Table of Contents
Advertisement
Available languages
Available languages
Introduction
Timbre
A timbre consists of the oscillators (OSC1/OSC2/NOISE), mixer (MIXER), filters (FILTER), amp (AMP), en-
velope generators (EG), LFOs, virtual patches (VIRTUAL PATCH), modulation sequencers (MOD SEQ),
equalizer (EQ), and the insert effects (INSERT FX1/FX2). By editing the parameters of these sections you can
create an incredibly diverse range of sounds.
Oscillator (OSC1/OSC2/NOISE)
There are three Oscillator sources; Oscillator 1, Oscillator 2, and the noise generator. Oscillator 1 (OSC1) lets
you choose from nine different oscillator algorithms. These include conventional analog synthesizer wave-
forms, digital synthesizer PCM waveforms and drum PCM waveforms, formant, noise, and even an external
audio signal. Oscillator 2 (OSC2) lets you choose from four different oscillator waves - sine, triangle, square,
and sawtooth. The noise generator (NOISE) generates white noise. You can use this for a variety of sound
shaping situations, such as adding breath noise for a wind instrument sound, or as part of a special effect
sound.
For die-hard analog fans, the analog tune feature lets control the amount of simulated oscillator drift that
will be applied. Five different portamento curves allow detailed control over glissando passages and gliding
between notes. Modulation such as cross-modulation, unison, and VPM (Variable Phase Modulation) can be
applied to the analog synthesizer waveforms of Oscillator 1. Oscillator 2 can be used as the modulating os-
cillator for the sync modulation (SYNC) or ring modulation (RING) that are such classic analog synthesiz-
ertechniques. The best elements of SYNC and RING modulation can be combined using a third option: RING
SYNC.
Mixer (MIXER)
The mixer adjusts the volume levels of oscillator 1 (OSC1), oscillator 2 (OSC2), and the noise generator
(NOISE), and sends the combined signal to the filter (FILTER).
Filter (FILTER1/FILTER2)
The filter section consists of two multi-mode, resonant filters. The two filters can be routed in series or par-
allel, or even side by side in a "one oscillator per filter" arrangement. The filters adjust the tone of the sound
coming from the oscillators by boosting or cutting specific frequency regions. Filter settings will have a major
impact on the sound.
By default, envelope generator 1 (EG1) is set to vary the cutoff frequency of the filters over time.
Amp (AMP)
Traditionally, the amp section controls the output volume (AMP) and the panning (PAN), or the position in
the stereo field. The RADIAS provides additional features to add more tonal complexity and "edge" to the
sound - including Drive, Wave Shape control (DRIVE/WS), and Punch Level. By default, envelope genera-
tor 2 (EG2) is set to vary the volume level over time.
Envelope generators (EG1/EG2/EG3)
Envelope generators (EG) are used to apply time-varying change to the sound parameters.
Each EG consists of four parameters: attack time (ATTACK), decay time (DECAY), sustain level (SUSTAIN),
and release time (RELEASE). Keyboard dynamics and note number, as well as five time curves, allow for
exacting envelope articulation.
Each timbre contains three of these EGs. EG1 is assigned to control the filter cutoff frequency, and EG2 is
assigned to control the volume of the amp. You can also use virtual patching (VIRTUAL PATCH) to assign
these EGs as envelope sources for other parameters.
LFO section (LFO1/LFO2)
LFO (Low Frequency Oscillator) is used to apply cyclic change to the sound parameters.
Each timbre contains two LFOs, and for each LFO you can choose one of four waveforms. Shape control, key
sync and phase controls extend well beyond traditional LFO offerings.
By default, LFO1 is assigned to oscillator 1's analog algorithms as the knob labelled "Control2", and LFO2
is assigned to the modulation wheel. You can also make virtual patch settings (VIRTUAL PATCH) to assign
the LFOs as modulation sources for other parameters.
6
Advertisement
Table of Contents
