4 will now each serve two selected, Enter will complete the Load purposes. In order to explain each individ- process, loading the selected Source preset ual step of the Load process, the Direct into the specified Part of the Target preset.

  • Page 38: Contextual Info

    ࣎ Hardware Source/Amount Info When combining presets of different types, there are some limitations that should be considered. (See 4.1 Parameter Organization.) When the focus is on a Hardware Source/ Amount, the Info Button provides the Info Screen according to the item in focus. 4.9 Contextual Info →...

  • Page 39: Overviews

    → Graphical UI → Graphical UI The preset Info window can be made visible The bank Info window can be made visible when clicking on the preset Info Icon in the when clicking on the Bank Info icon in the Show Info Preset Tab or by a right click on a preset Preset tab or by selecting within a bank, selecting the show info...
  • Page 40 The Signal Flow indicator is optional and can be disabled in the Setup Menu (see When a Macro Control is selected, it will be chapter 8.Setup (C15 System Settings) for more details). surrounded by a red rectangle. All assigned target parameters show their assignment Furthermore, in Split/Layer sounds, the Sound Screen/ Tab can indicate send and feed- by surrounding red rectangles as well.
  • Page 41 Parameters When the modulation aspects of a parameter have changed, the modulation icon will When a changed parameter is selected and appear with an additional yellow frame. After selecting the modulation icon, any changed visible in the Parameter Screen, an asterisk modulation aspect will be shown with an additional yellow frame.

  • Page 42: The Undo Mechanism

    4.11 The Undo Mechanism Navigate current Branch The Undo Screen can only show one branch of the undo tree. It can be scrolled by using Simple Undo/Redo the Encoder or Dec/Inc. The current The current, active branch can be navigated position will be indicated by a rectangle Info Fine...

  • Page 43: The Rename Mechanism

    → Graphical UI → Graphical UI When the selected element is on an inactive As previously described, renaming options branch, the delete from here option will be provided when invoking a context will be provided by a right-click. Confirming menu for corresponding items. this option will delete the whole branch.

  • Page 44: Setup Navigation

    Adjust a Property ࣎ We recommend creating backups of your banks regularly. Although the C15 can hold When focussing on a property, adjustments an arbitrary number of banks, it can be helpful to keep the interface clean by not can be done like editing a parameter, overloading it with banks, speeding up booting, backup and shutdown processes.

  • Page 45: Base Unit Functionality

    ࣑ Please keep in mind that when restoring from a backup file, all banks currently present on the C15 will be lost. We recommend to save a backup Pressing Funct will switch the opera- Pressing Funct will switch between Ribbon file before restoring in order to maintain all preset data.

  • Page 46: Graphical Ui Functionality

    Bank Mode Multiple Preset Selection Pressing the Mode button while in Preset Bank context menus (invoked by a right- mode will select the Bank mode. In this click or long touch gesture on a bank in mode, both Ribbons remain operable as the main area) provide an option to start Hardware Sources.
  • Page 47 When starting the compare mechanism by Collapse Banks either method, the Compare window will The local bank context menu provides an appear, showing every parameter or aspect option to minimize a bank. A double click that differs between the two presets. Equal on a bank header has the same effect.

  • Page 48: Preset Search

    ࣎ 4.16.3 Preset Search Your device name can also be changed. For more information, see chapter “8. Setup (C15 System Settings)” Open/close search window The Search window can be quickly accessed in the Graphical UI via the magnifying glass icon in the top left corner. A click or tap on the icon will open or close the window. The You can also search for automatically generated property-hashtags using the ‘#’...

  • Page 49: Search Filters

    When you find a preset you like, you can drag and drop it Search filters into your favourite preset bank, or drop it on the empty Below the search box are the Color Tags. Click on one or background to create a new preset bank. To select multiple more of the colored boxes to filter the search by Color Tags.
  • Page 50 • an option to assign MC to the second XY field or to the two horizontal complete access). sliders. The C15 Documentation is also available as a separate HTML docu- ࣎ Open Manual ment, which will open in a new browser tab.

  • Page 51: Context Menus

    Open Recorder Bank Context Menu The Recorder is a new feature which allows for recording audio material, see chapter The Bank context menu can be invoked by the Bank menu icon Recorder. in the Preset Tab, or by a right-click (or long touch gesture) on any bank header (in the Preset Tab or in the main area).

  • Page 52: Gui Settings

    CPU consumption will rise but RAM usage will decrease. The effect of this settings strongly depends on the external device. There are some more options (beyond the usual interaction with the C15) that are not relevant for the user, but can be important for developers (when Show Developer testing a device or running diagnostics of possible malfunctions).

  • Page 53: The Synthesis Engine

    The C15’s first synthesis engine is named „Phase 22“. It can be seen as the latest stage of The combination of the components can also be understood in a physical modeling...
  • Page 54 The resulting stereo-mix is sent to the two effects sections (To FX I/II) and finally to the C15’s output. The Feedback Mixer receives the mono-signals from the filters Layer Sounds - Detailed Signal Flow as well as a mono-downmix of the stereo-signals of each effect section (FX From I/II). From the Feedback Mixer these signals are routed back to the Oscillators, where they can be C15 –...
  • Page 55 1. The Feedback Mixer of a particular Voice Part can apply polyphonic self/cross feedback (cross: from the other Part), allowing signals from Oscillators A/B and the Comb and State Variable Filters to be sent in between. 2. The output of a particular effect chain provides an additional dry and wet signal (which are mono downmixes of the stereo reverb input and output signals).
  • Page 56 curve is linear by default but can be tweaked to get a concave or convex shape. With a may sound arbitrary or random, but actually reflects countless natural processes (like the concave shape it starts with a smaller slope and gets steeper, with a convex shape it is the behavior of a plucked string).
  • Page 57 Envelopes Examples 4 As a result, the corresponding main parameter can be blended by the amount parameter between its pure value and a fully modulated version (by the corresponding envelope). Envelope with Decay 1 as Hold Time On the other hand, for pitch-related parameters (Oscillators, Comb Filter, State Variable Level Attack Decay 1...

  • Page 58: Loop Mode

    Loop Mode The Loop parameter enables Envelope C to operate in Loop mode, allowing for poly- Breakpoint (BP) = –100% Sustain (S) = 100% Loop = 160% phonic repeating sequences. Note On Note Off Setting the Loop parameter to a value greater than 0% activates Loop mode, which Peak Sustain Level automatically changes the curve of Decay 2 to linear.
  • Page 59 5.2.2 Oscillators In order to manipulate both harmonics and noisiness of the sine wave, phase modulation („PM“, often also referred to as „FM“) can be exploited, as each Oscillator provides several The branches A and B both contain an Oscillator – a source for a sine-wave signal. parameters dedicated to define the complex relations of intermodulations.
  • Page 60 Oscillator Fluctuation Spectra Oscillator Fluctuation The third phase modulation source is the global Feedback bus, being defined by the Feed- Curve Audio Spectrum back Mixer. The amount can be defined and Envelope C can shape the intensity as well. As the feedback signal can consist of polyphonic and monophonic parts, intermodulations between several (parallel) voices can occur.
  • Page 61 Shaper: Drive Output 5.2.3 Shapers Each of the two branches is completed by a sine shaper unit, which can further manipu- late the oscillator signal and enhance its spectrum. It also allows for the integration of the Input Drive: 0 .0 dB global feedback and a ring modulation signal.
  • Page 62 Shaper: Fold Shaper: Asymetry Output Output Input Input Drive: 12 .0 dB Drive: 3.4 dB Fold: Fold: 50 % Asymetry: Asymetry: 0 % Output Output Input Input Drive: 12 .0 dB Drive: 3.4 dB Fold: 33 % Fold: 50 % Asymetry: Asymetry: 20 % Output...

  • Page 63: Comb Filter

    The delay time can additionally be modulated by a crossfade mix of both branches, 5.2.4 Comb Filter determined by a „Phase Modulation“ parameter (as mentioned, in certain scenarios, delay The branch signals (A, B) are provided as sources for two different filter units, the first of times and phases can closely relate).

  • Page 64: State Variable Filter

    Comb Filter – Frequency Response Non-inverted Mix The filter frequencies are determined by a tunable center frequency which can be sensi- tive to Key Tracking and the influence of Envelope C. A Spread parameter determines how Magnitude (dB) much the individual filter frequencies are shifted apart from the center frequency. With no spreading, one peak emerges at the center frequency.
  • Page 65 5.2.6 Feedback Mixer State Variable Filter, Filter Response The global feedback signal, usable for phase modulation and within the Shapers, is defined by a mix of four signals provided by the two filters and the Effects section (blend- able between pre and post Reverb). Each signal is weighted by a bipolar Amount parame- ter, as the polarity can have a noticeable influence on the feedback behavior.

  • Page 66: Output Mixer

    5.2.7 Output Mixer As the delay times are relatively short, this effect is not able to create wide spatial effects, but a certain perception of depth will emerge nevertheless. The delay time can be spread The (main) output signal, being passed to the Effects section, is defined by a stereo mix of for both channels with a „Stereo“...
  • Page 67 5.2.9 Cabinet 5.2.10 Gap Filter The second effect is called „Cabinet“, providing the possibility to further shape the The Gap Filter marks the third effect and provides further filtering of the signal. It consists signal in terms of saturation, overdrive and distortion. It can be regarded as a basic amp of two four-pole filters (with a damping slope of 24 dB per octave) which can run in simulator.
  • Page 68 5.2.11 Echo Gap Filter, Filter Response Gap Filter – Frequency Response The fourth effect is a stereo delay, providing a spatial effect of repeating echoes. The delay Parallel/Band Reject (Mix > 0) Serial/Band Pass (Mix < 0) time can be adjusted and spreaded between the left and right channel. Within the local feedback, a tunable lowpass filter allows for damping, and the feedback level can be Balance = 0, Mix = 1, Reson = var.
  • Page 69 FX Mix, for layer and split sounds it is called Part Pan. FX Mix controls how much of each effect chain is sent to the C15’s output. It works similarly to the Part Volumes in Split/Layer sounds, except it is just one parameter that crossfades between FX I and II.

  • Page 70: Using Hardware Sources

    "legato" style (in an General Aspects overlapping manner). The C15’s eight Hardware Sources can be thought of as special controllers designed for None No difference between legato and non-legato playing.
  • Page 71 ࣎ Directionality and Polarity Changing the Return Behavior When switching a Hardware Source from non-return- Controllers with a switch behavior can behave in two different manners as well. There ing to returning behavior, keep in mind that the position of the Hardware Source no are opener switches (like a "Sustain Pedal") and there are closer switches (like a "Mute longer necessarily corresponds to the position of the assigned Macro Control.

  • Page 72: Additional Settings

    For now, the safe and recommended method of integrating external pedals is to turn the the Ribbons when using relative mode. device off beforehand. After all pedals are plugged in the provided sockets, the C15 can be switched on again. The booting process will recognize the pedals' circuit architectures Operation Modes and integrate them accordingly.
  • Page 73 Modulation Aspects As already mentioned, the modulation amount of a certain Hardware Source on a Macro Control depends on the source’s Return Behavior (only returning sources allow for a continuous amount). Furthermore, when a non-returning Ribbon is assigned to a Macro Control, the assign- ment will be bidirectional.

  • Page 74: Recorder

    The recorder works independent from its browser tab being open or not. recording. The content of the RAM will be lost, when you switch off the C15. You can select a segment Zoom and Scroll of the recorded audio and download it to your computer to use it in your production environment.
  • Page 75 Restoring a Sound points can be shifted by the two light-blue handles. Two labels are showing the times at The Undo system of the C15 memorizes every user action on parameters or presets. It the start and end points. allows to go back to the state of the synth engine at any point in time since the start of the The selected part can be downloaded by pressing the Download button or “S”...
  • Page 76 Starting and Stopping the Recording Auto-Start Recorder If the “ ” option in the Recorder Settings is “On” the Record but- ton will be shown as active from the beginning. You can use it to stop the recording. This might be desired to save memory or to focus on reviewing the recorded material. When you press the button again the recording will be continued.

  • Page 77: Midi Events

    • Pedal 1/2/3/4 can be assigned to MIDI CCs 01...31 for the MSB while CC 33...63 can work MIDI messages can control the C15 and affect the sound, similar to playing the instrument as LSB for 14 bit resolution. CC 64...69 can be assigned in a 2-state switching mode.

  • Page 78: Connecting The C15 To A Usb Device

    A computer running a DAW or similar is the center of many setups. It functions as a USB host and can only be connected to USB devices. Since the C15 is also a USB host we provide the “MIDI Bridge” that functions as a double-sided USB device with two Type B...

  • Page 79: Midi Settings

    MIDI notes, but it also can be helpful, when you lost control of the sound, e.g. through a To make use of MIDI Program Change messages one of the C15's preset banks has to be feedback loop. assigned as the source and target of Program Changes. A received Program Change would...
  • Page 80 7.3.1 MIDI Settings: Channels The “Direct Load” switch decides if the C15 only sends a MIDI Program Change when you select a preset, or if the preset is also loaded into the sound engine. Therefore it has a Here you can select the MIDI channel that is similar effect like a “Local Off”...
  • Page 81 MSB message. The number of the CC for the LSB is derived from the number of the CC is typical for e.g. a MIDI sustain pedal. When the C15's pedal position rises above 50 %, a for the MSB by adding 32.

  • Page 82: Default Mappings

    Active Sensing 7.3.3 MIDI Settings: Routings Some USB-to-MIDI adapters can flexibly change their MIDI ports and automatically switch from send to receive if no MIDI has been sent for a while. Currently, ESI (MIDIMATE) and Swissonic (MidiConnect2) products are known to do this. The switching results in glitchy behavior, but can be avoided by repeatedly sending Active Sensing messages (which should otherwise have no effect).
  • Page 83 MIDI or, in the case of the bidirectional Ribbons, a value received via an adjusted Macro Control. This allows the audio engine of the C15 to be triggered by an external device and at the same time the Hardware Sources can be used to control other external devices without conflict.

  • Page 84: Practical Studio Examples

    First, we want to record a MIDI track, that triggers a C15 bass sound. This MIDI track receives MIDI notes and CC values by the C15. As we send MIDI data to the DAW and back With the C15's MIDI features, it can be used as a master keyboard and production tool in to the C15, we can benefit from the MIDI processing features of the DAW (arpeggiator, the center of your studio or live performance set.
  • Page 85 PlugIn Track 1 PlugIn Track 2 Thanks to C15's Split Mode, we can use MIDI to control and play two Plug-Ins at the same time. For this scenario, we need to load an existing Split-Preset or create a new one, as only then MIDI data is sent and received on the Split Channel as well.

  • Page 86: Setup (C15 System Settings)

    The calibration will be stored by the C15, so the calibration is only necessary once after a pedal has been plugged in, even after Device Settings [Panel Unit, Graphical UI] restarts of the device.
  • Page 87 With the option “Auto-Start Recorder” the user can decide if the audio recording starts Only the stereo signal of the synth is audible. automatically when the C15 is switched on, or if the user has to start it by the Record Left The Test Tone will be added only to the left channel of the stereo signal.
  • Page 88 Update Available [Panel Unit only] user. It will appear in the meta If a USB stick with a new (not already installed) update file is connected to the C15, this data of presets and determine entry will indicate this with “Yes”. When restarting the C15, the update will be installed.
  • Page 89 NOT unpacked or changed in any way. All downloaded update files have identical names “nonlinear-c15-update.tar”. This is the file name required by the C15 to detect an update on the memory stick. If there is an When using the C15 USB Stick...

  • Page 90: Specifications

    10. Specifications Synthesis Engine User Interface • 2 Oscillators (sine wave, adjustable jitter/noise) • 96 high-quality buttons for quick access to all parameters • Phase modulation: Self, A > B, B > A, via the Shapers, and by the feedback signal •...

  • Page 91: Parameter Reference

    11. Parameter Reference...
  • Page 92 Envelope A Time of the (polynomial) Attack segment in milliseconds. Sustain level (target of the second Decay segment). Velocity influence on the Attack time. The value represents Time of the (exponential) Release segment in milliseconds the logarithmic amount of the reduction of the Attack time (infinite at maximum).
  • Page 93 Gain [in dB] of the envelope signal. As this signal modu- lates the Oscillator and Shaper A, the Gain influences the level and the amount of phase modulation and distortion. Time of the second (exponential) Decay segment in milliseconds. Envelope B Time of the (polynomial) Attack segment in milliseconds.
  • Page 94 Key tracking of the attack, decay and release times. The value determines how much shorter the times get for higher notes. Level of the Breakpoint between the two Decay segments. Gain [in dB] of the envelope signal. As this signal modu- lates the Oscillator and Shaper B, the Gain influences the level and the amount of phase modulation and distortion.
  • Page 95 Key tracking of the envelope’s peak, breakpoint and sustain levels [dB per semitone]. Positive values: higher levels for higher notes (+1.0 = +12 Amount of modulation of the frequency fluctuation by dB per octave). Envelope C. At zero, the modulation stays constant, Negative values: lower levels for higher notes (-1.0 = -12 dB at higher values, the envelope applies a time-variant per octave).
  • Page 96 Envelope (B) amount for the phase modulation by Oscilla- tor & Shaper B (cross feedback). At zero, the modulation stays constant, at higher values, Envelope (A) amount for the Drive factor. the envelope applies a time-variant attenuation. At zero, the gain stays constant, at higher values, the envelope applies a time-variant attenuation.
  • Page 97 Mix amount of the ring modulation between both Oscilla- tors & Shapers. Start phase [in degrees]. The Oscillator will be set to this phase position with each Note-On. Oscillator B Pitch (logarithmic frequency) of Oscillator B at C3 (MIDI Amount of phase modulation by Oscillator & Shaper B note 60) [in semitones, based on MIDI note numbers].
  • Page 98 Mix amount of Shaper A in the signal being used for phase modulation (A -> B). At zero, the output signal of Oscillator A is used. At negative values, the signal from the Shaper is Amount of folding back of the shaper curve for high input inverted.
  • Page 99 Comb Filter The signal for the Comb Filter as a crossfade between the Key scaling of the decay time. outputs of Oscillator & Shaper A and Oscillator & Shaper B. 0.0 %: equal time for all keys 100.0 %: shortening to half time per octave, origin at C3 = 60 semitones Coarse pitch of the Comb Filter (delay) at C3 (MIDI note 60) Center frequency of the 2-pole allpass filter [in semitones].
  • Page 100 Amount of modulation of the cutoff frequency of the lowpass filter by Envelope C [in semitones]. Static value of the filter cutoff frequency at C3 [in semitones], 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 101 Amount of splitting of the cutoffs of the two 2-pole filters. Half of the value is applied as a positive offset to the adjusted cutoff for the first stage and as a negative offset Feedback mix factor for the output of the State Variable for the second stage [in semitones].
  • Page 102 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]. positive values: higher level for higher notes (+ 1.0 = + 12 dB per octave) Pan position of the signal from the Comb Filter in the negative values: lower level for higher notes (- 1.0 = - 12 dB...
  • Page 103 Asymmetry of the shaper curve, generating even (2nd, 4th, ...) harmonics. At higher values, it becomes a parabolic curve that shifts the frequency of the fundamental to its Relative amount of the modulation of the delay times by double. the LFO and/or the envelope. Master output level [in dB] of the synth.
  • Page 104 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 negative: more distortions at high frequencies and will emphasize other frequencies than in the non-in- positive: more distortions at low frequencies verted mode.
  • Page 105 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 106 Pre delay time, shifting the late reflections. This has a profound effect on the perceived room size. The info text of Macro Control B is user-definable and defaults to an empty string. Cutoff of the filter that damps the lower frequencies of the reverberation signal.
  • Page 107 Hardware Sources This control is the parameter representation of the “Ribbon 1” Hardware Source. It will directly follow the This control is the parameter representation of the “Pedal Ribbon and vice versa. If the source’s return behavior is set 1” Hardware Source. If a pedal is connected, it will directly to “Center”, the parameter will be bipolar.
  • Page 108 Determines the influence of the “Pedal 2” Hardware Determines the influence of the “Pedal 3” Hardware Source on Macro Control A. If the Pedal is a returning Hard- Source on Macro Control C. If the Pedal is a returning ware Source, the amount can be adjusted continuously, Hardware Source, the amount can be adjusted continu- otherwise it will be switch-like.
  • Page 109 Determines the influence of the “Bender” Hardware Determines the influence of the “Aftertouch” Hardware Source 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 110 Determines the influence of the “Ribbon 2” Hardware Spreading the (Oscillators’) start phases of the unison Source on Macro Control A. If the Ribbon is a returning voices to get different phase cancellations at the begin- Hardware Source, the amount can be adjusted continu- ning of a note.
  • Page 111 Offset of the second key following the base key [in cents]. Offset of the 8th key following the base key [in cents]. At At zero, the interval to the base key would be the major zero, the interval to the base key would be the minor sixth second of the equally tempered scale.
  • Page 112 12. Shortcuts for the Graphical User Interface Preset Store S... . activate Store Select mode (and open the Preset tab) Enter ..apply Store (and finish the Store Select mode) UI Components Ctrl + S .

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