Synth; Basics; Oscillator; Shape - Clavia NordStage2 EX 88 User Manual

8

Synth

Basics

The Synth section of the Nord Stage 2 EX was designed to be a
versatile yet easy to use stage synthesizer to supplement the other in-
strument sections. While being compact and easy to use, it is capable
of all kinds of synthesized sounds, from piercing leads and fat basses
to swirling pads and shimmering bells. You have hands-on control of
all parameters; something we consider an essential feature for a stage
instrument.
The subtractive synthesis design features faithful models of analog-
style waveforms and is also capable of FM (frequency modulation),
Wavetable synthesis, as well as using samples as oscillator sound
sources. The samples can come from the huge Nord Sample Library or
you can create these yourself and bring any sound to the Nord Stage 2
EX synthesizer, with the Nord Sample Editor application.
In subtractive synthesis, you start with a bright waveform with lots of
overtones, and then shape the color of the sound with a filter that sub-
dues some of the harmonics. By modulating the filter cut-off frequency
while the note is playing, dynamic timbres are created.
The Nord Stage 2 EX synthesizer also provides other means to
generate dynamic and rich sounds, such as pulse width modulation,
oscillator sync and dynamic control over FM amount. There are two
envelopes and one LFO for real time sound shaping.
There is one Synth section for each Slot, and they share 18 voices,
which are dynamically allocated between the slots. Using the Slots,
you can play two different sounds simultaneously, layered or in splits. If
you, for example, layer the Synth sections of both slots, you can create
really complex and evolving sounds.

Oscillator

A lot of effort has been spent on creating a
versatile and powerful oscillator section for
the Stage 2 EX synthesizer. Based on a vari-
able architecture, it provides four different
oscillator techniques: Analog, FM (frequency
modulation), digital wavetables and sample
playback. For each technique there are
a number of predefined algorithms with
a main parameter mapped to the Shape
knob.
For example, the analog category provides
you with various waveforms, with or without hard sync. In each case,
the Shape knob can controls one essential parameter, such as pulse
width or sync oscillator frequency. This Shape parameter can be
modulated by the LFO or the Modulation Envelope to create dynamic
sounds. The Shape can also be controlled by the Morph Assign
feature.
The sonic potential is further enhanced by the fact that the oscillator
section actually contains a number of extra oscillators for each voice,
which are brought in by the Unison parameter (see page 35). You can
add several virtual oscillators per voice, without losing polyphony. This
allows for some really thick sounds.

Shape

The Shape control is used to shape the sound in various ways (de-
pending on waveform and algorithm, see below). Shape can be modu-
lated by the Mod Envelope or the LFO, and Morph controlled, allowing
the real-time use of the wheel, aftertouch or pedal to control the sound.
M For the Wavetable selection, the Shape knob has no functionality.
Chapter 8 Synth | 29