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NONLINEAR LABS C15 User Manual

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  • Page 1 User Manual...
  • Page 3 NONLINEAR LABS GmbH Helmholtzstraße 2-9 E 10587 Berlin Germany www.nonlinear-labs.de info@nonlinear-labs.de Document Version: 8.9 Date: Jan 17, 2025 Authors: Matthias Seeber, Thomas Jaufmann, David J. Meyer © NONLINEAR LABS GmbH, 2025, All rights reserved.

  • Page 4: Table Of Contents

    About the Manual Content ......11 2. Setting up the C15 . Installing the Panel Unit ......12 Connections .
  • Page 5 MIDI Events ......128 Connecting the C15 to a USB Device ....129 MIDI Settings .

  • Page 6: Safety Instructions, Precautions

    The Pedal Manual will guide you through every step and aspect of connecting and set- ting up a pedal controller to the C15. Use it to avoid invalid integration of pedal control- lers, which may lead to overheating or permanently damaging the C15.

  • Page 7: Package Contents

    2 Mounting Brackets Unit Connector Cable Printed C15 Quickstart Manual ࣒ The flash drive is specially formatted for installing updates. Do not format it and keep it safe! USB Stick containing: • the Factory Preset Collection • the complete C15 User Reference...

  • Page 10: Introduction

    Instead, the C15 is a decidedly responsive instrument which combines high-resolution keys, Ribbons, and Pedal inputs. Every parameter on the C15 can be directly selected by a button. In other words, all functions are software-defined but have a dedicated haptic control surface. In addition, a Graphical User Interface can be displayed and edited on any device that has a browser and Wi-Fi.

  • Page 11: About The Manual Content

    About the Manual Content The following chapters refer to different important aspects of working with the C15 instrument. Each chapter tries to exclude the „broader picture“ by focussing only on the crucial related aspects. Nevertheless, this manual attempts to cover as many details as possible.

  • Page 12: Setting Up The C15

    Connect Base Unit and Panel Unit with the Connector Cable. Now the C15 is ready to use and can be switched on. In order to disassemble the paired configuration, undo above four steps in reverse order. The C15’s Base Unit can also be...

  • Page 13: Connections

    2.2 Connections The following external connections are provided by the Base Unit: The headphone output provides a 6.3 mm stereo headphone socket with separate, preset-independent adjustable headphone level. The headphone socket is suitable for all kinds of head- phones but we strongly recommend to turn down the level when connecting low-impedance ear plugs.

  • Page 14: Start And Shutdown

    A flickering LED indicates abnormal operation. For instance, it may mean that the supply voltage is too low. ࣒ Make sure not to disconnect the power supply while you are using the C15 (booting up, performance, shutdown), otherwise its data may be lost.

  • Page 15: Setting Up A Device For The Graphical User Interface

    2.4 Setting up a device for the Graphical User Interface Concept The C15 is designed to be of flexible usage and interaction, requiring at least the Base Unit for connections and performance. In addition, the Panel Unit provides the Hard- ware User Interface and therefore access to all parameters, presets and settings.
  • Page 16 You can name your C15 instrument by focussing on the device name entry and pressing Enter to access the Rename Screen. Once the name is set, an SSID will be generated. The SSID is composed of a prefix (NL-C15-) and the name you just gave to the instrument. SSID A Wi-Fi network with the same name as the SSID will be displayed when you scan for available networks on your external device.

  • Page 17: Pedal Integration

    Connect a cable to the pedal and turn down the volume control (if necessary). Plug the other end of the cable into one of the four TRS sockets on the C15 (Pedal 1 to 4). If the C15 is already switched on, try to insert the cable quickly (ideally less than 1 second).

  • Page 18: Basic Concepts

    3. Basic Concepts There are multiple ways to interact with the C15, each consisting of a different organisa- tion and optimized layout of the information it represents, depending on the interface you are using. However, the basic structure and handling options remain comparable, as each form of interaction follows the same underlying principle.
  • Page 19 Note Pitch Note Pitch The C15 has a virtual key range of 128 keys (C-2 ... G8). The physical key range of 61 keys is 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 20: Sound Types

    3.1 Sound Types A C15 preset can be one of three sound types: Single, Split, or Layer. A Single Sound has one set of parameters (excluding the Effects Section) and can use up to 48 voices (or 24 at 96kHz inter- nal sample rate).
  • Page 21 Hardware Sources) to bring motion and variation into your sound. Similarly, notes and all Hardware Sources can also be controlled externally by using MIDI (see chapter 7. Midi). The C15 MIDI functionality provides one more, non-integrated Hardware Source: Polyphonic Aftertouch. This Hardware Source is extending the integrated monophonic modulation mechanism by introducing true polyphonic control for specific notes (see chapter 3.5.
  • Page 22 Physical Return Behavior of Controllers Some controllers (such as a “Sustain Pedal” or a “ Pitch Bender”) return to a specific position after use (usually to zero or the center), while other controllers remain in their position after release. Controllers that return to their center position are usually bipolar (and the center position equals zero).

  • Page 23: Additional Settings

    display its actual position. In returning mode, however, the Ribbon indicates the value added to the Macro Control rather than its absolute setting. Consequently, a returning Ribbon at its center does not necessarily place the assigned Macro Control at its center, as it would in non-returning mode.

  • Page 24: Functionality Overview

    Functionality Overview All the mentioned different aspects of Hardware Sources are shown in the following table: Monophonic Polyphonic Source Bender Ribbon 1 - 4 Pedal 1 - 4 Aft ertouch Aft ertouch continuous / Continuity continuous continuous switch Polarity bipolar unipolar unipolar / bipolar unipolar / bipolar...

  • Page 25: Parameters

    3.4 Parameters Items that are relevant for synthesis are called Parameters and are organized in Param- eter Groups. Each group combines all Parameters relating to a given Synthesis Engine process (such as an envelope). Most Parameters are integrated into the modulation mechanism and can be referred to as Modulation Targets.

  • Page 26: General Aspects

    General Aspects The C15 does not have automatic modulation processes like LFOs (with the exception of the Flanger/Tremolo). While playing, it is left to the performer to add further expressive motion to the sound by using the Hardware Sources. The Modulation Mechanism cap- tures the movements of Hardware Sources and provides routing options to distribute this motion from Macro Controls to target Parameters.
  • Page 27 Macro Control Mod Amount Parameter Macro Control Parameter Upper Limit MC Position Lower Limit fig. 3 fig. 4 If we compare unipolar and bipolar target parameters (fig. 5), it is clear that the full mod- ulation range (-100% ... 100%) of bipolar parameters is effectively twice the modulation range (0% ...

  • Page 28: Presets

    In addition, the Bender is assigned to Macro Control C and primarily used for bending pitches. A returning, continuous Pedal (4) is assigned to Macro Control D, which serves as a Sustain or Damper Pedal (depending on the sound). ࣏ Despite the use of a returning pedal, the Return Behaviour of Pedal 4 is set to non-return for the majority of presets.

  • Page 29: Organization

    3.7 Organization All accessible items on the C15 are organized into functional groups. Parameters are grouped according to their functional relations as part of the synthesis engine, the Hardware Sources and Macro Controls are grouped next to each other, and other items are organized into menu structures.

  • Page 30: The Undo Tree

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

  • Page 31: User Interfaces

    4. User Interfaces As described, the C15 has two different user interfaces. The Hardware User Interface consists of the Base Unit and Panel Unit with their haptic (“hands on”) controls. The Graphical User Interface is available on external devices via a Wi-Fi connection, and offers a detailed representation of all parameters and presets.

  • Page 32: Parameter Organization

    4.1 Parameter Organization...

  • Page 34: Selection

    4.2 Selection The C15 architecture was designed to offer quick access to all items and aspects, pro- viding one central area representing the current focus. This main principle (of focussing on one item at a time for further editing) affects each interaction on any available user interface.
  • Page 35 → Graphical UI All parameters are shown in the main area and can be selected by clicking on them. In Split and Layer Sounds there is a colored frame around the main area including an indicator for the selected Part. A touch/click on the indicator opens the parameters of the other Part. (The Hardware User Interface has its own Part focus and will not reflect selections in the Graphical User Interface, unless it is deliberately enabled in the Setup Menu.) The background of an element highlights to indicate that it has...

  • Page 36: Parameters

    The expandable tab area shows all item-related aspects. Parameters can be edited in the Parameter Tab. 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.
  • Page 37 Adjust Control Position, fine The Fine Button activates Fine mode, which increases the reso- Setup Preset lution for parameter adjustments. This mode is indicated by an F on the parameter screen. Fine mode is normally deactivated when the focus is moved to another parameter. Pressing the Fine Button Sound Store while holding down the Shift Button will permanently activate...
  • Page 38 → Graphical UI In the Parameter Tab, you can click on the Modulation Icon to toggle the focus on modulation aspects (if a Macro Control is assigned, all aspects are available). The horizontal slider rep- resents the aspect in focus (or the control position, by default). Elements in the main area and the parameter shown in the Param- eter Tab display their modulation aspects.

  • Page 39: Macro Controls

    Modulation Range Aspects Pressing Soft Button 4 moves the focus to the rightmost stack of modulation range aspects and cycles through it. The selected aspect can be adjusted like a parameter. The following aspects are provided: the modulation range Upper Limit, the (current) control position and the modulation range Lower Limit.
  • Page 40 → Graphical UI The Parameter Tab provides all parameter aspects of the selected Macro Control. Adjust its position like adjusting a parameter on the slider. Fast Mapping (Panel Unit only) Macro Controls Press the Parameter Selection Button for a potential target parameter while holding down the Parameter Selection Button for a Macro Control to switch the assignment on or off.
  • Page 41 → Graphical UI Right-click on the Macro Control from which you want to copy the Hardware Amounts. Select ‘Copy Hardware Amounts’ from the drop-down menu. Then right-click the Macro Control to which you want to paste the assignments and select ‘Paste Hardware Amounts’...
  • Page 42 4.4.2 Macro Control Properties Macro Controls possess several properties, defining the control’s appearance and behavior. They are either represented as context menu options, or as additional parameters. Focus on Macro Control Properties Press the Edit Button to focus on the properties, which are held in the stack at the right.
  • Page 43 4.4.3 Assigning a Macro Control to Hardware Sources Focus on Assignment Aspects By default, the Macro Control position is in focus. The rightmost stack indicates the influence of each Hardware Source on the Macro Control. Use Soft Button 4 to cycle through the stack or press Soft Button 2 in order to select a particular Hardware Source like adjusting a parameter.

  • Page 44: Hardware Sources

    HW Source Selection Stack Pressing Soft Button 4 moves the focus to the rightmost stack of Hardware Sources and cycles it. The eleven sliders indicate the amounts of each Hardware Source on the selected Macro Control. The selected element of the stack represents the corresponding amount and can be adjusted like a parameter.

  • Page 45: Edit Functions

    → Graphical UI The Parameter Tab provides all parameter aspects of the selected Hardware Source. Adjust the position like a parameter. ࣒ This will cause a modulation and may affect Macro Controls and target parameters. The source’s Return Behavior will be simulated when you release the element. 4.5.2 Hardware Source Properties and Functions Edit Return Behavior In order to change the Return Behavior property of a Pedal or Rib-...
  • Page 46 → Graphical UI All the way on the right side of the Hardware Source Section, click or tap on the Function button of the desired pedal and select the function from the drop-down menu. Just below the Function buttons you can find the global pitch parameters.

  • Page 47: Presets

    4.6 Presets 4.6.1 Loading a Preset Preset Navigation Press the Preset Button to focus on the Preset screen. The Encoder and the Dec/Inc buttons navigate through the Setup Preset current bank. A highlighted background indicates the selection. Sound Store Info Fine Enter Edit...

  • Page 48: Loading A Preset

    Loading a Preset When loading a preset, every parameter will start a transition to the new value (specified by the selected preset). The transition is defined by the Transition Time in the system settings. On the Panel Unit press the Enter Button in order to load the Setup Preset selected preset.

  • Page 49: Bank Navigation

    Bank Navigation Next to the actual presets, banks contain additional metadata (some of which can be edited, see chapter 4.9 Contextual Info). For example, they keep track of their last selected preset, which may be loaded when navigating banks (depending on the Direct Load option).

  • Page 50: Store Method

    Store Method Soft Button 4 provides three available Store Methods in the rightmost stack and cycles it. Pressing the Enter Button applies the process, pressing the Store Button again dismisses it. The store position will be finally influenced by the chosen Store Method, which can be one of the following three: Append The preset will be stored at the end of the currently selected bank.
  • Page 51 → Graphical UI In the Preset Tab, a Preset menu button is provided. Clicking on this button or right-clicking (or long touch gesture) on a preset element in a (floating) bank invokes the context menu, providing access to all aspects. Preset Menu 2: Preset tab > preset list Preset Menu 1: Preset tab >...
  • Page 52 Bank Menu 4: main area background 4.6.4 Importing/Exporting Banks The C15 provides two ways of transferring (importing, exporting) single banks in order to manage big preset collections. When importing a bank, the bank will not be selected and no preset will be loaded.
  • Page 53 4.6.5 Locking In some situations, it may be useful to load only specific parts of a preset while leaving other parts as they are. This can be achieved by using the Lock mechanism, which can lock particular parameter groups and prevent the contained parameters from being overwritten by a preset recall or sound manipulations.

  • Page 54: Sound Manipulation

    Locking – a practical example Let’s consider a situation where the user wants to use certain groups of preset A as a template for other presets (B, C ...), which shall have those group settings as well. Useful scenarios may be the Hardware Sources and their Amounts on Macro Controls, or the whole effect chain.
  • Page 55 FX Mix is one of the Master group parameters and can only be found on single sounds. You can access this parameter from the Sounds screen by pressing Soft Button 2 [FX Mix..]. This parame- ter can also be modulated using the Macro Controls. Scale On the Sound screen, Soft Button 1 [Scale..] accesses the Scale group.
  • Page 56 ࣒ If you encounter problems navigating the Setup Menu intuitively, please refer to chapters Setup Navigation and Setup (C15 System Settings). Randomize Randomization starts a transition to a random value for each parameter of the sound (or selected Part). The amount of random- ization is adjustable and the speed of the transition can be set in the Device Settings (Edit Smoothing Time).
  • Page 57 → Graphical UI In the Sound Tab, press the menu icon and choose [...] Random- (when in a Single sound) or (when in a Split Randomize Part or Layer sound). A dialog will appear, providing the adjustable ran- domization amount and an button to complete the process.

  • Page 58: Part Manipulation

    A Split or Layer sound can be stored in the same way as a Single sound. The C15 banks can hold presets of all three types. Split pre- sets are marked with a  symbol. Layer presets have a  symbol.
  • Page 59 By default, both Hardware and Graphical User Interfaces share the same Part Focus, meaning that Part Selection is reflected everywhere. However, the Hardware User Interface has its own Part Focus and can ignore Part Selections in the Graphical User Interface, if explicitly enabled in the system settings, see chapter 8. Setup (C15 System Settings).
  • Page 60 Unlink Split Points In earlier versions, the C15 only provided one Split Point parameter in a Split sound, determining the inner edges of both fully separated Parts , so no overlap was possible. The described behavior is still available by default and referred to as linked Split Points.
  • Page 61 When in the Parameter Screen, pressing Edit Button will provide a menu with the option to Unlink/Link. Navigate with Soft Button 4 for the entry before pressing Enter Button. When unlinked, the key positions of both Parts are shown. Overlap can be achieved by raising the Split Point of Part I or by lowering the Split Point of Part II - using the Dec/Inc...
  • Page 62 Signal Flow Indicators in a Split Sound In Split sounds, the “ToFX” parameter is available in the Output Mixer, allowing the mixed signal to be sent to the Effects Section of the other Part. When active, the flow across parts will be indicated in the Sound Screen/ Tab by labeled “FX”...
  • Page 63 Muting a Part of a Layer Sound On the Layer Sound Screen you can use the Encoder and the Dec/Inc Buttons to mute one of the Parts: turning the Encoder to the left or using the Dec Button will mute Part II. Turning the Encoder to the right or using the Inc...
  • Page 64 → Fade Editor[ Graphical UI only ] In the Sound Tab, the rightmost icon redirects to the Fade Editor, providing all related aspects and an interactive visual representation. For each part, Fade From and Fade Range can be adjusted by clicking or dragging on the corresponding values or by dragging the indicators shown on the keybed.
  • Page 65 At first, a Split/Layer preset has to be loaded, let's refer to it as the “Target” preset. It is worth mentioning that the Preset Screen will display Dual (Split/Layer) presets different to the already familiar Single presets, providing more functionality. Also, let's keep in mind we also have another Preset somewhere, from which to load data into a part, referred to as the “Source”...
  • Page 66 When the right preset (or part) has been selected, Enter will com- plete the Load process, loading the selected Source preset into the specified Part of the Target preset. Info Fine Enter Edit Default Undo Redo ࣒ Note that the “ Load to Part” process distinguishes and remembers different aspects of selection: selected Target: referring to the currently loaded preset's selected part selected Source:...

  • Page 67: Contextual Info

    4.9 Contextual Info Parameter Info When a parameter is selected, the Info Button invokes the Info Screen, showing the current parameter’s description. If the info text is too long to fit the screen, use Dec/Inc or the Encoder to scroll. →...
  • Page 68 Preset Info The Preset Info contains a variety of auto-generated and editable metadata. For more detailed information on preset metadata, please refer to Presets. → Graphical UI The preset Info window can be made visible when clicking on the preset Info Icon in the Preset Tab or by a right click on a preset within a bank, selecting the show info option.

  • Page 69: Overviews

    4.10 Overviews There are different overviews provided on the Panel Unit, enabling the user to quickly get an impression of the inner workings of a particular sound, just by a brief glance at the Parameter Panels. Without listening to the sound or studying parameter values, certain assumptions on signal flow and modulation assignments can be easily made.
  • Page 70 ࣒ The Signal Flow indicator is optional and can be disabled in the Setup Menu (see chapter 8.Setup (C15 System Settings) for more details). Furthermore, in Split/Layer sounds, the Sound Screen/ Tab can indicate send and feed- back flow across Parts , as explained in 4.8 Part...
  • Page 71 → Graphical UI When a changed parameter is selected and visible in the Parame- ter Tab, an asterisk behind its label will be shown as well. Further- more, the previous state will be indicated left to the shown value. When selecting the previous state, it will be recalled. Parameter Modulation Aspects When the modulation aspects of a parameter have changed, an asterisk will be shown for each Soft Button label.

  • Page 72: The Undo Mechanism

    4.11 The Undo Mechanism Simple Undo/Redo Info Fine Enter Edit The current, active branch can be navigated by using the Undo and Redo buttons in the Edit Panel, recalling the corresponding state immediately. Default Undo Redo When the Undo Button was pressed, an Undo indicator will appear in the Preset screen, showing that the option is avail- Redo...
  • Page 73 Navigate Branches If a branch splits at the current position, pointy brackets are visible on the entry. Use Soft Buttons 1 and 3 to switch between Setup Preset branches. Recalling an entry of an inactive branch will make it active. Sound Store →...

  • Page 74: The Rename Mechanism

    4.12 The Rename Mechanism Affected Items As previously described, renaming options will be provided when pressing Edit in the corresponding Screen. Get Rename Option As previously described, renaming options will be provided when pressing the Edit Button in the corresponding context. Info Fine Enter...

  • Page 75: Setup Navigation

    4.13 Setup Navigation This section explains the navigation to and within the setup menu. Refer to chapter 8 Setup (C15 System Settings) for a detailed reference. Focus on Setup Menu Press the Setup Button in order to invoke the Setup Screen.

  • Page 76: Backups

    ࣒ 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 file before restoring in order to maintain all preset data.

  • Page 77: Base Unit Functionality

    4.15 Base Unit Functionality Here is a quick recap of the Base Unit functionality, compiling all available features into a single overview. The Mode Button cycles four distinct operation modes, which are explained in the following. The functionality of the remaining buttons depends on the current mode.

  • Page 78: Graphical Ui Functionality

    Preset Mode Holding the Mode Button for a while in Play or Edit mode will select the Preset mode. In this mode, both Ribbons remain opera- ble as Hardware Sources. The −/+ Buttons can be used to navigate presets. The Funct Button will serve as a Load button (when pressed) or as a Direct Load switch (when held for a second).
  • Page 79 ࣒ Note that Preset Drag and Drop and Multiple Preset Selection are only available, if the GUI Settings (explained in the following) allow for context menus and drag and drop. Preset Compare Two presets can be compared against each other, examining their individual differences. This may be useful for distinguishing several versions of a preset that are only slightly different.
  • Page 80 4.16.2 Banks Move all Banks There is a shortcut to move all banks at the same time, provided by the global context menu (invoked by a right-click or long touch gesture on the background). If the option is Move all Banks selected, a white rectangle will appear, surrounding all banks.
  • Page 81 You can find the name of your own device in the System Info: (Setup > System Info > Device Name). ࣒ Your device name can also be changed. For more information, see chapter “ 8. Setup (C15 System Settings)”...
  • Page 82 You can also search for automatically generated property-hashtags using the ‘#’ symbol. These hashtags are included in the presets metadata and depend on specific settings within the preset. You can find the active hashtags in the “Properties” field of the Preset Info.
  • Page 83 Search result handling After entering your search criteria, the list below will show all the results. The number in the bottom right-hand corner of the search window indicates the number of search results. You can use the scroll bar, the mouse wheel or a touch gesture to scroll through the list.
  • Page 84 Parameter Editor However, parameters cannot be selected anymore (the Hardware User Interface still pro- vides complete access). The C15 Documentation is also available as a separate HTML document, which will open in Open Manual a new browser tab. Open MC View, Open the MC View or Recorder (see below) in a new browser tab.

  • Page 85: Context Menus

    At the left edge, the settings can be accessed. They contain: • the amount of additional smoothing   • an option to assign MC to the second XY field or to the two horizontal sliders. ࣒ Note that the provided smoothing times are completely separate of the Edit Smoothing Time (found in the Device Settings of the Setup Menu) as well as the Macro Control Smoothing Times (found below each Macro Control slider in the Graphical User Interface).
  • Page 86 Bank Context Menu The Bank context menu can be invoked by the Bank menu icon 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). Depending on where the Bank context menu was invoked, different func- tionalities will be provided.

  • Page 87: Gui Settings

    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 testing a device or running diagnostics of possible malfunctions).

  • Page 88: The Synthesis Engine

    5. The Synthesis Engine The C15’s first synthesis engine is named „Phase 22“. It can be seen as the latest stage of an ongoing, long-time development, combining and advancing experiences gained from precursor projects like Spark, Prism, Skanner and Kontour (available for Native Instruments’...

  • Page 89: Signal Flow And Components

    5.2 Signal Flow and Components Recap: Parameter Organization As explained in 4.1 Parameter Organization, the C15 Synthesis Engine is divided into distinct Sections that operate differently according to the current Sound Type: Global Section Global parameters are present once within a preset of any Sound Type. These parame-...
  • Page 90 Single Mode Signal Flow The overall signal flow of the synthesis engine is illustrated in the following diagram. A more detailed version can be found here.
  • Page 91 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 as well as a mono-downmix of the stereo-signals of each effect section (FX From I/ II).
  • Page 92 Layer Sounds - Detailed Signal Flow In the case of Layer Sounds, the additional details that appear in the diagram shown can be described as follows: 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.
  • Page 94 5.2.1 Envelopes The primary purpose of the envelopes is to create modulation signals according to played keys. Their most crucial applications are certainly the amplitudes (peak levels) of the oscillators, which is predefined. So the amplitude of Oscillator A directly depends on the signal of Envelope A, as the amplitude of Oscillator B directly depends on the signal of Envelope B.
  • Page 95 Regardless of the perceived loudness of the tone up to now, it will disappear by fading out. Similar to the Attack segment, the Release time can be sensitive to the key-up velocity. As explained, the key velocities can influence the perceived loudness of the tone as well as the speed of its start and demise.
  • Page 96 Examples for Envelopes Envelope A & B Level Attack Decay 1 Decay 2 Release Peak Level Breakpoint Level Sustain Level Note On Note Off Envelope C Level Attack Decay 1 Decay 2 Release Peak Level Breakpoint Level (>0) Sustain Level (<...
  • Page 97 Envelope with Decay 1 as Hold Time Level Attack Decay 1 Decay 2 Release Peak/Breakpoint Level Percussive Envelope Level Decay 1 Decay 2 Release Peak Level Breakpoint Level Organ-style Envelope Level Attack Decay 1 Decay 2 Release Peak/Breakpoint/ Sustain Level...
  • Page 98 The oscillator and shaper groups feature several envelope amount parameters. They can be understood as an additional multiplier for the corresponding main parameter value. This multiplier blends between a constant signal of one and the corresponding envelope signal, as the following pictures illustrate. As a result, the corresponding main parameter can be blended by the amount parame- ter between its pure value and a fully modulated version (by the corresponding enve- lope).

  • Page 99: Parameter Value

    Loop Mode The Loop parameter enables Envelope C to operate in Loop mode, allowing for poly- phonic repeating sequences. Setting the Loop parameter to a value greater than 0% activates Loop mode, which automatically changes the curve of Decay 2 to linear. With Loop mode enabled, Enve- lope C continues to be tied to key events.
  • Page 100 5.2.2 Oscillators The branches A and B both contain an Oscillator – a source for a sine-wave signal. The perceived sound of a sine wave is rather simple, as there is just the fundamental, which is detected by the ear as a pitch. It lacks any further harmonics or partials in general, so the perceived sound is devoid of any timbre.
  • Page 101 In general, strong and bright spectra can emerge. The produced sounds can be har- monic and tonal (if the ratios of the Oscillator frequencies can be expressed by fractions of small integer numbers) as well as noisy and atonal (like a metallic character, emerg- ing from non-harmonic partials).
  • Page 102 Oscillator Phase Modulation The oscillator signal for different amounts of self modulation Wave Form Audio Spectrum...
  • Page 103 Oscillator Fluctuation Oscillator signal without self modulation and different amounts of fluctuation Curve Output Signal...
  • Page 104 5.2.3 Shapers Each of the two branches is completed by a sine shaper unit, which can further manip- ulate the oscillator signal and enhance its spectrum. It also allows for the integration of the global feedback and a ring modulation signal. The sine shaping mechanism can be compared to the computation of an oscillator signal, which is derived from a continuously growing phase that is folded over and over again, thus becoming periodical.
  • Page 105 Shaper - Drive Output Drive: 0.0 dB Input Fold: 100 % Asymetry: 0 % Output Drive: 3.0 dB Input Fold: 100 % Asymetry: 0 % Output Drive: 6.0 dB Input Fold: 100 % Asymetry: 0 % Output Drive: 9.0 dB Input Fold: 100 %...
  • Page 106 Shaper - Fold Output Drive: 12 dB Input Fold: Asymetry: 0 % Output Drive: 12 dB Input Fold: 33 % Asymetry: 0 % Output Drive: 12 dB Input Fold: 66 % Asymetry: 0 % Output Drive: 12 dB Input Fold: 100 % Asymetry: 0 %...
  • Page 107 Shaper - Asymetry Output Drive: 3.4 dB Input Fold: 50 % Asymetry: 0 % Output Drive: 3.4 dB Input Fold: 50 % Asymetry: 20 % Output Drive: 3.4 dB Input Fold: 50 % Asymetry: 60 % Output Drive: 3.4 dB Input Fold: 50 %...
  • Page 108 5.2.4 Comb Filter The branch signals (A, B) are provided as sources for two different filter units, the first of which is the „Comb Filter“. It is an accurately tunable delay with a versatile local feed- back loop, fed by an adjustable crossfade mix of both branch signals. The term „Comb“...
  • Page 109 Pitch AP Tune Hi Cut Key Trk Key Trk Key Trk Env C Env C Env C Key Position Delay Time Center Frequency Cuto Control Control Control Env C Delay 2-Pole Allpass 1-Pole Lowpass AP Reson Note On/O Feedback Control from A-B Decay Key Trk...
  • Page 110 Both graphs show the typical, generalized frequency response of a comb effect, as shown by the periodical peaks. The width of the peaks depends on the Comb Filter’s pitch parameter (equivalent to a delay time), meaning that certain signal frequency components will be attenuated and other components will be amplified, depending on the delay time.
  • Page 111 5.2.5 State Variable Filter The second applyable filter to the branches is called the „State Variable Filter“, a tool for multifunctional subtractive filtering that is fed by an adjustable crossfade mix of both branch signals. The Comb Filter can be faded into the input mix as well. The State Variable Filter consists of two two-pole filters with blendable characteristics (lowpass, bandpass, highpass) which can operate in parallel or in series by a continu- ously adjustable amount.
  • Page 112 State Variable Filter, Filter Response Parallel = 0 %, Spread > 0 st Parallel = 0 %, Spread = 0 st L-B-H = 0 %, Reson = 0 %, Cutoff = var. L-B-H = 0 %, Reson = 0 %, Cutoff = var. Gain Gain 0 dB...
  • Page 113 Parallel = 100 %, Spread > 0 st Parallel =100 %, Spread = 0 st L-B-H = 0 %, Reson = 0 %, Cutoff = var. L-B-H = 0 %, Reson = 0 %, Cutoff = var. Gain Gain 0 dB 0 dB 12 dB/oct –...
  • Page 114 5.2.6 Feedback Mixer 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 (blendable between pre and post Reverb). Each signal is weighted by a bipolar Amount parameter, as the polarity can have a noticeable influence on the feedback behavior.

  • Page 115: Output Mixer

    5.2.7 Output Mixer The (main) output signal, being passed to the Effects section, is defined by a stereo mix of four signals provided by the two branches (A, B) and the two filters (Comb, SVF). Each signal can be weighted by a bipolar amount and positioned in the stereo field by a panning parameter.
  • Page 116 Modulation sources for the Flanger are provided by a stereo LFO (with adjustable Rate and stereo Phase offset) and a simple (monophonic) envelope signal (immediately jumping to the velocity when a key is pressed and then exponentially approaching zero within a time corresponding to the Rate parameter). A crossfade of the two sources can be applied as modulation for the delay time and for the allpass filter frequency independantly.
  • Page 117 5.2.9 Cabinet The second effect is called „Cabinet“, providing the possibility to further shape the signal in terms of saturation, overdrive and distortion. It can be regarded as a basic amp simulator. A sine shaper (providing Drive, Fold and Asymmetry, as described for the branch Shapers) is the central element of this effect, allowing for the creation of new harmonics to the signal.
  • Page 118 5.2.10 Gap Filter The Gap Filter marks the third effect and provides further filtering of the signal. It con- sists of two four-pole filters (with a damping slope of 24 dB per octave) which can run in parallel or in series. The filter types are static, as the first filter is a highpass, followed by the second (lowpass) filter.
  • Page 119 Gap Filter, Filter Response Parallel/Band Reject (Mix > 0) Serial/Band Pass (Mix < 0) Balance = 0, Mix = 1, Reson = var. Balance = 0, Mix = –1, Reson = var. Gain Gain Frequency Frequency Balance = 0, Reson = 0.5, Mix = 1 ... 0 Balance = 0, Reson = 0.5, Mix = –1 ...
  • Page 120 5.2.11 Echo The fourth effect is a stereo delay, providing a spatial effect of repeating echoes. The delay 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 defined by an amount and a cross-feedback (feeding one channel back to the other Echo and vice versa).
  • Page 121 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 122 Equal Temperament Scale: max. + 1200 ct Pitch max. – 1200 ct Base Base +9 +10 Scale with Microtuning Off sets: +25ct +32ct –10ct +43ct +25ct Pitch +32ct –10ct +43ct Base Base...
  • Page 123 Voices Group The voicing behavior of a preset is defined by the Mono and Unison parameter groups. In Single Sounds, these groups are present once and apply for all available 48 voices. In Split Sounds, these groups are present twice (per Part ) and apply for all 24 voices of that Part.

  • Page 124: Recorder

    Output Recorder The internal recorder enables you to capture the C15's output signal with the best possible audio quality at any time, without connecting a sound card. The stereo signal behind the Soft Clipper and before the D/A converter is written to the RAM, using the lossless compression of the FLAC format (24 bits, 48 kHz).
  • Page 125 User Interface The Recorder tab can be opened by the “ ” entry in the “ View” menu. The Open Recorder tab has the address: http://192.168.8.2/recorder/index.html The recorder works independent from its browser tab being open or not. Zoom and Scroll At the bottom of the recorder display you find a dark stripe representing the whole length of the audio recording that is in the memory.
  • Page 126 Restoring a Sound The Undo system of the C15 memorizes every user action on parameters or presets. It allows to go back to the state of the synth engine at any point in time since the start of the session. Therefore it is possible to restore the sound at a certain position on the timeline of the Recorder and to use the same state of the synth engine as it was at the time of recording.
  • Page 127 Selecting a Segment for Download By click/touch and drag in the inner lane you can select a time segment. The start and end points can be shifted by the two light-blue handles. Two labels are showing the times at the start and end points. The selected part can be downloaded by pressing the Download button or “S”...

  • Page 128: Midi

    Since the Studio Package update the C15 can receive and send MIDI messages. Received MIDI messages can control the C15 and affect the sound, similar to playing the instru- ment itself. When playing on the C15, MIDI messages can be sent, reflecting the perfor- mance.

  • Page 129: Preset Selection

    USB cable to set up a MIDI communication with an instrument, a hardware sequencer, or a MIDI interface that has a USB Type B connector. You can connect the C15 to multiple USB MIDI devices via a USB hub.
  • Page 130 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 connectors.

  • Page 131: Midi Settings

    Please note that changing this setting while a note is active resets the voice allocation, the envelopes and the buffer of the C15, so that the audio playback is interrupted for a brief moment. In this case, a MIDI All Notes Off message is also sent on the respective channel(s).
  • Page 132 Selecting a preset that has a higher number than 128 will not send a Program Change. 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 similar effect like a “Local Off”...
  • Page 133 Please note that changing this setting while a note is active resets the voice allocation, the envelopes and the buffer of the C15, so that the audio playback is interrupted for a brief moment. In this case, a MIDI All Notes Off message is also sent on the respective channel(s).
  • Page 134 In addition, the CC numbers 64 to 69 are available. They work as 2-state switches, as it is typical for e.g. a MIDI sustain pedal. When the C15's pedal position rises above 50 %, a MIDI CC value of 127 is sent, when it falls below 50% a value of 0 is sent. A received MIDI CC value smaller than 64 sets the pedal position to 0 %.

  • Page 135: Default Mappings

    High-Res. Velocity (CC 88) Note On and Note Off velocities can be transmitted with a resolution of 14 bit by send- ing a CC 88 message before each Note On or Note Off message. The value of the CC 88 represents the LSB that is providing additional 7 bits of resolution.
  • Page 136 By pressing Soft Button 1, you get back to the matrix overview. Send (Primary/Split) Receive (Primary/Split) When set to “Off ” the respective C15 When set to “Off ” the respective C15 component will not send MIDI messages on component will not receive MIDI messages the respective channel.
  • Page 137 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 138: 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 to the C15, we can benefit from the MIDI processing features of the DAW (arpeg- giator, chord generator, etc.).
  • Page 139 MIDI. MIDI-Monitoring of your DAW should be activated. You can now record the track. The track “C15 Bass” of the DAW now controls the C15 and the ribbon's LEDs reflect the incoming CC values. You can now use the keys and the remaining Hardware Sources to control a Plug-In in the DAW.
  • Page 140 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. Next, we have to set the “Send”...

  • Page 142: Setup (C15 System Settings)

    8. Setup (C15 System Settings) The C15 also features a few global settings that are preset-independant. They are organized in the Setup menu and mainly define the interaction with peripherals (such as sensitivities for velocities, external Pedal integration or connected devices via Wi-Fi).

  • Page 143: Transition Time

    Tune Reference The tuning of the C15 can be adjusted in order to fit with acoustic instruments, spanning from 400.0 Hz up to 480.0 Hz (default: 440.0 Hz). When using default parameter values 1, pressing the A3 key will produce a tone with the exact frequency provided by this setting.

  • Page 144: System Info

    Recorder (Settings)[ Panel Unit, Graphical UI ] With the option “Auto-Start Recorder” the user can decide if the audio recording starts automatically when the C15 is switched on, or if the user has to start it by the Record Button (see chapter 6.
  • Page 145 It can be adjusted as well. Update Available [Panel Unit only] If a USB stick with a new (not already installed) update file is connected to the C15, this entry will indicate this with “Yes”. When restarting the C15, the update will be installed.
  • Page 146 About [Hardware UI, Graphical UI] In the About section, the Nonlinear Labs developer team is listed. Backup [Panel Unit only] USB Available In order to backup all banks or restore a preexisting backup, a USB stick has to be plugged in. The “USB Available” indicator shows if a USB stick is currently present.

  • Page 148: Updating The C15

    Panel Unit Display will indicate different phases of the process by showing Updating... messages. ࣒ Do not power off the C15 during the update installation! An interruption of the power in this phase can cause irreversible damage. • When the update is finished, the display will show:...
  • Page 149 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 earlier update file with this name in the download folder of your browser, the name of the new update will be modified (e.g.

  • Page 150: Specifications

    10. Specifications Synthesis Engine • 2 Oscillators (sine wave, adjustable jitter/noise) • Phase modulation: Self, A > B, B > A, via the Shapers, and by the feedback signal • 2 Shapers (sine curve, adjustable folding and asymmetry) • Ring Modulator •...
  • Page 151 Preset System • Unlimited number of banks and presets per bank • User-editable comment and color tag per preset • Functions for searching and comparing presets • Morphing transition between presets Undo System • Unlimited undo for all user interactions, including sound editing steps •...

  • Page 152: Shortcuts For The Graphical User Interface

    12. Shortcuts for the Graphical User Interface UI Components Ctrl + P ....show/hide Presets Ctrl + E ....show/hide Parameters Tabs Shift + P .
  • Page 153 Parameter Editing K ....increment value, coarse Shift + K ....increment value, fine M .

  • Page 154: Parameter Reference

    13. Parameter Reference...
  • Page 156 Envelope A – 1/2 Parameter Name Sub. Par. Button No.  Attack Time Time of the (polynomial) Attack segment in milliseconds. 0.000 Expon. Range Min Scaling MC Mod 16000 Range Max Steps Mod. Unit 0.000 1000 Default Fine Unit Indicator ...
  • Page 157 Envelope A – 2/2 Parameter Name Sub. Par. Button No.  Sustain Level Sustain level (target of the second Decay segment). Linear Range Min Scaling MC Mod 100.0 Range Max Steps Mod. Unit 1000 Default Fine Unit Indicator  Elevate T - A Transforms the breakpoints of the Envelope signal, becoming more -100.0 Linear...
  • Page 158 Envelope C – 1/2 Parameter Name Sub. Par. Button No.  Attack Time Time of the (polynomial) Attack segment in milliseconds. 0.000 Expon. Range Min Scaling MC Mod 16000 Range Max Steps Mod. Unit 0.000 1000 Default Fine Unit Indicator ...
  • Page 159 Envelope C – 2/2 Parameter Name Sub. Par. Button No.  Decay 2 Velocity Velocity influence on the Decay 2 time. The value represents the -60.0 Linear Range Min Scaling MC Mod logarithmic amount of the reduction (negative values) or gain 60.0 n.a.
  • Page 160 Envelope B – 1/2 Parameter Name Sub. Par. Button No. Level Velocity 1.16 Influence of the key velocity on the peak, breakpoint and sustain Linear Range Min Scaling MC Mod levels of the envelope [maximum dynamic range in dB]. Changing this 60.0 n.a.
  • Page 161 Envelope B – 2/2 Parameter Name Sub. Par. Button No.  Decay 1 Velocity 1.20 Velocity influence on the Decay 1 time. The value represents the -60.0 Linear Range Min Scaling MC Mod logarithmic amount of the reduction (negative values) or gain 60.0 n.a.
  • Page 162 Oscillator A – 1/2 Parameter Name Sub. Par. Button No.  Pitch Pitch (logarithmic frequency) of Oscillator A at C3 (MIDI note 60) [in -20.00 Linear Range Min Scaling MC Mod semitones, based on MIDI note numbers]. The range below zero is 130.00 Range Max Steps...
  • Page 163 Oscillator A – 2/2 Parameter Name Sub. Par. Button No.  PM Self - Env A Envelope (A) amount for the phase modulation by Oscillator & Shaper 100.0 Linear Range Min Scaling MC Mod A (local feedback). At zero, the modulation stays constant, at higher Range Max Steps Mod.
  • Page 164 Shaper A Parameter Name Sub. Par. Button No.  Drive Input gain [in dB] of the sine shaper stage. Higher gains will create Linear Range Min Scaling MC Mod more distortion and harmonics. 50.0 Range Max Steps Mod. Unit 10.0 Default Fine Unit...
  • Page 165 Shaper B Parameter Name Sub. Par. Button No.  Drive 2.13 Input gain [in dB] of the sine shaper stage. Higher gains will create Linear Range Min Scaling MC Mod more distortion and harmonics. 50.0 Range Max Steps Mod. Unit 10.0 Default Fine...
  • Page 166 Oscillator B – 1/2 Parameter Name Sub. Par. Button No.  Pitch 2.19 Pitch (logarithmic frequency) of Oscillator B at C3 (MIDI note 60) [in -20.00 Linear Range Min Scaling MC Mod semitones, based on MIDI note numbers]. The range below zero is 130.00 Range Max Steps...
  • Page 167 Oscillator B – 2/2 Parameter Name Sub. Par. Button No.  PM Self - Env B 2.22 Envelope (B) amount for the phase modulation by Oscillator & Shaper Linear Range Min Scaling MC Mod B (local feedback). At zero, the modulation stays constant, at higher 100.0 Range Max Steps...
  • Page 168 Feedback Mixer – 1/2 Parameter Name Sub. Par. Button No.  A/B II Level of the signal from branch A or B of the other Part. (Only available -100.0 Linear Range Min Scaling MC Mod when using Layer mode.) 100.0 Range Max Steps Mod.
  • Page 169 Feedback Mixer – 2/2 Parameter Name Sub. Par. Button No.  Effects - From I – II Crossfades to the Effects signal of the other Part. Linear Range Min Scaling MC Mod 100.0 Range Max Steps Mod. Unit 1000 Default Fine Unit Indicator...
  • Page 170 Comb Filter – 1/2 Parameter Name Sub. Par. Button No. A - B The signal for the Comb Filter as a crossfade between the outputs of Linear Range Min Scaling MC Mod Oscillator & Shaper A and Oscillator & Shaper B. 100.0 Range Max Steps...
  • Page 171 Comb Filter – 2/2 Parameter Name Sub. Par. Button No.  Allpass - Env C 3.10 Amount of modulation of the allpass center frequency by Envelope C -80.0 Linear Range Min Scaling MC Mod [in semitones]. 80.0 Range Max Steps Mod.
  • Page 172 State Variable Filter – 1/2 Parameter Name Sub. Par. Button No. A - B 3.13 The signal for the State Variable Filter as a crossfade between the Linear Range Min Scaling MC Mod outputs of Oscillator & Shaper A and Oscillator & Shaper B. 100.0 Range Max Steps...
  • Page 173 State Variable Filter – 2/2 Parameter Name Sub. Par. Button No.  Spread 3.17 Amount of splitting of the cutoffs of the two 2-pole filters. Half of the -60.0 Linear Range Min Scaling MC Mod value is applied as a positive offset to the adjusted cutoff for the first 60.0 Range Max Steps...

  • Page 174: Output Mixer

    Output Mixer – 1/2 Parameter Name Sub. Par. Button No.  A - Level 3.19 Output mix factor for the signal from Oscillator & Shaper A. -100.0 Linear Range Min Scaling MC Mod 100.0 Range Max Steps Mod. Unit 2000 Default Fine Unit...
  • Page 175 Output Mixer – 2/2 Parameter Name Sub. Par. Button No.  Drive 3.23 Input gain [in dB] of the sine shaper stage. Higher gains will create Linear Range Min Scaling MC Mod more distortion and harmonics. 50.0 Range Max Steps Mod.
  • Page 176 Flanger – 1/2 Parameter Name Sub. Par. Button No. Rate Frequency of the LFO and rate of the envelope. Both can be 0.000 Parab. Range Min Scaling MC Mod modulation sources for the delay times and the allpass center 10.00 Range Max Steps Mod.
  • Page 177 Flanger – 2/2 Parameter Name Sub. Par. Button No.  Feedback Amount of the internal feedback. At negative values, the feedback is -100.0 Linear Range Min Scaling MC Mod inverted and will emphasize other frequencies than in the non- 100.0 Range Max Steps Mod.
  • Page 178 Cabinet Parameter Name Sub. Par. Button No.  Drive Gain [in dB] for the input signal. Higher gains will increase the amount Linear Range Min Scaling MC Mod of distortion/saturation. 50.0 Range Max Steps Mod. Unit 20.0 Default Fine Unit Indicator ...
  • Page 179 Gap Filter Parameter Name Sub. Par. Button No.  Center 4.10 Shifts the mean cutoff frequency of both 4-pole filters on both 24.0 Linear Range Min Scaling MC Mod channels up or down [in semitones]. 120.0 Range Max Steps Mod. Unit 72.0 Default Fine...
  • Page 180 Echo Parameter Name Sub. Par. Button No.  Time 4.13 Mean delay time [in milliseconds]. (As there can be an offset between 0.000 Parab. Range Min Scaling MC Mod the left and right channel, this control shows the mean time.) 2000 Range Max Steps...
  • Page 181 Reverb Parameter Name Sub. Par. Button No.  Size 4.16 The room size and reverb time are set here. Linear Range Min Scaling MC Mod 100.0 Range Max Steps Mod. Unit 33.0 1000 Default Fine Unit Indicator  Pre Delay 4.16 Pre delay time, shifting the late reflections.

  • Page 182: Macro Controls

    Macro Controls – 1/2 Parameter Name Sub. Par. Button No.  4.19 The info text of Macro Control A is user-definable and defaults to an Linear Range Min Scaling MC Mod empty string. 100.0 n.a. Range Max Steps Mod. Unit 50.0 1000 Default...
  • Page 183 Macro Controls – 2/2 Parameter Name Sub. Par. Button No.  4.23 The info text of Macro Control E is user-definable and defaults to an Linear Range Min Scaling MC Mod empty string. 100.0 n.a. Range Max Steps Mod. Unit 50.0 1000 Default...

  • Page 184: Hardware Sources

    Hardware Sources – 1/3 Parameter Name Sub. Par. Button No.  Pedal 1 4.19– 4.24 (“Select” + Encoder) This control is the parameter representation of the \"Pedal 1\" Linear Range Min Scaling MC Mod Hardware Source. If a pedal is connected, it will directly follow the 100.0 n.a.
  • Page 185 Hardware Sources – 2/3 Parameter Name Sub. Par. Button No.  Pedal 4 Send 4.19– 4.24 (“Select” + Encoder) When Local is disabled in the MIDI Settings, this control is the Linear Range Min Scaling MC Mod parameter representation of the \"Pedal 4\" Hardware Source. It 100.0 n.a.
  • Page 186 Hardware Sources – 3/3 Parameter Name Sub. Par. Button No.  Ribbon 2 4.19– 4.24 (“Select” + Encoder) This control is the parameter representation of the \"Ribbon 2\" Linear Range Min Scaling MC Mod Hardware Source. If a pedal is connected, it will directly follow the 100.0 n.a.
  • Page 187 Hardware Amounts – 1/8 Parameter Name Sub. Par. Button No.  Pedal 1 to @MC:A 4.19 (Soft Button 4, Line 1) Determines the influence of Pedal 1 on Macro Control A. If the pedal is -100.0 Linear Range Min Scaling MC Mod set to a returning mode, the amount can be adjusted continuously, 100.0...
  • Page 188 Hardware Amounts – 2/8 Parameter Name Sub. Par. Button No.  Pedal 2 to @MC:C 4.21 (Soft Button 4, Line 2) Determines the influence of Pedal 2 on Macro Control C. If the pedal is -100.0 Linear Range Min Scaling MC Mod set to a returning mode, the amount can be adjusted continuously, 100.0...
  • Page 189 Hardware Amounts – 3/8 Parameter Name Sub. Par. Button No. Pedal 3 to @MC:E 4.23 (Soft Button 4, Line 3) Determines the influence of Pedal 3 on Macro Control E. If the pedal is -100.0 Linear Range Min Scaling MC Mod set to a returning mode, the amount can be adjusted continuously, 100.0 n.a.
  • Page 190 Hardware Amounts – 4/8 Parameter Name Sub. Par. Button No. Bender to @MC:A 4.19 (Soft Button 4, Line 5) Determines the influence of the Bender on Macro Control A. The -100.0 Linear Range Min Scaling MC Mod amount can be adjusted continuously [in percent] and can cover the 100.0 n.a.
  • Page 191 Hardware Amounts – 5/8 Parameter Name Sub. Par. Button No. Aftertouch to @MC:C 4.21 (Soft Button 4, Line 6) Determines the influence of the Aftertouch on Macro Control C. The -100.0 Linear Range Min Scaling MC Mod amount can be adjusted continuously [in percent] and can cover the 100.0 n.a.
  • Page 192 Hardware Amounts – 6/8 Parameter Name Sub. Par. Button No. Ribbon 1 to @MC:E 4.23 (Soft Button 4, Line 7) Determines the influence of Ribbon 1 on Macro Control E. If the ribbon -100.0 Linear Range Min Scaling MC Mod is set to a returning mode, the amount can be adjusted continuously, 100.0 n.a.
  • Page 193 Hardware Amounts – 7/8 Parameter Name Sub. Par. Button No. Ribbon 3 to @MC:A 4.19 (Soft Button 4, Line 9) Determines the influence of Ribbon 3 on Macro Control A. If the ribbon -100.0 Linear Range Min Scaling MC Mod is set to a returning mode, the amount can be adjusted continuously, 100.0 n.a.
  • Page 194 Hardware Amounts – 8/8 Parameter Name Sub. Par. Button No. Ribbon 4 to @MC:C 4.21 (Soft Button 4, Line 10) Determines the influence of Ribbon 4 on Macro Control C. If the ribbon -100.0 Linear Range Min Scaling MC Mod is set to a returning mode, the amount can be adjusted continuously, 100.0 n.a.
  • Page 195 Mono Parameter Name Sub. Par. Button No. Enable Sound, Soft Button 3 [Voices..], Soft Button 2 [Mono..] When enabled, only one voice will be assigned, even when multiple n.a. Range Min Scaling MC Mod keys are pressed. n.a. n.a. Range Max Steps Mod.
  • Page 196 Unison Parameter Name Sub. Par. Button No. Voices Sound, Soft Button 3 [Voices..], Soft Button 4 [Unison..] Number of unison voices that will be assigned to a key. At 1, the 1 (off) Integer Range Min Scaling MC Mod unison effect is disabled. n.a.
  • Page 197 Master Parameter Name Sub. Par. Button No. Master Volume Sound, Soft Button 4 [Master..] (Soft Button 4) Master volume [in dB], applied at the end of the effect chain, before - inf Parab. G. MC Mod Range Min Scaling the soft clipper. Range Max Steps Mod.
  • Page 198 Scale – 1/2 Parameter Name Sub. Par. Button No. Base Key Sound, Soft Button 1 [Scale..] (Soft Button 4) Sets the base key for the custom scale. The scale is defined for the Integer Range Min Scaling MC Mod eleven keys above the base key and will be applied to all octaves n.a.
  • Page 199 Scale – 2/2 Parameter Name Sub. Par. Button No. Offset +7 Sound, Soft Button 1 [Scale..] (Soft Button 4) Offset of the seventh key following the base key [in cents]. At zero,the -1200 Linear Range Min Scaling MC Mod interval to the base key would be the fifth of the equally tempered 1200 Range Max Steps...
  • Page 200 Part Parameter Name Sub. Par. Button No. Part Volume Sound, Soft Button 2 (Soft Button 4) Part volume [in dB], available when using Split or Layer mode. -inf Parab. G. MC Mod Range Min Scaling Applied at the end of the corresponding effect chain, before the Range Max Steps Mod.
  • Page 201 Split Parameter Name Sub. Par. Button No. Split Point (in Split Mode) Sound + Encoder Determines the split position of a sound as a key number. Keys from Linear Range Min Scaling MC Mod the lower end up to the Split Point will be associated to Part I, keys Range Max Steps Mod.