INSTRUMENTS

USER MANUAL
Supporting VST/VST3/AU/AAX
Rev. Oct 30, 2020
Softube User Manual
© 2007-2020. Amp Room is a registered trademark of Softube AB, Sweden. Softube is a registered
trademark of Softube AB, Sweden. All visual and aural references to the Valley People Dyna-mite,
Trident A-Range, Tonelux and Tilt are trademarks being made with written permission from PMI
Audio. The Tonelux and Tilt logo, the Valley People, Dyna-mite and associated logos, and the Trident,
A-Range and Triangle logo are trademarks of PMI Audio Group, used under license. Tube­-Tech is a
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are registered trademarks, SL 4000 is a trademark of Red Lion 49 Ltd. Mutator and Mutronics are
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Reserved.
Other company and product names mentioned herein are trademarks of their respective companies.
Mention of third-party products is for informational purposes only and constitutes neither an endorse-
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of these products.
Softube products are protected by patents SE526523 and SE525332, and related patents/patent ap-
plications, including WO06054943, US11/667360, US2004­0258250, EP1492081, EP1815459, and
JP2004­183976.
Your rights to the software are governed by the accompanying software license agreement (End User
License Agreement).

Disclaimer
Every effort has been made to ensure that the information in this manual is accurate. However, there are
a chance that we have made mistakes, and we hope that you understand that we are only humans. Please
let us know about the mistake, and we’ll fix it in the mix (or in the next version of this manual).

Support
On the Softube website ([Link]) you will find answers to common questions (FAQ) and
other topics that might interest you.
Support questions can be posted at [Link] where we will help you as fast as we can!
Web: [Link]
E-mail: info@[Link]
Phone: +46 13 21 1623 (9 am – 5 pm CET)
 INSTRUMENTS USER’S GUIDE  | iii

Contents
1 Preset Collection 5 4 Model 72 Synthesizer System 47
Preset Collection. . . . . . . . . . . . . . . . . . . . 9 Getting Started. . . . . . . . . . . . . . . . . . . . 48
User Interface. . . . . . . . . . . . . . . . . . . . . 12 Sound architecture. . . . . . . . . . . . . . . . . . 49
Tone generation & Mixer. . . . . . . . . . . . . . . 50
2 MIDI Mapping 16 Envelopes & Filter. . . . . . . . . . . . . . . . . . . 51
Modulation. . . . . . . . . . . . . . . . . . . . . 52
The Out section. . . . . . . . . . . . . . . . . . . . 53
3 Heartbeat 18
The Keyboard. . . . . . . . . . . . . . . . . . . . . 54
Getting Started. . . . . . . . . . . . . . . . . . . . 21 The Expanded View. . . . . . . . . . . . . . . . . . 54
Sound Architecture. . . . . . . . . . . . . . . . . . 22 Parameter description: . . . . . . . . . . . . . . . . 55
Utility Section . . . . . . . . . . . . . . . . . . . . 24 The Expanded View Parameters. . . . . . . . . . . . . 60
The Instruments . . . . . . . . . . . . . . . . . . . 25 Creating sounds. . . . . . . . . . . . . . . . . . . 62
Bass Drum 1 “BD 1”. . . . . . . . . . . . . . . . . . 26 Saving and loading sounds. . . . . . . . . . . . . . . 63
Bass Drum 2 “Kick”. . . . . . . . . . . . . . . . . . 27 Model 72 modules in Modular . . . . . . . . . . . . . 64
Snare/Rimshot “SD RIM”. . . . . . . . . . . . . . . . 28 Model 72 in Amp Room. . . . . . . . . . . . . . . . 65
Snare/Clap “SD CLP”. . . . . . . . . . . . . . . . . . 29 Credits. . . . . . . . . . . . . . . . . . . . . . . . 65
Hihats . . . . . . . . . . . . . . . . . . . . . . . . 30
Percussion 1 and 2 “Perc”. . . . . . . . . . . . . . . 31 5 Monoment Bass 66
Cymbal. . . . . . . . . . . . . . . . . . . . . . . 32
User interface. . . . . . . . . . . . . . . . . . . . . 67
The Mixer . . . . . . . . . . . . . . . . . . . . . . 33
Source section . . . . . . . . . . . . . . . . . . . . 69
Auto Layer Machine. . . . . . . . . . . . . . . . . . 34
Tone section . . . . . . . . . . . . . . . . . . . . . 72
The Effects . . . . . . . . . . . . . . . . . . . . . . 36
Filter section. . . . . . . . . . . . . . . . . . . . . 74
Valley People Dyna-mite. . . . . . . . . . . . . . . 37
Effects section . . . . . . . . . . . . . . . . . . . . 76
Filter Echo . . . . . . . . . . . . . . . . . . . . . . 39
Sources of sources. . . . . . . . . . . . . . . . . . . 79
TSAR-1D Reverb. . . . . . . . . . . . . . . . . . . 40
Monoment For Modular. . . . . . . . . . . . . . . . 80
Master Bus. . . . . . . . . . . . . . . . . . . . . . 41
Credits. . . . . . . . . . . . . . . . . . . . . . . . 80
Velocity. . . . . . . . . . . . . . . . . . . . . . . 42
Time Gate. . . . . . . . . . . . . . . . . . . . . . 43
6 Parallels 81
Using Multiple Outputs . . . . . . . . . . . . . . . . 43
Presets. . . . . . . . . . . . . . . . . . . . . . . 44 Foreword by Johan Antoni, concept creator of Parallels. 82
Setup window. . . . . . . . . . . . . . . . . . . . 44 User interface. . . . . . . . . . . . . . . . . . . . . 83
Credits. . . . . . . . . . . . . . . . . . . . . . . . 44 Introduction to Parallels's different Sections. . . . . . . 84
Block Diagram. . . . . . . . . . . . . . . . . . . . 45 MIDI. . . . . . . . . . . . . . . . . . . . . . . . . 85
ALM/Filter Echo times chart. . . . . . . . . . . . . . 46 Interface. . . . . . . . . . . . . . . . . . . . . . . 85
iv |  Table of Contents

Getting started . . . . . . . . . . . . . . . . . . . . 85
Parallels in detail. . . . . . . . . . . . . . . . . . . 98
The Source Section. . . . . . . . . . . . . . . . . . 98
The Shaper Section. . . . . . . . . . . . . . . . . 103
The Mod Pod . . . . . . . . . . . . . . . . . . . . 106
Modulation Routing . . . . . . . . . . . . . . . . . 112
The Effect Section. . . . . . . . . . . . . . . . . . 113
Tips and tricks . . . . . . . . . . . . . . . . . . . . 117
Parallels For Modular. . . . . . . . . . . . . . . . . 119
Credits. . . . . . . . . . . . . . . . . . . . . . . 120
Appendix. . . . . . . . . . . . . . . . . . . . . . 121

7 Statement Lead 124

User Interface. . . . . . . . . . . . . . . . . . . . 125
Source section . . . . . . . . . . . . . . . . . . . . 126
The Source Material for
Statement. . . . . . . . . . . . . . . . . . . . . 126
The Filter and Sequencer section. . . . . . . . . . . 128
The Modulation Sequencer. . . . . . . . . . . . . . 129
The Tone section . . . . . . . . . . . . . . . . . . . 131
Auto-glide . . . . . . . . . . . . . . . . . . . . . 132
The Effects section . . . . . . . . . . . . . . . . . . 133
Options menu . . . . . . . . . . . . . . . . . . . . 135
Saving and loading sounds. . . . . . . . . . . . . . 136
Statement For Modular . . . . . . . . . . . . . . . . 137
Credits. . . . . . . . . . . . . . . . . . . . . . . 137

8 SOFTUBE AB’S END USER LICENSE AGREEMENT (“EULA”).FOR PLUG-

INS AND OTHER SOFTWARE PRODUCTS
(ver 2019-06) cxxxviii
  | 5

1 Preset Collection

The Preset Collection is a tool to organize your presets in logic, simple, advanced or mysteri-
ous (?) ways (it’s up to you!), or just a simple mechanism to save your favorite sounds and easily
browse through artist's presets.
You can either use the simplified version in the menu bar of each Softube plug-in, or you can
press the open window icon  to open the full Preset Collection.
6 |  PRESET COLLECTION

Browsing presets Searching for Presets

Use the ◀▶ buttons in the menu row at the top of the If you want to find a specific preset and have a lot of
plug-in to step through presets. Click ▼ to open a menu presets, there are many smart ways to search for preset,
to select presets. By default, presets are sorted by “collec- and all of them require that you open the Preset Collec-
tion”, usually by artist or theme. tion by clicking the  button.

Search by tag
Saving Presets All presets have a number of tags associated with them,
Press “Add Preset…” in the dropdown menu to save in general they describe the function (“distortion”,
the current settings as a new preset. Type the name of “eq”, “compression”), the use case (“female vo-
the preset and press enter. If you’ve made changes to cals”, “bass”) and the character (“creamy”, “dark”),
a current preset and wish to overwrite that preset, just etc. In plug-ins that use modules, such as Modular, the
press “Save”. Press “Save as…” if you want to save it tags also include which modules are used by the preset
with a new name. (for example “Saturation Knob”)

Factory Open Preset Collection in a

Preset separate window.
Prev/Next Current Open Menu Presets are by default
Preset Preset organized by collection

Browse presets directly from the menu bar at the top of the plug-in.
 INSTRUMENTS USER’S GUIDE  | 7

Two tags (“Female Vocals” and “Joe Chiccarelli”) has been selected to show all Joe’s presets
suitable for female vocals.

Search box
A search in the Search box will search through all metadata (name,
tags, description, etc). If you want to narrow your search, you can
specify what you want to search for by using a qualifier, such as “name:”
or “description:”.
Possible search qualifiers are name, desc, description, tag, tags, and collec-
tion.

Search in the menu bar

When you have selected a subset of presets, for example by searching
for “vocals” or using a tag, the search results are available directly from
the plug-in’s menu bar. That means that you can easily step through the
presets using the ◀▶ buttons.
Open the menu to see the search criteria or clear the search.
8 |  PRESET COLLECTION

Plug-in Settings vs. “Metadata”

A Softube preset consists of two parts: the plug-in’s set-
tings and the description of it, what we call “metadata”.
Metadata is everything that’s not the included in the
plug-in’s settings, for example preset name, description,
color, rating, tags.
When you make a new preset by clicking “Add new
preset…” the only metadata that you save is the preset
name. You need to open Preset Collection to add other
metadata, such as a description and tags. If you instead
use “Save as…” when you save a preset, the metadata
Type “name:” before the search criteria to limit the search to the name of the (for example tags) in the currently selected preset will be
preset. carried over to the new preset.
Whenever you change the settings in the plug-in, the
preset name will be marked with an asterisk * to indicate
the current settings are different from the current preset.
It also indicates that the preset has changes that aren’t
saved. You need to click “Save” or “Save as” to save
those changes.

Asterisk (*) indicate that the settings of the plug-in is different from the
saved preset.

When you make changes to the metadata, you don’t have to

save these. All metadata changes are saved immediately in the
preset database.

The menu shows the current search criteria, currently selected tags, and
options to clear the filter and search criteria.

*) An asterisk looks like this: *

*) ibid.
 INSTRUMENTS USER’S GUIDE  | 9

Preset Collection
Click  to open the Preset Collection. Here you can organize, colorize, tag, add icons and images and sort your
presets.

Add or save Set display

Search field presets options Menu

Tags pane
Info pane

Preset pane

Group edit
Category Name Preset Description Collection
name
Factory preset Color
indicator
10 |  PRESET COLLECTION

Workflow
For a plug-in with hundreds of presets, the easiest way to start is to type something in the search field,
such as “bass”, or select an appropriate tag.

Type in the search field to find presets.

Use the keyboard up/down arrows to step through presets, and if you find something you like (or dis-
like), change the rating of that preset so that you can easily find it later.

Click on the stars in the Info pane to change the rating. It is also possible to right-click the preset and change rating from the context
menu.
 INSTRUMENTS USER’S GUIDE  | 11

Philosophy ple, reset their color, and use your own color scheme. All
The main ideas behind Preset Collection are fields, except Collection, are possible to change.
1. A preset name doesn’t give enough information
about how to use a preset. Sometimes you need Customizing the Preset Collection
more info, for example what to listen for, how to
tweak it, in which context etc. You can decide yourself how much or how little info you
want to show in the Preset Collection, and these settings
2. Everyone wants to organize their presets in different are stored globally.
ways.
3. Tags are a simple way to create “folder like” struc-
tures, but without being limited by placing the
preset in a single folder. A tag can be a use case, a
project name, or just about anything!
With the preset’s description you’ll be able to add info,
for instance how many dBs of gain reduction you need
for the drum bus to really glue together, and with names,
tags, ratings, categories, and colors you can organize
those presets any way you want. The tags become power-
ful if you want to organize presets after projects you’re
working on. Tag each preset you make/use with the
project name, and you’ll have an extra dimension to use
when you browse presets.

Don't be afraid to add or change metadata in the factory pre-

sets. (And it's always possible to restore the original metadata
later if you want to!)
The minimal view of Preset Collection, only preset names and search field
are visible.

Organizing presets Showing/hiding info panes

All factory presets come with tags and color, but you can Click on  or  to show and hide the Tags and Info
remove those colors and tags and organize them in other pane, respectively.
ways. You can mark your favorite presets with a high
rating, a specific tag (“kick ass presets!”, "great for accor- Showing/hiding columns
dion"), a color, or a category, to make them easier to find Click on the menu () next to the columns header to
later. You can select several presets at once to, for exam- turn on/off columns in the preset pane.
12 |  PRESET COLLECTION

Resizing tags pane or window

You can easily resize the Preset Collection window or
the size of the Tags pane by clicking the edge and drag
it.

User Interface
⌕ Search Row Searches in name, description,
tags, etc. To specify a particular
field to search in, use one of these
qualifiers: name, desc, description,
tag, tags, and collection, for example
“collection:chiccarelli”
Select which columns are visible from the menu.

Sorting  Add Preset Create a new, empty, preset from

the current plug-in settings.
Use the up/down arrows (▲▼) next the the column
header to change preset sorting.
 Save Preset Overwrite the selected preset with
the current plug-in settings . Only
Tile view/List view
possible with user presets. If the
 Click on Tile View  to show
current preset is a factory preset,
presets as tiles, or List View  to
use “SAVE AS” instead.
get back to the default mode.

 Save As Save the current plug-in settings,

together with the selected presets
meta data (tags, description, etc)
under a new name.

 Tags Show/hide the TAGS pane.

 Info Show/hide the INFO pane.

Tile view,
List view Switch between a list of presets
(LIST VIEW) or tiled images (TILE
The Tile View. VIEW)
 INSTRUMENTS USER’S GUIDE  | 13

export a batch of presets, or change

tags, description or other meta data
 Menu Opens the menu with some addi-
in several presets at once.
tional options. See below for Menu
options.
Preferences Opens additional preferences,
listed below.
Menu Options
Add Preset Add a new preset.
Preferences
Warn When… Turn warnings on/off when for
Save Overwrite the selected preset with example deleting or overwriting
the current plug-in settings.
presets.

Save As Copy the selected preset to a new Show Images In Info

preset with the current plug-in's
Panel Turn off to hide the image in the
settings.
INFO PANEL.

Show/Hide Tags Show/hide the Tags pane. Group presets by col-

lection/group presets
Show/Hide Info Show/hide the INFO pane. by category Change how presets are grouped
in the presets menu in the plug-in
menu bar.
Show Tile View Show the TILE view instead of
LIST view.
Pro tip: select “Group Presets By Category” to get a flat list for all
Import Preset(s) Import presets from file, for uncategorized presets in the menu bar.
instance if you downloaded a
“.softubebundle” file from www.
[Link]

Export Selected User

Preset(s) Exports the currently selected
presets to a “.softubebundle” file, so
that you can send them to a friend.

Enter Group Edit

Mode Let’s you select several presets at
once, which is useful if you want to
14 |  PRESET COLLECTION

Tags pane  To sort presets in the LIST VIEW, click on ▲▼ for a

column to sort down or up for that column. In the TILE
VIEW, open the “SORT BY…” drop down to select sort-
ing.

Context Menu (Right Click on a Preset)

Right-click on a preset to bring up a context menu with
the following options:

Use the Tags pane to filter presets by tag.

Save Save preset
The TAGS PANE lets you filter presets by selecting one or
several tags. Select for example the tag “MALE VOCALS” Save As… Save as a preset with a new name.
if you want to find all presets suitable for male vocals.
You can select several tags at once. Revert Changes Revert all changes made to the
You can add tags to a preset by clicking “ADD TAG ” preset.
in the INFO PANE, and subsequently remove tags by
clicking on the  on the tag. Rename… Rename the current preset

Presets pane  Export… Export the current preset

Delete Delete the current preset

Restore Factory
Metadata If metadata edits, for example
color, tags or ratings were made
to a factory preset, you can revert
them here.

The Presets pane shows all presets in the current search or filter.
Category Sets the category of a preset. By
default, no categories have been set.
The PRESETS pane contains all presets in the current
search. You can sort presets, select a preset, or edit a pre-
set from the presets pane. The PRESETS pane can either Rating Sets/changes the rating (0-5 stars)
be visualized as a list, or as a “TILE VIEW” with images of a preset.
for each preset.
Color Sets/changes the color of the
Tip: Double click on the preset name to change it. preset.
 INSTRUMENTS USER’S GUIDE  | 15

Info pane  Change Image

The image needs to be in PNG format, and will be con-
verted to black-and-white on import.

Group Edit Mode

It’s easy to edit several presets at once, for instance if you
want to change rating or add a tag to multiple presets.
Enter the Group Edit mode by selecting several pre-
sets in the check box on the left. Once in Group Edit
mode, you can use Shift + click to select a range of
presets.

Select several presets by clicking the check box to the left.

In Group Edit mode it is possible to edit several pre-

sets at the same time:
• Change rating, color, and category
• Append text to the name or description
• Add tags, or remove tags common for all selected
presets

The Info pane contains all metadata for the currently selected preset and
lets you edit these fields.

In the INFO pane you can edit the metadata of the

selected preset. You can change image, name, rating,
description, category, tags and color. Whenever it is
possible to change a field, a pen icon  will appear. All
changes made to the description of the plug-in are saved
immediately.
16 |  MIDI MAPPING

2 MIDI Mapping
After entering MIDI CC linking mode by clicking on
the text “Click here to enter MIDI CC linking mode”,
the on-screen message will prompt you to “select param-
eter to link with MIDI CC” and this means that you can
click on any parameter you would like to link to your
All Softube instruments can be mapped to any midi- controller.
controller that can output MIDI controller change
(sometimes just called MIDI CC) data. This can be
done through the MIDI CC linking mode menu at the
top right in the plugin.

After clicking on a parameter of choice you'll be

When clicking on the MIDI symbol, this dropdown prompted to move the slider or dial on your midicon-
menu appears displaying all previously mapped param- troller to link this physical controller to the chosen
eters in your project/song (if any) and at the top the op- parameter in the Softube instrument. If there were a
tion for you to enter MIDI CC linking mode by click- mistake you can always click on “Exit MIDI CC linking
ing on the text that says “Click here to enter MIDI CC mode” to abort this operation.
linking mode”. At the bottom, the “Load from file...”
and “Save to file...” options – more about these later.
 INSTRUMENTS USER’S GUIDE  | 17

Now you have tweaked your MIDI controller and will

see the knob you linked it to moving on screen while
you're moving it – like magic! An on-screen message
displays the parameter name link and to which MIDI
CC message it is linked to. OK, something went wrong?
Don't worry – you can unlink the controller again just
as easily by clicking on the unlink ”parameter name”-
message.

Any number of parameters can be linked to the same

MIDI controller knob although multiple knob cannot
be linked to the same parameter.
Exit MIDI CC linking mode by clicking on “exiting
MIDI CC linking mode” in the on-screen pop-up or
by clicking on the MIDI symbol in the top left corner
again. All linked parameters will be listed in the drop-
down menu until you click elsewhere in the GUI.
The “Load from file...” and “Save to file...” options in
the top menu are used for saving and loading previously
mapped MIDI controller templates in the file format
“.softubemidipreset”. The saved midi map contains
information about the instrument-type and will not be
able to load within another Softube instrument.
18 | 

3 Heartbeat

Synthesized sounds and imaginary worlds have inspired musicians since the mid
1900s when Dr. Bob Moog invented the first ever voltage controlled synthesizer mod-
ules, and eventually launched the electronic synthesizer as a new instrument into the
limelight of every day musicians. Around the same time, electronic organ-makers looked
into ways of electronically reproducing drums and rhythmic sounds. In the 70s, the elec-
tronic drum machine made its way into the public mind and electronic drum production
could soon be heard in everything from disco, electro and hip-hop to pop and rock.
This legacy of finding new and exiting electronic percussive sounds is something we want
to convey in Softube Heartbeat—the joy and excitement of exploring new and interest-
ing percussive worlds by looking back at history, but at the same time adding something
new to the concept.
 INSTRUMENTS USER’S GUIDE  | 19

Introduction
Heartbeat is an innovative software drum synth with a familiar, yet
unique, sound character. A world class effects section is included,
as well as the innovative Auto Layer Machine which will take
your beats to unexpected places. While Heartbeat draws inspira-
tion from the best analog drum synths from the 1980s, it does not
emulate any existing drum machine. The sound mostly originates
from Softube’s own modeled analog synthesis, which has been
augmented with carefully selected waveforms.
The core of Heartbeat consists of the eight instruments. You will
find two different bass drum instruments, which can be as punchy
and deep as you want them, but are also perfectly capable of pro-
ducing snappy and hard hitting woody textures. The two dedicated
snare drum instruments have six parameters each which allows you
to achieve anything from edgy rimshots, soft and whispery snare
rolls to machine-like claps.
The two percussion instruments are identical and can be used to
model anything from 80s style synthetic toms to cowbells and
noise drops. And just like the other instruments, the hihat and
cymbal channels offer flexible synthesis engines—tweak to your
heart’s desire! But the idea behind Heartbeat is to make it a one-
stop shop for your beat creation, so we also added an effects section
and the innovative Auto Layer Machine.
20 |  HEARTBEAT

1 2

3
8

9
6

10

1. Drum channels 4. Valley People Dyna-mite 7. Utility

2. Master bus 5. Filter echo 8. Instruments
3. Auto layer machine 6. TSAR-1D Reverb 9. Mixer
10. Global

Heartbeat’s Sections
The left half of Heartbeat’s graphical interface is taken fed from the respective channels into the two send
up by the eight Drum Channels. These all consist of effects. The output of the send effects is then summed
(from top to bottom) the Utility section, the Instru- with the output of each Drum Channel, and fed into
ment and the Mixer Channel. By default, the Mixer the Master Bus.
Channels’ outputs are summed and sent to the included
Above the Valley People Dyna-mite unit you will find
Valley People Dyna-mite compressor/limiter/gate (read
the Auto Layer Machine. This is a device that can be
more below), and then on to the Master Channel on
used to layer sounds or trigger a chain of events, in order
the right side of the interface.
to create new sound textures or create automatic fill pat-
Below the Valley People Dyna-mite unit are the Filter terns in up to four steps. By pulling the Chaos slider to
Echo and the TSAR-1D Reverb effects. Each mixer the right, an element of randomness is introduced—so
channel has send knobs (labeled Echo and Rev respec- Heartbeat has a mind of its own and might give you
tively), that determine the level of sound that is being some unexpected results.
 INSTRUMENTS USER’S GUIDE  | 21

Getting Started eight instruments, effects, levels and

master settings) via the usual preset
If you’re familiar with working with software instru- function in your DAW.
ments, this section may be all you need to get started.
Refer to the in-depth parts of this manual to learn the Instrument and mixer
details. In the Instruments sections, you will
see the settings for the instruments.
After you have finished installing Heartbeat, open a new These are all clearly labeled and
song in your DAW, and launch Heartbeat which you adjusting them will yield apparent
will find in the DAW’s software instruments folder. changes to the sound. Below these
Setting up MIDI are the Mixer Channels with effects
sends, a one-knob EQ (adapted for
Heartbeat is by default set up so the eight Instruments each Instrument) and an auto-pan
respond to the MIDI notes that are most commonly function called Ping/Pong. The Pan
used for drum machines and drum software. The red text knob and volume fader acts as you
in the Utility section (the black square at the top of each would expect, as do the Solo and
Drum Channel) displays the MIDI note set up for Mute buttons.
each Instrument. If you would like to change it, click
and hold the red text, and pull up or down. Or click Effects
Learn and strike the desired key/pad on your MIDI The parameters of the three effects
controller to assign this key/pad to the Instrument. are clearly labeled. The Pre button to
Please note that the Hihats instrument receives input the right of Filter Echo and TSAR-
from two different MIDI channels, as it can be used for 1D inserts these effects before the
both closed and open hihat sounds. If you don’t have a Valley People Dyna-mite, which
MIDI keyboard or pad controller available, you can use means the reverb and echo tails are
your mouse to click the green arrow in the Utility sec- also affected by Dyna-mite’s process-
tion, which will trigger the sound. ing.

Learn Preset Master bus

The output from the Instruments
and the effects are all summed in the
Master Bus. Mono Cut collapses
any stereo sounds below the selected
cutoff frequency into mono, to ensure
phase compatibility in the important
MIDI note Play lower frequencies. Width makes the
entire stereo image wider or narrower.

Presets
Clicking the white arrow will open a list of presets for
that specific Instrument or effect. There are also presets
available for entire Heartbeat kits (with settings for all
22 |  HEARTBEAT

Global
parameters

Global parameters Auto Layer Machine

At the bottom of the graphical user interface, you can Auto Layer Machine can be used to easily layer sounds
determine Heartbeat’s overall sensitivity to MIDI veloc- from two or more Instruments for new textures, or to
ity, as well as separately determine how much velocity trigger flams or autofills. A quick way of learning what
will affect Pitch, Attack and Decay. Time Gate can it does is to try the different factory presets and note the
shorten all Instrument sounds independently of their differences to their settings. Click the white arrow in the
velocity to create a stuttery, machine-like sound—very Utility section of one of the four Auto Layer Machine
useful for creating variation to the sound by quickly channels, and play the pattern by clicking the green
adjusting a single knob. arrow, or hitting the MIDI key assigned to that Auto
Layer Machine channel (as indicated in red text in the
Utility section). Refer to the detailed section for further
information.

Keyboard shortcuts
All knobs in can be reverted back to its preset-settings
by alt-clicking on the parameter.
Fine-adjust any parameter in Heartbeat by ctrl-click-
ing (Windows) / Cmd-clicking (Mac OS).
By clicking the Setup button below the Heartbeat logo,
you can choose some basic settings for Heartbeat, such
as turning off the tool tip pop-up windows.

Sound Architecture
See the image below for a description of the signal flow.
The incoming MIDI signals can trigger either the in-
struments or the Auto Layer Machine. If an Auto Layer
Machine channel is triggered, this in turn triggers the
instruments.
 INSTRUMENTS USER’S GUIDE  | 23

After the trigger, the instruments generate drum sounds isolated signal in your DAW, if this is supported by
that is routed to the corresponding mixer channels, and your DAW.
then routed through different paths:
If the TSAR-1 Reverb or Filter Echo’s Pre buttons are
1. The main signal (red) is sent through the mixer activated, the output from the effects are instead routed
channel’s volume fader and mixed with the other to the Dyna-mite, instead of directly to the Master Bus
instruments, sent to the Valley People Dyna-mite, section
gets summed with the signal from the send effects,
If Duck is set to Bass Drums, Bass Drums 1 and 2
passes through the Master Bus and is eventually sent
are also routed to the sidechain of Dyna-mite, where it
out via Heartbeat’s Main Out to the DAW channel.
controls Dyna-mite’s behavior.
2. If the user chooses to, one signal is sent via the
For a more detailed overview, please see the chapter
mixer channel’s Rev send to the TSAR-1D Reverb
“Block Diagram”.
and another is sent via the mixer channel’s Echo
send to the Filter Echo (orange).
3. One signal (blue) is sent pre-fader to the respec-
tive instruments’ Separate Output, to be used as an

MIDI
Trigger Trigger

Trigger

Audio

Separate Outputs Main Out

24 |  HEARTBEAT

Utility Section
The Utility section is the black field on top of each Drum Channel (and Auto Layer Machine channel).

Learn The Learn function is a quick way to assign a key on your MIDI keyboard or pad con-
troller so it triggers the corresponding Instrument, in case you would like to change it
from the factory settings. Click Learn, which will start blinking to indicate that it is
awaiting an incoming MIDI note. Press the MIDI key on your keyboard controller
(or strike the pad on your MIDI pad controller) that you want to assign to the Instru-
ment. The MIDI Note indicator (red text below the Learn button) will show the new
MIDI note you assigned to the Instrument, and the Instrument will now respond to
incoming MIDI data on that note number. Please note that the Hihats instrument
has two Learn buttons, as it can be used for both closed and open hihat sounds.

MIDI Note The red MIDI Note indicator is located just below the Learn button, and tells you
which MIDI note is assigned to the corresponding Instrument. You can change this
by clicking, holding and dragging up/down the MIDI note number, as an alternative
to using the Learn function explained above.

Channel Presets
(white arrow) Click the white arrow to open the channel presets pop-up menu. This reveals a small
selection of presets for each individual Instrument, intended as starting points for your
own sound creation. Since both percussion channels use the same sound architecture,
they also share the same channel presets. The same goes for the Auto Layer Machine
channels. Only the Instrument parameters and the Equalizer (EQ) are affected by
the channel presets. The effect sends (Rev, Echo), Ping/Pong, Pan, Volume, Mute and
Solo are unaffected.

Play (green arrow) Clicking the green arrow will trigger the corresponding Instrument with 1. MIDI note
maximum velocity. This function is handy when auditioning Instrument 2. Learn
sounds without a MIDI keyboard or pad controller connected to the
computer. 3. Channel preset
4. Play
1 2 3 4
 INSTRUMENTS USER’S GUIDE  | 25

The Instruments
The eight drum instruments occupy most of the upper
left part of Heartbeat’s graphical user interface. From The equalizer (EQ) is an
left to right, you will find two different bass drum chan- integral to the Heartbeat
nels, two snare drum channels of which one is more sound and should be
suitable for typical snare sounds and the other leans thought of as part of the
towards clap sounds, a hihats channel (with both open drum sound.
and closed hihat sounds), two identical and very versatile
synth percussion channels and finally a cymbal channel.
Below, you will find a detailed description of each of 1. Bass drums
these Instruments.
2. Snare drums
3. Hihat
4. Percussion
5. Cymbal

1 2 3 4 5
26 |  HEARTBEAT

Bass Drum 1 “BD 1” Harmonics Adds harmonics/distor-

Bass Drum 1 is highly flexible and was inspired by tion to the synthesized
a well known Japanese drum machine from 1984 tone. Can go from subtle
that went more or less unnoticed until the end of overtones into harsh
the 80s, when it became the core of the new house and bit-crunchy terri-
music scene of Chicago, Detroit and New York. Its tory above the 12 o’clock
sound stems from a modeled analog synthesized position.
tone with a slight drop in pitch in its decay, aug-
mented with a waveform attack transient.
EQ Boosts or cuts the low
frequencies of the bass
Decay Sets the duration of the bass drum.
drum sound. Turn counter-
clockwise for short popping House music kick drum
sounds and clockwise for Characteristic of the house music kick
longer ones. drum is its short and distinct snappy attack
along with its moderate decay. By chang-
ing Decay, Bend and Harmonic you’ll get
Attack Sets the level of the attack
different and useful variations.
transient waveform.
Decay: 25%
Attack Type Sets the character of the at- Attack: 50%
tack transient. Turn counter- Attack Type: 0%
clockwise for electronic style, Pitch: pretty much what ever you like, but
harsher sounds, and clockwise 0% will do.
for more “woody” and acoustic Bend: 50%
sounds. Harmonics: anywhere between 0% to
20% will do.
EQ: 30%
Pitch Sets the initial pitch of the
modeled analog synthesis.
Acoustic style kick drum
The acoustic bass drum is short and dry.
Bend Turn clockwise for a fast pitch
Decrease the Attack volume if you want
bend that goes up and then
the impact to be a bit smoother.
down again. Set fully counter-
clockwise to bypass.
Decay: 10%
Attack: 100%
Attack Type: 71%
To create short percussion-like sounds , set the Eq Pitch: -75%
counter-clockwise to remove the bottom end from the Bend: 84%
bass drum, . Harmonics: 0% (clean)
EQ: 0%
 INSTRUMENTS USER’S GUIDE  | 27

Bass Drum 2 “Kick”

The second bass drum is circuit modeled from a clas-
sic Japanese drum machine from the early 1980s. It has
been heavily used in many genres, ranging from electro
and hip-hop to techno and R&B.

Decay Sets the duration of the bass drum

sound. Turn counterclockwise for
Electronic style booming kick drum
short popping sounds and clock-
wise for longer ones. Bass Drum 2 is very suited for this
type of booming electronic sounds
with long Decay times.
Attack Adjusts the filter level of initial
click transient. Turn counterclock- Decay: 100%
wise for a darker and more sub- Attack: 20%
dued click character, and clockwise Pitch: -32%
for a more edgy and apparent click. Harmonics: 0% (clean)
EQ: 35%
Pitch Sets the pitch of the bass drum
sound. Techno style kick drum
Short and distinct kick that will
Harmonics Sets the amount of clipping distor- cut through any mix.
tion.
Decay: 10%
Attack: 100%
EQ Boosts or cuts the low frequencies Pitch: -45%
of the bass drum. Harmonics: 0% (clean)
EQ: 0%
By using Velocity To Pitch in combination with this bass
drum it is possible to create nice sounding deep baselines.
Hollow distorted kick drum
This setting makes the bass drum
sound more like a synth bass.

Decay: 73%
Attack: 100%
Pitch: 100%
Harmonics: 100% (clean)
EQ: -100%
28 |  HEARTBEAT

Snare/Rimshot “SD RIM”

The Snare/Rimshot channel blends snare drum
waveforms with modeled analog synthesis in a House snare
highly flexible manner. The balance between them
A snare sound close to that of a very
is determined by the slider at the top, and the Wave
popular drum machine from the 80s.
and Synth portions each have three knobs that
adjust their respective sound character—green for
Wave/Synth: -42%
Wave and blue for Synth.
Wave type: -34%
Synth type: 0% (TONE)
Wave/Synth Sets the balance between the Wave pitch: 0%
waveform and synthesized Synth pitch: -27%
portion of the drum sound. Wave decay: 100%
Synth decay: 21%
EQ: 39%
Type Sets the character of the
sound. Wave (green knob)
ranges from a rattling snare to Acoustic Style Snare
a hard rimshot, Synth (blue A more acoustic sounding snare drum.
knob) takes the sound from a
pitched note to a noise sound. Wave/Synth: -13%
Wave type: -60%
Synth type: -57%
Pitch Sets the pitch for each sound,
Wave pitch: -52%
and the cutoff for the noise in
Synth pitch: -55%
the synthesized part.
Wave decay: 77%
Synth decay: 72%
Decay Sets the duration of the Wave EQ: -21%
and Synth parts respectively.
Turn counterclockwise for
short popping sounds and
clockwise for longer ones.

EQ Boosts or cuts the frequency

range where most of the snare
drum’s tonal content is found.
The neutral setting is at 12
o’clock, turn counterclockwise
to cut this frequency range Create dynamic and interesting sounds by
(emphasizing the snare/noise combining a wave portion with short decay with a
character) and clockwise to synth portion with long decay, and vice versa.
boost (emphasizing the tonal
character).
 INSTRUMENTS USER’S GUIDE  | 29

Snare/Clap “SD CLP” Wave/Synth Sets the balance between the

The second snare drum is the Snare/ waveform and synthesized
Clap and works similarly to the portion of the drum sound.
Snare/Rimshot. However, both
the Wave and Synth portions of the Type Sets the character of the
Snare/Clap have a different sound sound. Wave (green knob)
character which lends itself more to ranges from different snare
clap style sounds. sounds to tight claps, while
Synth (blue knob) takes the
sound from a slightly noisy
Create a double-clap sound by using a clap tonal character to a dark and
wave combined with a synthesized clap. sluggish clap sound.

Pitch Sets the pitch for each sound,

House Clap and the cutoff for the noise in
the synthesized part.
A clap sound close to that of a
very popular drum machine from
the 80s. Decay Sets the duration of the Wave
and Synth parts respectively.
Wave/Synth: -80% Turn counterclockwise for
Wave type: 100% (CLAP) short popping sounds and
Synth type: 100% (CLAP) clockwise for longer ones. For
Wave pitch: -7% the Synth portion of the
Synth pitch: 80% sound, longer Decay times
Wave decay: 100% also decreases the tightness
Synth decay: 57% of the clap, which gives it an
EQ: 71% even more loose and sluggish
character.
Drummachine Snare
An 80s style digital sounding EQ Boosts or cuts the frequency
snare drum. range where most of the snare
drum’s tonal content is found.
Wave/Synth: -64% The neutral setting is at 12
Wave type: -35% o’clock, turn counterclockwise
Synth type: 0% (SNARE) to cut this frequency range
Wave pitch: 0% (emphasizing the snare/noise
Synth pitch: -20% character) and clockwise to
Wave decay: 64% boost (emphasizing the tonal
Synth decay: 36% character).
EQ: 76%
30 |  HEARTBEAT

Hihats EQ Boosts or cuts the frequency

range where most of the hi- P
The Hihats instrument of Heartbeat can make hat’s tonal content is found. Th
both closed and open hi-hat sounds. One sound The neutral setting is at 12 ca
chokes the other. So if the open hi-hat is played, o’clock, turn counterclock- h
followed by the closed hi-hat the open hi-hat will wise to cut this frequency in
be immediately cut off by the closed hi-hat. The Hi- range (emphasizing the noise a
hats are laid out in the same way as the two snare character) and clockwise to p
drums (Snare/Rimshot and Snare/Clap), with boost (emphasizing the tonal th
a crossfade slider at the top which sets the balance character). fr
between hi-hat waveforms (Wave), and sounds
generated by modeled analog synthesis (Synth).
As with the snare drums, the green knobs affect the
Wave portion and the blue knobs affect the Synth Combine the transient of the wave with a
portion of the sound. longer, noisy, decay of the synth part to get dirty
nice hi-hat sounds.
Wave/Synth Sets the balance between the
waveform and synthesized
portion of the hi-hat sound. Synthesized Hi-hat
A sound similar to that of a very
Type Sets the character of the popular early 80s drum machine.
sound. Wave (green knob)
ranges from classic drum Wave/Synth: 93%
machine-like hi-hat sounds Wave type: -45%
to a more acoustic sounding Synth type: 52%
character. Synth (blue knob) Wave pitch: 57%
takes the sound from a cluster Synth pitch: 68%
of high pass filtered pulse Wave decay: 6%
waveforms in the far counter- Synth decay: 24%
clockwise setting, to a filtered EQ: 86%
white noise when turned
clockwise. Digital Hi-hat
Dry 80s drum machine style hihat.
Pitch Sets the pitch for the Wave
sound (green knob), and Wave/Synth: 33%
sweeps a low cut filter for the Wave type: 3%
Synth portion (blue knob). Synth type: 100% (NOISE)
Wave pitch: -4%
Synth pitch: 74%
Decay Sets the duration of the Wave
Wave decay: 66%
and Synth parts respectively.
Synth decay: 6%
Turn counterclockwise for
EQ: -49%
short popping sounds and
clockwise for longer ones.
Percussion 1 and 2 “Perc” Decay Sets the duration of the
sound.
The two Percussion instruments are identi-
al to each other, so the information given
here covers them both. They are highly flexible Pitch Sets the initial pitch of the
nstruments that draws a lot of inspiration from oscillators.
lesser known, but very powerful, Japanese synth
percussion unit from the early 80s. The sound of Tone Sets the initial cutoff
he Percussion 1 and 2 are purely generated frequency of the low-pass
rom modeled analog synthesis. filter.

Time Sets the speed of the pitch

Mode This dial selects one of the bend and in noise mode
following five modes. the speed of the filter-
sweep.
SINGLE: Employs a single
triangle wave oscillator.
This is great for disco style Range Sets the amount of pitch
toms, additional bass drums bend or filter-sweep in
and short harmonic snaps. noise-mode.

DUAL: Employs two

triangle wave oscillators Up/Down Sets if the bend goes up-
with a fixed pitch ratio wards or downwards (filter
between them. This is ideal sweep in noise mode).
for cowbell, agogo bell and
marimba type of sounds. EQ Boosts or cuts the fre-
FM: One oscillator is quency range where most
frequency modulated by of the drums tonal content
the other with a fixed ratio. is found. The neutral
This is useful for dishar- setting is at 12 o’clock,
monic metal-like sounds. turn counterclockwise to
cut this frequency range
FM+N: The same as above, (emphasizing the noise
but with added noise. Can character) and clockwise
be used to generate other- to boost (emphasizing the
worldly metallic sounds. tonal character).
NOISE: White noise. This is
good for generating shak-
ers, thunderous snares and The percussion modules without the bend (Range at
special effects. zero) in combination with the Velocity To Pitch
parameter makes it possible to create small pseudo-
melodies and baselines.
32 |  HEARTBEAT

Cymbal
The sound of Heartbeat’s Cymbal is purely generated
by modeled analog synthesis. It draws inspiration from
several early 80s Japanese drum machines. But the Ring Noise Hat
parameter has been added for the ability to get a more Using the cymbal as an extra noisy
bell-like high pitched ringing sound. drum-machine like hihat.

Decay Sets the duration of the sound. Decay: 0%

Ring: 0%
Pitch: 100%
Ring Sets the amount of “ring” character. EQ: 100%

Pitch Adjusts the filtered mix of the har- Noise Ride

monics within the cymbal sound. A cymbal sound close to that of a
very popular drum machine from
EQ Boosts or cuts the frequency range the 80s.
where most of the cymbals tonal
content is found. The neutral set- Decay: 14%
ting is at 12 o’clock, turn coun- Ring: 10%
terclockwise to cut this frequency Pitch: 40%
range (emphasizing the noise EQ: 48%
character) and clockwise to boost
(emphasizing the tonal character). Short and Sweet
Short cymbal sound with some
ringing.

Decay: 20%
Ring: 34%
Pitch: 53%
EQ: -47%

A high setting of Ring makes the cymbal sound more

like a ride cymbal, while a low setting makes the cymbal
more vintage drum box sounding.
 INSTRUMENTS USER’S GUIDE  | 33

The Mixer
The Mixer section takes up most of the lower left part of
the Heartbeat graphical user interface. The parameters
Ping/Pong The automated panning function.
Sets the amount of automatic pan-
are identical for all eight mixer channels, with the excep-
ning for each drum hit.
tion of the EQ (equalizer) which is tuned for each indi-
vidual instruments, although the knobs look identical.
Pan The initial position of the instru-
ment in the stereo panorama.
EQ Adjusts the equalizer setting. It is
tuned for each channel and opti-
mized to work with the sweet spots Volume fader Sets the volume of the instrument.
of the individual instruments.
Solo (S) Activating Solo for a mixer chan-
Rev Sets the signal level being sent nel mutes all othter channels (un-
from each instrument to the TSAR- less they are also in Solo mode).
1D Reverb unit, and therefore
how much reverb is added to
the instrument. The Rev send is
Mute (M) Activating Mute for a mixer chan-
nel turns off the sound from this
post-fader, meaning that the send
channel.
level is also affected by the setting
of the Volume fader. This keeps
the proportion between the direct
sound and the reverb intact even if
the Volume fader is turned up or
down.

Echo Sets the signal level being sent

from each instrument to the
Filter Echo, and therefore
how much delay is added to the
instrument. The Echo send is
post-fader, meaning that the send
level is also affected by the setting
of the Volume fader. This keeps
the proportion between the direct
sound and the reverb intact even if
the Volume fader is turned up or
down.
34 |  HEARTBEAT

Auto Layer Machine

Auto Layer Machine takes up most of the upper
right part of the graphical user interface. It can be used
to easily layer sounds from two or more instruments for
new textures, or to trigger flams or auto-fills—you could
compare it to a basic MIDI sequencer. Auto Layer
Machine consists of four channels, each with its indi-
vidual MIDI note number assigned. The four channels
are divided into a Drum and a Delay column. In the
Drum column you will find four slots per channel. Hit-
ting the assigned MIDI key will make the correspond-
ing Auto Layer Machine channel generate a chain
of events, moving from the top slot to the bottom one
(in its default state). Each trigger will be slightly lower
in velocity which is apparent when using the Velocity the closed and open Hihats. But unlike the first chan-
parameters. nel, they were not playing simultaneously—a delay was
added for each step.

Get started! This is done with the knobs in the Delay column, to the
right of each slot. The Delay knobs set how long it takes
The easiest way to understand what the Auto Layer after a slot has been triggered until it passes on the trig-
Machine does is by trying the settings in the fac- ger impulse to the slot below it. In the first Auto Layer
tory preset you will have every time you launch a new Machine channel, you will see that the Delay knobs
instance of Heartbeat. Here, the four Auto Layer are all set to LAYER (fully counter clockwise), meaning
Machine channels are set up to perform different tasks. that there is no delay from one slot to the next—the
instruments are triggered simultaneously.
Layering
Hit the MIDI key A1 to trigger the first Auto Layer But in the second channel, they have other positions,
Machine channel (or click its green arrow in the Util- which is what creates the delay between the instruments
ity section, the black field above the channel). You will being triggered, and thus creates the small pattern you
hear that this triggers three of the instruments—Snare/ hear each time you trigger the channel. If you change
Rimshot, Snare/Clap and Percussion 1—simul- the positions of the Delay knobs, you will hear the short
taneously. This creates a layered sound. You can also see pattern change accordingly.
the names of these three instruments in three of the slot
Velocity
windows of the first Auto Layer Machine channel,
indicating that the slots have been assigned to these The Instrument in the first Auto Layer Machine slot
instruments. will be triggered with the velocity of the incoming
MIDI note. For each subsequent step in the Auto
Patterns and fills Layer Machine, the velocity will automatically drop by
If you instead trigger the second Auto Layer Ma- a predefined amount. This means that if the incoming
chine channel, by hitting A#1, you will hear the closed MIDI note has a very low velocity to begin with, the
and open Hihats playing a short pattern with four hits. subsequent steps might drop below 0 velocity, and thus
Again, you can see in the slots that they are assigned to not trigger the Instrument at all.
 INSTRUMENTS USER’S GUIDE  | 35

On Turns on and off the Auto Layer Machine. You can save some CPU power by turn-
ing the Auto Layer Machine off when not in use.

Slot window The slot windows in the Drum column indicates and determines which of Heartbeat’s
instruments is triggered via the slot. Click or shift-click to select next or previous
instrument. You can bypass the slot entirely by selecting OFF. It is also possible to click
and drag to scroll back and forth among the instruments.

Delay Determines how long it takes after an instrument has been triggered until it passes
on the trigger impulse to the slot below it. By setting it to zero (the knob indica-
tor pointing at LAYER), there is no delay, so the two instruments are triggered at the
same time and thus layered. By turning it clockwise, the following trigger will be more
delayed. Use this to create flams or automatic fill patterns. When the indicator is by
the orange part of the marking, the delay is expressed in milliseconds in the tooltip
window that pops up. Turn it to the blue side to set the delay expressed as beat divi-
sions of the DAW project’s tempo.

Chaos In its default state with the slider set all the way to the left, the trigger impulses move
from the top to the bottom as indicated by the orange arrow underneath the Chaos
slider. Moving the slider a bit to the right will enable the Auto Layer Machine to
reverse the direction of the triggers so that some triggers will randomly populate
upwards instead of only downwards. Moving the slider even further will make the
trigger impulses “spill” over to the adjacent Auto Layer Machine channels, as indi-
cated by the arrows. In its far right position, you will have full chaos with triggers sent
everywhere in a rather unpredictable manner. Even more so if you have all four Chaos
sliders to the far right!
36 |  HEARTBEAT

The Effects
Heartbeat includes three different effect units: The Valley People
Dyna-mite compressor/limiter/gate, the TSAR-1D reverb and
the Filter Echo. These are shared by all the drums. The signal level
sent from each drum to the TSAR-1D and the Filter Echo is set
with the Rev and Echo knobs in each mixer section. Valley People
Dyna-mite is inserted across the stereo sum of all the instruments,
so as long as it’s activated it affects all instruments (apart from the
bass drums when Duck is set to Bass Drums).
 INSTRUMENTS USER’S GUIDE  | 37

Valley People Dyna-mite setting will only affect the strongest peaks, while a low
threshold setting will affect most of the incoming sound,
The Valley People Dyna-mite built into Heartbeat resulting in a very apparent compression. The Release
is a specially adapted version of the Valley People Dyna- knob determines the time it takes for the Dyna-mite
mite plug-in, separately available from Softube. The to recover after it has compressed. This can be used to
original analog Valley People Dyna-mite unit came out emphasize the rhythmic feel of the beat, making the
in the early 80s and was a very popular tool for gating/ Dyna-mite “breathe” in time with the music.
expanding, compressing/limiting and ducking—highly
loved for its ability to compress sounds with fierce ag-
gression, and to gate in an ultra-musical manner. The Limiting
Heartbeat version features four operating modes: A limiter is a very fast compressor that uncompromis-
ingly slams down the sound any time it exceeds the
Compression threshold level. Its original use was to protect loud-
speakers from sharp sound spikes that could potentially
A compressor is basically an automatic volume control, damage them, but it can also be used creatively for music
which turns down strong sounds but leaves the weaker mixing. Set Dyna-mite’s Mode switch to FAST, and it
sounds unaffected. This makes the dynamic range of the will act like a limiter. Compared to the Slow mode, you
sound (the difference between strong and weak parts) will note that the Dyna-mite now doesn’t let the initial
smaller, which is why it’s called compression. Using transient of the sound through. Instead, the sound hits a
compression lightly can make the sound compact and brick wall, creating an aggressive and pumping sound—
coherent (often described as glueing the sounds togeth- even more so with a low threshold setting.
er), while using it heavily can create an aggressive mash.
With the Mode switch set to SLOW, the Dyna-mite
will act as a compressor with a slow attack. This lets the Gating
initial transient of the sound through before Dyna-mite With the Mode switch set to GATE, Dyna-mite will
reacts and starts compressing, resulting in a punchy and shut off the sound completely if it drops below the
snappy sound. The Threshold knob sets the thresh- threshold level (set by the Threshold knob), and open
old level. Any time a sound reaches above this level, up as soon as the sound rises above the same level. This
Dyna-mite will start compressing—so a high threshold can be used to make sounds appear shorter (for example
38 |  HEARTBEAT

creating gated reverb effects), and to get rid of low-level

sounds for a cleaner and more focused impression. If the Threshold Sets the threshold level, above
Dyna-mite is set to gate out the weaker sounds entirely, which the Dyna-mite starts to
the Range knob can be used to mix them back in, but limit or compress (in Fast or
at a lower level than they originally had. This is called Slow modes), or lets the sound
expansion—you expand the dynamic range of the mix through (in Gate mode).
by making the weak sounds (the ones below the thresh-
old level) weaker, and thus in comparison making the
strong sounds (above the threshold level) stronger. So an Release Adjusts the time it takes to restore
expander is basically a compressor in reverse. This can the original gain after gating/com-
be used to enhance and alter the dynamic feel of a drum pressing.
beat.
Duck Activates/deactivates bass drum
Ducking ducking, which makes the bass
drums affect Dyna-mite’s process-
Ducking is the effect of one sound source controlling ing of all the other instruments.
the output volume of another. In its Heartbeat ver-
sion, Dyna-mite can be set to let the bass drum chan-
nels duck the others. By setting the Duck switch to
Mode Sets the main mode of opera-
tion: Gate, Fast (limit) or Slow
BASS DRUMS and the Mode switch to either FAST or
(compress).
SLOW, every time a hit from one of Heartbeat’s bass
drums is strong enough to reach above the threshold
level, the sound level of all the other instruments will Range Sets the maximum amount of gain
be turned down by Dyna-mite. This creates a pumping reduction.
and energetic effect that is prominently used in a lot of
electronic dance music. The Mode switch can also be set
to GATE while the Duck switch is set to BASS DRUMS.
Output Sets the output volume. If neces-
sary, turn this up to compensate for
In this case, the gate opens up every time the bass drum
the volume loss caused by com-
hits, and shuts off the sound of the other instruments
pressing/limiting.
between the bass drum hits.

On Turns Dyna-mite on or off.

Presets Clicking the button with the white

arrow below the On button brings
up Dyna-mite’s preset menu. It
contains some examples of applica-
tions of Dyna-mite compressor
which are good starting points for
further tweaking.
 INSTRUMENTS USER’S GUIDE  | 39

Filter Echo
Filter Echo is a gritty little delay effect with a resonant lowpass filter in its feedback loop. The filter can be
set to near self-oscillation for that lo-fi sound.

Mute (M)

Turns off the sound of the Filter Echo.

Solo (S) Solos the sound of the Filter Echo.

Pre Places the Filter Echo before Dyna-mite in the effects chain, which means Filter
Echo’s sound will also be affected by Dyna-mite’s processing. When the Pre button is
not activated, the Filter Echo’s output will be post the Master Bus Saturation effect,
but before the Master Bus equalizer.

Presets Clicking the button with the white arrow below the Pre button brings up Filter
Echo’s preset menu. It contains some examples of Filter Echo settings that are good
starting points for your tweaking.

Time Determines the delay time, how long time passes between each delay “hit”. In the left
half of the knob’s path, the range is from 1 to 1000 milliseconds. In the right side, the
delay time can be set in divisions of the DAW tempo, ranging from 1/64 to 1/2 beat.
The latter is useful for setting the delay to act in time with the song.

Feedback This set the amount of feedback, how many delay repeats there will be. It ranges from
one repetition to roughly 10 repetitions at full feedback.

Cutoff Sets the cutoff frequency of the low-pass filter.

Resonance Sets the resonance of the low-pass filter.

Volume Sets the output volume.

40 |  HEARTBEAT

TSAR-1D Reverb the impression of a large room, by

making the reverb tail arrive later.
The TSAR-1D is a version of Softube’s acclaimed
TSAR-1 Reverb, adapted for use with Heartbeat. For Time Sets the duration of the reverb
more information, please see page 188. TSAR-1 Re- sound, from short to long.
verb is available as a separate plug-in from Softube.

Density Adjusts is the thickness and

Mute (M) Turns off the TSAR-1D. smoothness of the reverb.

Solo (S) Solos the TSAR-1D reverb. Tone Overall tone of the reverb signal.

Pre Places the TSAR-1D before Dy- Low Cut Applies a low cut filter to the re-
na-mite in the effect chain, which verb sound, taking away the lower
means that the reverb will also be frequencies that might make the
affected by Dyna-mite. When the sound cluttered and undefined.
Pre button is not activated, TSAR-
1D’s output will be after the master
saturation, but before the master High Cut Applies a high cut filter to the re-
equalizer. verb sound, taking away the higher
frequencies that might make the
reverb sound take up too much
Presets Clicking the button with the white space in the mix.
arrow below the Pre button brings
up TSAR-1D’s preset menu.
Output Vol Output volume of the reverb.
Predelay Determines the time between the
dry signal and the reverb tail. Set
to 0, there is no delay. Delayed
settings are often used to achieve
 INSTRUMENTS USER’S GUIDE  | 41

Master Bus ner. This is very similar to

the Low Cut function of a
The Master Bus is the section on the far right of DJ mixer.
Heartbeat’s graphical user interface. This affects the
main output of Heartbeat, letting you add satura-
tion, make EQ adjustments to the overall sound and Mono Cut Determines a cutoff
more. frequency below which
everything is summed to
mono. This is a great way
Saturation Sets the amount of saturation to ensure that your mix
applied to the entire drum will sound solid on any
mix, post the Dyna-mite playback system, since it
compressor. It mimics the guarantees that you will
saturation that can be achieved have no phase issues in the
by devices using electronic low end of the frequency
vacuum tubes, which results in spectrum.
a pleasing and thick saturation.

Width At 12 o’clock, Width is

High Cut Applies a high cut filter to disabled and all stereo
Heartbeat’s output, which cuts settings work as expected.
treble frequencies and makes Turning it counterclock-
the overall sound darker. This wise gradually makes the
is very similar to the High Cut sound become more mono.
function of a DJ mixer. Turning it clockwise
makes the sound wider.
High Gain Boosts the treble frequencies.
Master Out Master fader which
Mid Freq Sets the center frequency of controls the volume of
the midrange equalizer filter. Heartbeat’s main output.

Mid Gain Boosts the midrange at the

frequency determined by the
Mid Freq knob.

Low Gain Boosts low frequencies.

Low Cut Applies a low cut filter, which

cuts bass frequencies and
makes the overall sound thin-
42 |  HEARTBEAT

Velocity Conversely, turning it clockwise

will result in higher velocities
At the lower left of Heartbeat’s graphical user interface, giving the sounds a higher initial
below the mixer section, are the global Velocity param- pitch.
eters. These knobs determine how responsive Heartbeat
will be to the velocity of the incoming MIDI signals— To Attack Sets the amplitude of the attack
i.e., how strong or soft the incoming MIDI note is. The portion of the instrument’s sounds.
Velocity settings are global for Heartbeat’s instruments, In its 12 o’clock position, veloc-
meaning that they effect them all simultaneously. ity has no effect on attack levels.
Turning it counterclockwise will
Velocity Sets how strongly the velocity of result in higher velocities giving
the incoming MIDI note affects lower attack amplitude. Conversely,
the volume of the instrument be- turning it clockwise will result in
ing triggered. Setting this to 0% higher velocities giving the sounds
(fully counterclockwise) will result a higher attack amplitude. This ap-
in no volume difference of the plies only to instruments that have
sounds, regardless of the veloc- the Attack parameter
ity. Conversely, when Velocity is
set to 100% (fully clockwise), the To Decay Sets how the decay time of Heart-
Instruments will respond very beat’s instruments is affected by
dynamically to the velocity. So in velocity. In its 12 o’clock position,
this setting, higher velocities give velocity has no effect on decay
louder sounds. time. Turning it counterclockwise
will result in higher velocities giv-
To Pitch Sets how the initial pitch of Heart- ing the sounds shorter decay times.
beat’s instruments is affected by Conversely, turning it clockwise
velocity. In its 12 o’clock position, will result in higher velocities giv-
velocity has no effect on pitch. ing the sounds longer decay times.
Turning it counterclockwise will
result in higher velocities giving
the sounds a lower initial pitch.
 INSTRUMENTS USER’S GUIDE  | 43

Time Gate Channel volume fader (as well as the Solo and
Mute buttons) will not affect the signal being fed to
Time Gate is a fun and useful function that cuts the the direct output. If you want an instrument sound
decay short of all instruments globally. This creates a to only be sent to the direct output, and not appear
jerky and chopped up cool sound reminiscent of old 80s in your main Heartbeat mix at the same time, you
sample-based drum machines with very small memory. can set the corresponding Drum Channel’s vol-
Since Time Gate is controlled by a single knob, it offers ume fader to zero, or press its Mute button.
a quick way of altering the sound of the entire beat—
this is not least useful for live applications. Sending effects to a separate output
If you want all the instruments on separate outputs,
and also get the send effects (Filter Echo and
TSAR-1D) as a separate stereo signal, in total 8 +
1 stereo pairs, you can achieve this using the Solo
buttons for the Filter Echo and TSAR-1D—then
you will only have the outputs of these sent to
Heartbeat’s Master Bus.

Using multiple outputs

Your DAW will automatically detect that Heartbeat
has a total of nine stereo outputs—the Main Out-
Using Multiple Outputs put, plus a stereo pair for each of the eight instru-
Heartbeat is designed to be a one-stop shop for drum ments. These outputs are named in accordance with
sound creation, where the resulting sound package the Drum Channels:
comes out of a single stereo output. But for added flex- • Bass Drum 1
ibility, it is also possible to send the individual instru-
ments through separate outputs, and have them appear • Bass Drum 2
on individual mixer channels in your DAW. The separate • Snare Rimshot
outputs can be used in situations where you would like
to add mix effects from your DAW to the individual • Snare Clap
instrument sounds of Heartbeat—for example if you • Hihats
have a particular reverb plug-in in your DAW that you
would like to use for the snare drums, and only for the • Percussion 1
snare drums. Or if you want Heartbeat’s bass drums to • Percussion 2
duck all the other sound sources in your song, such as
synths and vocals. • Cymbal

When using separate outputs, the signal from the The different DAWs all have their own particular
instrument is being split into two. One is sent the usual ways of handling instruments with multiple outputs,
way through Heartbeat, via the volume fader and the such as Heartbeat. Therefore, please refer to your
effects to Heartbeat’s Master Bus. The other one is sent DAW’s manual to learn how to use Heartbeat’s
to the direct output. This is tapped out of the Drum multiple outputs on your particular system.
Channel mixer pre-fader. This means that the Drum
44 |  HEARTBEAT

Presets Show Value Display Toggles the value display in lower

Heartbeat features 50 different preset drum kits, rang- left corner of Heartbeat on and off.
ing from classic drum machine sound-a-likes to more
contemporary sounds of all kinds. They also contain
settings for the effects as well as programmed Auto Credits
Layer Machine settings. Each preset name begins with a Oscar Öberg – product lead and signal processing.
two-letter acronym of the name of the creator. They are: Kristofer Ulfves – research, sound design, presets and
user manual. Niklas Odelholm – graphic design and
presets. Patrik Holmström – GUI programming.
KU Kristofer Ulfves, Softube
Henrik Andersson Vogel – user manual and marketing.
Paul Shyrinskykh – quality assurance. Arvid Rosén –
CB Christoffer Berg (Depeche Mode, framework programming. Ulf Ekelöf – graphics render-
The Knife, Hird) ing. Torsten Gatu – framework programming. Mattias
Danielsson – technical support. Johan F. Antoni – help
with initial concept. Andreas Tilliander – hardware
DG David Giese ( Joxaren, Flogsta
reference. Tomas Boden – testing and presets.
Danshall)
Christoffer Berg – testing and presets. David Giese –
testing and presets. Jakob Herrman – sound reference.
TB Tomas Boden (Differnet, Liminals) Marcus Schmahl – demo and feedback

Setup window
Clicking the Setup tab in the bottom right corner of
Heartbeat’s graphical user interface will bring up the
setup configuration menu. Some of the changes made
here will only take effect after relaunching Heartbeat.

Always Use Small GUI This toggles between bigger and

smaller versions of the graphical
user interface. We recommend
that you check this box if you use
Heartbeat on a small computer
screen, such as a laptop screen.

Enable Tooltip Toggles Tooltips on and off. These

are the small pop-up windows that
appear when hovering the mouse
pointer over most of Heartbeat’s
controls.
 INSTRUMENTS USER’S GUIDE  | 45

Block Diagram Send Effect Pre/Post

This is a simplified block diagram of the Heartbeat If the send effects (TSAR-1 Reverb and Filter Echo)
functionality and signal paths. are set to Pre (Pre button is blue), the outputs from the
effects are routed to the input of the compressor.
MIDI notes are received by the Auto Layer Machine
and the Drum Channels. Audio from the Drum Chan- If the send effects’ Pre button is off (Pre button is gray),
nels are routed both to the separate outputs as well as to the output from the effects are routed directly to the
the Valley People Dyna-mite. master section, but after the saturation circuit.

Bass Drum Ducking

If Dyna-mite’s Duck switch is set to Bass Drums, the
audio from the bass drums are being routed to the exter-
nal sidechain of the Dyna-mite, as well as being mixed
together with the output of the Dyna-mite.

Bass Drum Duck ON

BASS DRUM 1 EQ MIX

MIDI Input BASS DRUM 2 EQ MIX

SNARE/RIMSHOT EQ MIX
External
Sidechain
Input
AUTO LAYER MACHINE SNARE/CLAP EQ MIX

DYNA-MITE SATURATION

HIHATS EQ MIX
Saturation

PERCUSSION 1 EQ MIX Pre ON

TSAR-1D Pre OFF

PERCUSSION 2 EQ MIX

FILTER ECHO

CYMBAL EQ MIX

Filter Echo Send

EQ MASTER SECTION
TSAR-1D Send Stereo Width
Mono Cut
Master Volume Audio Output
Separate Outputs
46 |  HEARTBEAT

ALM/Filter Echo times chart

Name Length Swing value
1/64 64th note
1/32 32th note
1/16 16th note
1/16+ 16th note 54% swing
1/8T- slightly short 8th note triplet 16th note with 62% swing
1/8T 8th triplet 16th note with 66% swing
1/16D dotted 16th note 16th note with 75% swing length of a 16th plus a 32th
note
1/8 8th note
1/8+ 8th note 54% swing
1/4T- slightly short quarter note triplet 8th note with 62% swing
1/4T quarter note triplet 8th note with 66% swing
1/8D dotted 8th note 8th note with 75% swing length of a 8th plus a 16th
note
1/4 quarter note
1/2T half note triplet 4th note with 66% swing
1/4D dotted quarter note 4th note with 75% swing length of a quarter plus a
8th note
1/2 half note
  | 47

4 Model 72 Synthesizer System

Softube Model 72 Synthesizer System is our new fully modeled vintage

monophonic synthesizer based a true legend in music instrument history. The
hardware was originally launched in 1970 and totally changed the market for
how synthesizers were perceived, making them finally accessible to the average
musician. It was compact, powerful and easy to use. Our golden model left the
factory floor in September of 1972, hence the name. This synthesizer contains
plenty of analogue quirks such as excessive distortion in filter and amp when
pushed, as well as organic and rich tone generation from its three oscillators.
48 |  MODEL 72 SYNTHESIZER SYSTEM

Getting Started
Model 72 Synthesizer System is really two plugins – a
Model 72 Instrument, to be used on instrument chan-
nels controlled via MIDI - and a Model 72 FX, which is
to be added to audio channels in order to being able to
use the filter external input.
Model 72 makes use of two separate GUI sizes, one
for small screens (without keyboard) and one for larger
screens (with keyboard). You can force Model 72 to use
the small GUI by clicking in that checkbox in the op-
tion menu and then restarting the plugin.
When using Model 72 as an instrument solely for
creating sounds, add the Model 72 Synthesizer System
plugin to an instrument or MIDI track in your DAW.
Now, either use a connected MIDI keyboard control-
ler or edit notes in your DAW to play your plugin In Ableton live, add Model 72 FX to the channel with
synthesizer. Model 72 will respond to the full range of the audio-clip that you want to process, then add an-
your keyboard and can also be configured to respond to other, adjacent MIDI-channel to control the envelope.
Velocity. Route the MIDI-channel as pictured above in order to
get your MIDI-information for the note-gates to Model
When using Model 72 as an audio processing unit, add 72 FX when you're playing.
the Model 72 FX version to your audio or mix track.
As you turn up the External input volume knob you'll
see the overload lamp start to respond to the incoming In Logic – things are a bit different here. Here's what to
audio but you still cannot hear anything – this is be- do:
cause, just like the original hardware instrument, Model
72 needs to be played in order to open up its filter and 1. Create an audio track and import an audio file. Or
amp and let the sound out. So you'll need to route an a optionally, route the output of the audio track away
MIDI channel to your effect and play a note in order from the stereo bus (if you only want to hear the
to hear the sound be processed through. How this is audio passing through Model 72 FX).
done differentiates between different DAWs. Consult 2. Create a software instrument [Link] the
your DAW user manual to see how your DAW is setup. software instrument track with Model 72 FX from
Here's two examples of how this is done: the menu “AU MIDI controlled Effects”
 INSTRUMENTS USER’S GUIDE  | 49

3. In the top-right corner of the instrument GUI,

select “Side Chain”, then “Audio”.
4. Now, notes on the software instrument track will
control the triggering of the envelopes of Model 72
FX that processes the sound from the audio-track.

You might already have noticed the difference between

the Model 72 instrument plugin and the Model 72 FX
version – Yes, the Model 72 instrument features a feed-
back path from the main output directly back into the
external input, equivalent to connecting a cable from the
hi gain output to the external input of the real hardware
unit. This creates a roaring, raw and exciting feedback
tone not found elsewhere.

Sound architecture
The Model 72 is THE classic subtractive synthesizer. In fact, few might argue that the Model 72 hardware origins
set the standard for how subsequently released subtractive synthesizers usually is setup. In a subtractive synthesizer
you have at heart sound generation that creates harmonically rich content that then is filtered and amplified to form
the final sound. The shaping of the sound is done with either momentous modifiers like Envelope generators or with
periodically cycling modifiers like Low Frequency Oscillators (LFOs).

RANGE TUNE WAV E FO R M VO L U M E O N /O F F F I LT E R

MASTER TUNE OVERLOAD CUTOFF RESONANCE ENVELOPE MASTER VOL.
0 −1 0 0
−2 +1 4 6 −1 +1 4 6 4 6 4 6
O S C I L L AT O R F I LT E R
−1 +1 M O D U L AT I O N OSCILLATOR 1 M O D U L AT I O N
LO +2
2 −3 +3 2 8 2 8 2 8
ON ON 4 6 ON
−2 +2
33%
0 10 −5 +5 0 10 0 10 0 10
LFO RATE MODULATION MIX ATTACK DECAY SUSTAIN
8
4 6 4 6 −1 0 −1 0 +1 K E Y B OA R D 600 1 600 1 4 6 A-440
4 6 ON T R AC K
−2 +1 5 5
−3 +3 OSCILLATOR 2 0 10
2 8 2 8 LO +2 200 200 2 8 ON
2 66% 10 10
−5 +5 NOISE VOL. DOUBLING
10 10
ON 4 6 WHITE
SLOW FA S T OSC. 3 M-SEC. SEC. M-SEC. SEC. 0 10
−7 +7 0 10 NOISE
A M P E N V E LO P E ON
GLIDE OSC. 3 8 ATTACK DECAY SUSTAIN SPREAD
NOISE LFO K E Y B OA R D −1 0 −1 0 +1
4 6 4 6 ON RELEASE 600 1 600 1 4 6 4 6
L E G AT O T R AC K −2 +1
−3 +3 OSCILLATOR 3 PINK 5 5
0 10
LO +2
2 8 2 200 200 2 8 2 8
−5 +5 10 10
ON
10 10
0 10 A LWAY S FREE RUN −7 +7 0 10 M-SEC. SEC. M-SEC. SEC. 0 10 0 10

MODULATION TONE GENERATION & MIXER ENVELOPES & FILTER OUT

50 |  MODEL 72 SYNTHESIZER SYSTEM

Tone generation & Mixer

This is the heart of Model 72. The Tone generation
section consists of three oscillators, top two of which
are identical in terms of output waveforms and features.
They are both linked to the incoming note-information
and always tracks musically across 9 [Link] third
oscillator is a bit special since it can be unlinked from
the incoming note-information and be used as a “free-
running” modulation oscillator with extended tuning
range on the tune knob. This third oscillator also features
slightly different waveforms (an inverted sawtooth
instead of shark-fin).

Narrow pulse Pulse Ramp

Sawtooth Sharkfin Square

Triangle
 INSTRUMENTS USER’S GUIDE  | 51

The mixer-section consists of five switches for turning

on and off the different sound sources mix into the filter Envelopes & Filter
and amp section of the Model 72. Next to these five The next section to the right of the mixer is the Enve-
switches are the volume knobs, setting the mix volume lopes & Filter. The combined signals from the mixer
for each sound component. Apart from the three oscil- enters the filter which is a voltage controlled 4 pole low-
lators mentioned above there's also a feedback path (or pass filter with resonance control (feedback). The filter
external audio input in the FX version) and a white/pink cutoff frequency can be controlled via the cutoff knob
noise generator. but is also dynamically modified in real-time by the
Model 72 different modulators. These are the dedicated
envelope-generators in this section, but also the separate
modulation section described below.

An Envelope generator is used to describe time-based

White noise changes in a sound. In the Model 72, the top envelope
generator (marked by the attack, decay and sustain
knobs) is used to shape the harmonic content of the
sound. The bottom one, marked “Amp Envelope”, is
used to shape the amplitude of the played sound. Both
of these envelope generators are started when you play a
note and will go through their individual phases in time
set by the knobs.

Decay
time
Attack Sustain Level
time
Decay Time (when
RELEASE Switch is on.

Pink noise
52 |  MODEL 72 SYNTHESIZER SYSTEM

Modulation
To the far left on the Model 72 panel we will find the
modulation section. Here you'll find the master tune
knob that sets the overall fine tuning of the Model 72
as well as the note glide rate and modulation mix. Apart
from the classic options of using either the oscillator
3 output or the noise, we have also added a dedicated
LFO (Low Frequency Oscillator) that can be used as an
optional modulation source.

RANGE TUNE WAV E FO R M VO L U M E O N /O F F F I LT E R

MASTER TUNE OVERLOAD CUTOFF RESONANCE ENVELOPE MASTER VOL.
0 −1 0 0
−2 +1 4 6 −1 +1 4 6 4 6 4 6
O S C I L L AT O R F I LT E R
−1 +1 M O D U L AT I O N OSCILLATOR 1 M O D U L AT I O N
LO +2
2 −3 +3 2 8 2 8 2 8
ON ON 4 6 ON
−2 +2
33%
0 10 −5 +5 0 10 0 10 0 10
LFO RATE MODULATION MIX ATTACK DECAY SUSTAIN
8
4 6 4 6 −1 0 −1 0 +1 K E Y B OA R D 600 1 600 1 4 6 A-440
4 6 ON T R AC K
−2 +1 5 5
−3 +3 OSCILLATOR 2 0 10
2 8 2 8 LO +2 200 200 2 8 ON
2 66% 10 10
−5 +5 NOISE VOL. DOUBLING
10 10
ON 4 6 WHITE
SLOW FA S T OSC. 3 M-SEC. SEC. M-SEC. SEC. 0 10
−7 +7 0 10 NOISE
A M P E N V E LO P E ON
GLIDE OSC. 3 8 ATTACK DECAY SUSTAIN SPREAD
NOISE LFO K E Y B OA R D −1 0 −1 0 +1
4 6 4 6 ON RELEASE 600 1 600 1 4 6 4 6
L E G AT O T R AC K −2 +1
−3 +3 OSCILLATOR 3 PINK 5 5
0 10
LO +2
2 8 2 200 200 2 8 2 8
−5 +5 10 10
ON
10 10
0 10 A LWAY S FREE RUN −7 +7 0 10 M-SEC. SEC. M-SEC. SEC. 0 10 0 10

MODULATION TONE GENERATION & MIXER ENVELOPES & FILTER OUT

In the Model 72, all modulation is always routed

through the modulation wheel which works as an at-
tenuator – it will determine the amount of modulation
distributed to the destination. Modulation in Model 72
can be routed to either oscillator pitch or filter cutoff
frequency, or both at the same time if preferred.
 INSTRUMENTS USER’S GUIDE  | 53

The Out section

On the far right of the panel is the output section. It
contains foremost the Master Volume knob that controls
overall output volume. Just below the Master Volume
knob is the A440 button which is the tuning guide tone
on and off. As implied by its name it turns on a 440hz
(A4) sine oscillator that is used for swift tuning pur-
poses.
Below the A440 button is another switch: the Doubling
feature and its associated knob, Spread. When enabled,
this function will add the effect of having the notes
played doubled by another Model 72 while the spread
knob will set the how much this doubling will spread
out in the stereo field.
54 |  MODEL 72 SYNTHESIZER SYSTEM

The Keyboard
The big GUI of the Model 72 features a on-screen keyboard with the main purpose for fast and ease of use for
sound design. Without reaching for your midi keyboard you'll have the possibility to trigger sounds off Model 72.
The build in keyboard will play notes equal to a mid velocity (64) level but cannot be recorded as automation.
This on-screen keyboard does not reflect incoming MIDI and this is intentional and by design: We believe that this
is representative of what the action of a real-world vintage synthesizer with add on MIDI retrofit looks like when
controlled over MIDI.

The Expanded View

But wait – there's more! We have added another, “hidden” expansion panel that let you tweak some of the finer
details of the oscillator behavior as well as some performance aspects of the Model 72. Click on the wooden board
below the control panel (above the keyboard on the big GUI) and the slide-in expansion panel will pop up, revealing
another 9 parameters for tweaking. The mouse-cursor will change from an arrow to a small pointing hand to indicate
this click-area. Click just above or on the sides of the expansion panel to close it again. The state of this panel (open
or closed) is remembered in your projects and saved presets.

Click here to open

expanded view
 INSTRUMENTS USER’S GUIDE  | 55

Parameter description: Noise / LFO This switch determines what the

Here follows a more detailed description of each knob right modulation source in the
and switch in Model 72: modulation mix will be - Noise (as
on the original hardware) or the
optional LFO.
Master Tune This is the master tuning of the
Model 72. It affects the pitch of all
three oscillators as well as the key- Glide This knob will set the glide time
board tracking of the filter (added between each note in normal (al-
feature from hardware). Range ways) or legato mode (see below).
is up and down two and a half Glide is turned off when glide time
semitones which is great for fine is set to 0.
tuning against the included refer-
ence oscillator (see A440 switch).
Legato This switch turns glide legato mode
If greater adjustments or transpo-
on and off (always). In normal
sition is needed, the pitch-bend
mode (always) glide will always
wheel can be used for this purpose
occur between two played notes.
(see below).
Key priority mode will whether the
overlapping notes will glide or not
LFO rate This knob adjust the speed of (see separate description below in
Model 72's built in LFO (Low the section of the expanded view).
Frequency Oscillator) from a
minimum speed of around 1/3Hz
Oscillator Modulation This switch turns on or off the
(knob fully counter clockwise) to
pitch-modulation to the oscilla-
maximum of around 100Hz (knob
tors. All modulation is routed via
clockwise).
the modulation wheel and its effect
will be different dependent on the
Modulation mix Adjust the balance between the type of modulation source (the mix
Oscillator 3 and Noise (or the of oscillator and noise or LFO), its
optional LFO when selected by modulation-rate and the amount.
the Noise/LFO switch mentioned
below) on the modulation bus.
Osc 1 Range This knob dial will set the octave
reference point for oscillator 1. The
LFO waveform This switch sets the waveform of “0” position is the normal range
the LFO between Square and Tri- (sometimes called “8´ range”)
angle. The square waveform is great where an A3 midi-note will pro-
for automatic trills when modulat- duce a A 440hz note. The “-1” and
ing pitch, while the triangle wave is “-2” position transposes the oscilla-
better for vibrato. tor one and two octaves below this
56 |  MODEL 72 SYNTHESIZER SYSTEM

respectively. Similarly, “+1” and “+2” Osc 3 Keyb Tracking This switch toggles Oscillator
position transposes the oscillator 3 between free-running mode
one and two octaves above the “0” (essentially a form of “unvoiced”
position range. The “LO” position mode) and keyboard tracking
is special and places the oscillator mode. When Oscillator 3 is in
five octaves below the “-2 range”, free-running mode it will not track
well into subsonic level. the on-screen keyboard or incom-
ing MIDI notes.
Osc 1 Waveform The waveform dial of oscilla- What would that be good for
tor 1 will enable you to choose then, you might ask? Well, in the
which type of sonic character the original hardware this was a way
oscillator will have. The different of using the oscillator 3 as a free-
waveforms available are trian- running modulator in “LO range
gle, shark-fin (kind of a mixture mode” routed to the pitch of the
between a triangle and sawtooth), other oscillators or the filter cutoff
sawtooth and then three different frequency. But of course you can
kinds of pulse waveforms ranging also do this while in tracking mode
from square-wave (50% cycle) to as well, even when using in oscilla-
two more narrow pulse-waves. tor 3 in audible range! More of this
later of course.
Osc 2 Range This knob has the same function- Good to know is that the range
ality for oscillator 2 as the Osc of the Osc 3 tune knob increases
1 range has for oscillator 1, see when free-running mode is ena-
detailed description above. bled.

Osc 2 Tune This knob is the individual tune Osc 3 Range This knob has the same function-
knob of oscillator 2 and can be ality for oscillator 3 as the Osc
used to detune this second oscilla- 1 range has for oscillator 1, see
tor up or down seven semitones in detailed description above.
relation to oscillator 1. Note that
this knob add detuning in addition
to Master tune and pitch-bend, Osc 3 Tune This knob has the same function-
which affects all oscillators. ality for oscillator 3 as the Osc 2
tune knob has for oscillator 2, see
above. A notable exception from
Osc 2 Waveform This knob has the same function- this behavior is that the range of
ality for oscillator 2 as the Osc 1 the Osc 3 tune knob increases
Waveform knob had for oscillator when the free-running mode is
1, see detailed description above. enabled by the Osc 3 keyboard
tracking switch turned off (see
above).
 INSTRUMENTS USER’S GUIDE  | 57

amp envelope. When feedback is

Osc 3 Waveform This knob has the same function- turned up past 4 or 5, feedback will
ality for oscillator 3 as the Osc 1 start to self-oscillate and create
Waveform knob had for oscillator an uncontrollable feedback tone
1 and 2, but with one difference: reflecting also the behavior of the
instead of the shark-fin waveform hardware.
of oscillator 1 and 2, oscillator 3 On the Model 72 FX version this
has a ramp waveform. This is great knob will control the volume of the
for usage as a modulation source external audio fed into the filter of
and also to counter the falling the Model 72. The preamp over-
sawtooth in oscillator 1 and 2 – load lamp will indicate when the
together they create a very nice signal clips although this distortion
“soaring” sound when mixed. might also be regarded as desirable.

Osc 1 Volume This is the mix volume knob for Feedback / External
oscillator 1. It set the relative Switch The switch adds the Feedback or
volume of the oscillator going into external signal to the mixer (see
the filter. further description above).

Osc 1 Switch This is the oscillator 1 on/off Osc 2 Volume Same functionality as the volume
switch. When on, it enables the knob for oscillator 1 but for the os-
audio signal from the oscillator to cillator 2 audio level into the mixer.
enter the mixer.

Osc 2 Switch This switch has the same func-

Feedback / External tionality as the oscillator 1 on/off
Input Volume This is the volume mix for feed- switch but for the oscillator 2. It
back on Model 72 Instrument, or enables or disables the audio from
the external audio signal for Model oscillator 2 reaching the mixer.
72 FX version.
When feedback is enabled (via the Noise Volume This knob will set the level of the
Feedback switch turned on) on noise going into the mixer.
the Model 72 Instrument version,
this knob will control the volume
of the feedback signal emulat- Noise Colour This switch sets the which type of
ing a cable connected between hi noise is being used (also for modu-
gain output of the hardware and lation), White or Pink. White
external audio input. Feedback is noise in the Model 72 is more
thus very dependent on mixer level focused on high end frequencies,
of the oscillators, filter settings and while Pink noise have more focus
in the low frequency areas.
58 |  MODEL 72 SYNTHESIZER SYSTEM

reference point to which all other

Noise Switch Enables or disables the audio from kinds of modulation (keyboard
the noise generator to reach the tracking, the envelope generator
mixer. and the modulation from modula-
tion bus), are added to.
Osc 3 Volume Same functionality as the volume
knob for oscillator 1 but for the os- Resonance This controls the internal feedback
cillator 3 audio level into the mixer. of the filter itself. Higher feedback
creates a resonant peak around the
cutoff frequency of the filter which
Osc 3 Switch This switch has the same func- at a certain point (resonance set to
tionality as the oscillator 1 on/off about 8 or 9) starts to self-oscillate.
switch but for the oscillator 3. It The self-oscillation itself creates
enables or disables the audio from a nice sine-oscillator that can be
oscillator 3 reaching the mixer. tuned and played via the keyboard
tracking of the filter (see below).
Filter Modulation This switch enables the modula-
tion bus, the mixed and damped Envelope Amount This knob will set the amount in-
modulation signal, to reach and fluence the filter envelope genera-
control the cutoff frequency of tor will have on the cutoff-frequen-
the filter. All modulation is routed cy. The more envelope amount, the
via the modulation wheel and its more the filter will open up with
effect on the filter will be different the attack, sustain and decay phases
dependent on the type of modula- of the envelope. When adding midi
tion source (the mix of oscillator velocity to envelope amount (via
and noise or LFO), its modulation- the expanded view), this knob will
rate and the amount. For example also mark the maximum value the
a medium rated LFO can be used envelope will influence the filter
to create a auto-wah effect being cutoff.
routed to the filter, while a audio-
rate oscillator routed to the filter
can create a distortion type of 33% Switch This switch turns on 1/3 of the
effect. tracking of the keyboard to the
filter cutoff. Keyboard-tracking
means that higher notes will
Cutoff Frequency This knob is the most impor- open up the lowpass filter to let
tant knob in the filter section. It the upper harmonics out. When
controls the filter cutoff frequency combined with the 66% switch this
which is the roll-off point of the will have the keyboard-tracking
lowpass filter in Model 72. The at 100%, meaning that the filter
cutoff frequency also represents the cutoff fully tracks the notes played
(you can even play on the self-
oscillating filter itself ).
 INSTRUMENTS USER’S GUIDE  | 59

66% Switch This switch turns on the remaining Release Switch This switch affects both the Filter
2/3 of the tracking of the keyboard Envelope generator and the Amp
to the filter cutoff. Effect on this Envelope generator. It turns on
switch by itself is twice as much the release phase of both Envelope
tracking as the 33% switch but still generators which are controlled
not 100%. Combine this with the by each decay knob (Filter Decay
33% switch to have the keyboard- and Amp Decay). When this knob
tracking at 100% is turned off, the release time for
both envelopes will be set to zero
(instant decay).
Filter Attack The filter attack knob controls the
time of initial “rising” phase of the
filter envelope generator. It opens
up the filter and ranges from very
Decay
fast to around 10 seconds. time
Attack Sustain Level
time
Decay Time (when
Filter Decay This knob controls the time of the RELEASE Switch is on.
“falling” decay phase of the filter
envelope generator. It can be heard
as a gradually dulling effect as
the filter closes and ranges from
very fast to around 50 seconds at
maximum. It will also dictate the Amp Attack This knob controls the time of ini-
release time of the filter envelope tial “rising” phase, the attack of the
when the release switch is enabled Amp envelope generator. It ranges
(see below). from very fast, instantly hear sound
set to minimum, to a smoother
Filter Sustain The filter sustain level is the “hold around 10 seconds long crescendo
level” phase in the envelope genera- at maximum.
tors of the Model 72. It defines the
level at which the cutoff frequency Amp Decay This knob controls the time of the
is held until the note has ended “falling” decay phase of the amp
(key is released). A little known fun envelope generator. Amp decay can
fact is that the sustain level change be heard as a change in volume as
rate is determined by the decay the sound gradually diminish in
setting – this can be heard when amplitude down to the level set by
changing the sustain level of the the sustain knob. The amp decay
filter while holding down a note. times of Model 72 ranges from
very fast (instant), to around 50
seconds at maximum. It will also
60 |  MODEL 72 SYNTHESIZER SYSTEM

dictate the release time of the amp Pitch bend The pitch bend wheel is un-
envelope when the release switch is springed just like the hardware
enabled (see above). original and can be used to
transpose the whole keyboard. This
Amp Sustain The amp sustain level determines in collaboration with the built-in
the “hold level” phase of the amp tune oscillator (A440hz) comes in
envelope and that means that it handy.
defines the volume level at which
the sound will be held at after the Mod Amount Modulation is an integral part of
initial attack and decay phases. The the Model 72 sound, so always
amp envelope generator will hold remember that it is routed through
the amplitude at the same level the modulation wheel which sets
until the note / key is released. The the modulation amount. Both
same rules for the rate of change pitch and mod-wheels are param-
while tweaking the amp sustain eters and thus saved as part of your
level applies as described in the project or preset.
section about the filter sustain
knob (see above).

Master Volume The master volume knob deter-

mines the overall output level. The Expanded View Parameters
By clicking on the wooden board below the panel
A440 Switch This is the reference tuning oscil- (or below the keyboard in the big GUI), the bottom
lator for Model 72. It plays an A expander panel with additional “pro-tweaking options”
at 440hz – great for tuning those becomes accessible. They are:
complex FM modulated sounds!
This switch turns it on and off. Slop This parameter emulates the slow
temperature drift of the individual
Doubling Switch This switch turns on the doubling oscillators on a vintage instrument
feature of Model 72. This emulates over time. A low value is near ideal
a doubling of the played baseline (no drift) and then go some 0.5
or lead-synth or whatever you’re semi out of tune when reaching
playing. max, excessive drift.

Doubling Spread This is knob determines the width Octave Trim This parameter is to emulate the
of the doubling when enabled It accuracy of the global octave trim
goes from full mono at minimum, for the octave switches of the
to fairly wide stereo spread at max. original hardware. This is a global
This knob will have no effect when multiplier for CV that is applied
the doubling switch is set to off.
 INSTRUMENTS USER’S GUIDE  | 61

to the octave offset so that at zero, velocity will affect filter envelope
octaves track 100% correct, but at amount at 100% (which means
max octaves for all three oscillators what the Filter Envelope amount
stretch slightly more that 1 v/oct. knob is currently set to).

Stretch Trim This parameter is designed to Key Priority This parameter can be set to high,
emulate the CV/octave fine trim low or last and determine when
stretch for each oscillator. This is which note have priority over
a per oscillator multiplier for CV another when multiple notes are
applied to the CV tracking much played. It will also how legato
a like how the octave trim works. portamento is applied.
Difference is that this stretch is a
bit different per oscillator. A low
Envelope Retrig This parameter determines when
value goes from ideal trim and then
the envelope generators is re-trig-
go some 0.1 - 0.2% out of tune
gered Normally - on the original
when reaching maximum setting.
hardware, the envelopes does not
re-trig on when playing multiple
Velocity to Filter This parameter determines how notes at once (legato). Retrig is the
MIDI note velocity will map to the option to have each note to restart
filter cutoff frequency. A low value the envelopes, regardless if one or
(minimum) on this parameter will more keys are playing at once.
have no effect and then scale up
linear to at max, full velocity to
Pitch bend Range This parameter will set pitch
cutoff scaling is obtained.
bend range up and down from
minumum of a +-2 semitones to
Velocity to Amp This parameter will determine maximum of +-12 semitones.
how MIDI note velocity till map
to the amplitude of the Model 72.
Low value (minimum) will have no
effect and then scale to a linear to
maximum where full velocity will
affect amp scaling so that MIDI
velocity 0 will be totally silent.

Velocity to
Filter Envelope This parameter determines how
MIDI note velocity will map to
filter envelope amount. A low value
here will have no effect and then
scale up linear to max where full
62 |  MODEL 72 SYNTHESIZER SYSTEM

Creating sounds
When creating sounds with Model 72 it is crucial to un- the modulated oscillator is easily detuned out of range.
derstand the fundamentally separate signalflows of the This is when it is great to have the a440 reference oscil-
audio and modulating signals in the sound architecture. lator close at hand to tune the sound back into normal
By understanding it is easier to new angles to a seem- usability with master tune and/or the pitch-bend wheel.
ingly simple synthesizer. I want to share a few tips and
tricks for your enjoyment: Filter FM distortion
Using oscillator 3 again as an audio-rate modulator, in-
pseudo PWM troducing modulation to the filter creates a kind of nice
Although Model 72 has different set pulse-waves of distorted sound.
three different width, you might sometimes miss a
feature more common in other subtractive synthesis: Using the Filter as oscillator
Pulse Width Modulation (PWM). This is a feature The filter itself can act as an oscillator while in self-os-
where the width of the pulse is changed by a external cillation. Turn up the resonance beyond 8 and the filter
modulator at variable speed. Model 72 does not have itself can be used as a nice sounding sine-oscillator that,
PWM, but you can create a sound very similar to this by when keyboard-tracked (using the 1/3 and 2/3 switches)
mixing the sawtooth waveform of oscillator 1 or 2 with can be used for everything from haunting theremin-like
the ramp waveform of oscillator 3 tuned very close in lead sounds to subwoofer base sounds.
pitch. With very close pitch ratio you'll get a slow PWM
like phasing, while detuned slighly more apart will get Chords
you a faster pulse modulating rate. One disadvantage The fact that Model 72 has three oscillators lends it
of this method vs proper PWM is of course that the well to create monophonically controlled chord sounds.
modulation rate is pitch-dependent and that modulation Set up a minor chord easily by clicking on the +7 label
amount is hard to properly govern. beside the oscillator 3 detune knob and +3 label beside
the oscillator 2 detune knob.
FM
By using Oscillator 3 as modulation source while in
audio-rate, modulation applied to the pitch or the filter
cutoff will create interesting harmonic or dis-harmonic
overtones by the means of linear frequency modula-
tion. To synthesize harmonic sounds, the modulating
oscillator must have a harmonic relationship to the
original carrier signal, in this case oscillator 2 and 3. As
the amount of frequency modulation is increased (by the
modulation wheel), the sound grows progressively com-
plex. By modulating oscillator 1 and 2 with oscillator 3
set to frequencies that are non-integer multiples of the
those frequencies, inharmonic bell-like and percussive
spectra can be created. The disadvantage of using linear
frequency modulation in the Model 72 is that the pitch
 INSTRUMENTS USER’S GUIDE  | 63

Saving and loading sounds

Saving and recalling your own or other sounds is very When you have created a really great sound that you
simple in Model 72. In the top left corner of the plugin want to save, simply click on the drop-down arrow just
window is the preset display window and just to the left to the right of the preset display window and choose
of that are the two buttons for next and previous preset Add preset or Save as – you'll now be promted to give
quick browsing. your preset a name (the same procedure can of course
also be performed in the preset collection by itself ) and
press enter to save it.

When clicking on these you will scroll back and forth in

the list that is selected and filtered in the preset collec-
tion browser.
Your preset has now been saved and can found among
The preset collection browser window is quickly open by the user presets in Preset Collection. You can even share
clicking on the window symbol to the right of the small it with your friends by exporting it along with other
preset name display. For details about Preset Collection presets as a separate “.softubepreset”-file. Details about
see the separate chapter. When browsing the presets for this can be found in the Preset Collection chapter.
Model 72, please note that there are separate presets for
the Model 72 Instrument and the Model 72 FX version. When just tweaking a sound you'll notice that the name
While the presets for Model 72 Instrument are playori- will get an * addition after the name, indicating that this
ented the presets for Model 72 FX are audio-processing preset has been changed from its saved state. If you want
oriented and won't probably sound at all before adding to save those changes simply choose “save” in the preset
audio that is processed through it while playing it. dropdown menu.
64 |  MODEL 72 SYNTHESIZER SYSTEM

Model 72 modules in Modular

When you purchase Model 72 Synthesizer System, Model 72 Noise/Glide
you're also purchasing the possibility to use all the dif- This module consists of two parts – a white and pink
ferent components of Model 72 in our modular platform noise generator, and a glide buffer. The white noise
Softube Modular! There are seven different modules for outputs far from ideal white noise but based upon
you to use in Softube Modular: Tone Generator, Amp, performance of the original circuitry. Same goes for the
Filter, Envelope, Noise/Glide, Doubling and Preamp. Pink noise of course. The glide buffer is mainly designed
Here's a brief description of them: for slewing control voltages but can of course be used to
Model 72 Tone Generator slew anything.
These oscillators a lot hotter than the Doepfer VCOs Model 72 Doubling
included in Softube Modular. In order to get correct This essentially the same effect from the standalone
gain-staging, use a mixer or gain module to get the to Model 72 plugin but here this effect can be set gradu-
perform well with the other modules in Modular. The ally with the Doubling knob and the spread knob will
depiction of the waveforms on the panel reflects the expand the effect in stereo.
same error (flipped waveforms) as on the original hard-
ware and includes all six waveforms used in Model 72. Model 72 preamp
The FM jacks are AC coupled and thus are not suited This is the preamp for external audio from Model 72, it
for static CV like sequencer data. gives a very nice distortion when pushed.
Model 72 Amp
This amp does not only amplify - it distorts audio as
well. The top CV jack is prepatched to 7.5v when no
cable is inserted, this voltage is scaled through the Amp
CV attentuator potentiometer. Additional CV (from for
example an envelope) need to be inserted at CV in order
for the Amp to amplify/pass audio.

Model 72 Filter
This classic fat lowpass filter selfoscillates when it goes
past 8 and can track 1 v/octave fairly well when 33% and
66% switches are both engaged – they actually represent
1/3 and 2/3, but hey - the panel was not big enough
for all decimals. Observe that the level knob is actually
dampening for the input.

Model 72 Envelope
A gate above 0.66V in the gate jack activates the en-
velope. The decay knob also sets the release time when
release switch is set to on (same functionality as in the
Model 72 plugin). Release time is set to zero when the
Release switch is turned off.
 INSTRUMENTS USER’S GUIDE  | 65

Model 72 in Amp Room Credits

Ever wanted some lush, warm and focused distortion Kristofer Ulfves – Project lead, sound design, presets,
or perhaps modulated sounds that you just can’t seem user manual
to achieve anywhere? Then look no further! From the
Jacopo Lovatello – Tech lead, DSP models
Model 72 Synthesizer System comes a great addition to
the Amp Room platform: The Model 72 Envelope Filter Anton Eriksson - DSP models
module.
Erik Sight – UI programming
The Model 72 pedal is pretty straight-forward in its
Patrik Holmström - UI programming
design, but here are the basics; the Amount knob con-
trols how much of the envelope signal is used to open Nis Wegmann – GUI design
and close the filter and the Drive knob controls the
Tord Jansson – programming and GUI engine
input gain. The Cutoff knob opens and closes the filter,
customization
regulating the number of overtones that are let through.
The Resonance knob changes the shape of the frequency Maxus Widarsson – Deep testing, Qualification
response (the module starts to self-oscillate above 8) and
Henrik Johansson – Testing, presets
the Smooth/Fast switch determines whether the enve-
lope signal is smoothed out or not. For something like Fredrik Mjelle – Testing, presets
drums the Fast setting would be recommended, but for a
Pontus Hagberg – Testing, presets
guitar or bass Smooth would be the go-to setting.
Then again, experimenting is what this pedal is all about!
66 | 

5 Monoment Bass

It is not always possible to achieve a modern bass sound with “just a synth”.
While it is possible to create absolutely fabulous and punchy sounds with two
oscillators, modulation and filters, a modern production usually requires more.
And that “more” often consists of layers, movement, stereo imaging, and other
effect processing that is normally done after recording the synth line.
But it doesn’t have to be that way. In Monoment Bass we threw out the “or-
dinary” oscillators and replaced them with a collection of well-crafted stereo
samples; taken from unique, highquality synths, processed through the finest
boutique gear, and sometimes with layer upon layer to create the sources that
you need to craft your sound.
 INSTRUMENTS USER’S GUIDE  | 67

On top of that we created a synth workflow with filters, envelopes and modu-
lation, all easily accessible and adjustable, for you to shape the sources into the
tone you need right now.
And if the textures of the sources aren’t enough, there’s an effects section with
ambience, spatialization, distortion, multi-band compressor, and equalization.
All that you need to make your bass line take the desired position in the mix.
It’s about sound quality and workflow. A modern bass sound in no time.

User interface
1 2

1. Source section
2. Filter and LFO section
3. Effects section, Tone section
68 |  MONOMENT BASS

The user interface consists of four parts:

1. Source section, where you select different sound sources
2. Filter and LFO section, where you set the cut-off frequency of the filter, or use
filter modulation to automatically change filter cut-off
3. Tone, where you balance your sources and set the punchiness of the sound.
4. Effects, the place for distortion, reverb, EQ, compression and spatialization.
On top of all this you also have a quick selector for presets that allows you to easily
step through the presets in the Preset Collection, or if you’ve narrowed down the
search by using tags or search words, step through the presets in the current search.
 INSTRUMENTS USER’S GUIDE  | 69

Source section
The Source section’s main purpose is to select the The level of noise, and also the amount of analog “good-
sources that are the foundation of the bass sound. You ness” is controlled by the Aging control in the tone
do that by clicking on the title of the source and choose section.
which source you want from the different categories. On
To set the mix between source a and source b, use the
the second source (source b), you can also select which
Source Mix knob in the tone section.
octave it should play in, so that you can have source a
and source b playing an octave apart for an even fatter
sound, or you can slightly de-tune source b to get a nice
chorus-y effect. Parameters
The last source does not come from pristine and high-
quality synths, but from the different flaws they have. Source A, Source B Selects the sound for the first or
We call it analog dirt and these are a unique col- second source. Click on the < > ar-
lection of noises that have been carefully sampled and rows or use the dropdown menu to
adapted for Monoment Bass. These can be used as an navigate the different categories.
almost regular noise source, or can be filtered together
with the other sources and together create complex Octave Sets the octave (-1, 0, +1) for the
textures and richness. There’s just something about good second source.
noise. It just makes everything feel more alive! It’s like
a pretty black-and-white photo. The noise makes it real,
and without it, it would just look like something you Detune Detunes the second source. A bit
snapped with your mobile. But the noise has to be right. of detuning makes everyone hap-
pier!

Analog dirt Sets the sound of the analog dirt.

Choose between noise sources and
different attack sounds.

Dirt to filter Engage if you want the analog

dirt to be filtered by the same
filter as source a and b. Otherwise
it will go directly to the effects
section.
The amount of analog dirt is
effectively controlled by the Aging
knob in the tone section.
70 |  MONOMENT BASS

What source-ry is this?

The sources are divided into different categories, to help Analog Rich
finding the right source quickly. Below we describe each A collection of full spectrum analog sources. Don’t call
category, and also point you to our favorite sources. it super saw, these are all analog sources with analog
richness!
Analog Clean
A collection of rather clean analog sources without any Listen to: “Big Ship”, this monster sound was designed with
harshness and distortion. These sources are a good start- the Modal 002 synth, play it again and again with open filter
ing point for add distortion using the drive section. By and Aging above 60% to hear the rich and lively sound.
combining a clean and less clean source you can create
an unique sonic richness.
Digital Clean
Listen to: “Monster Saw”, a rather fat analog sound designed A collection of rather clean digital sources without any
with the Schmidt Synthesizer, try out DRIVE with the MODERN harshness and distortion - but with early digital “low
setting. resolution” fun! These sources are a good starting point
for adding additional distortion. By combining a clean
Analog dark and less clean source you will get unique sonic richness.
A collection of analog sources that don’t have a full
frequency spectrum and sound rather dark. Each source Listen to: “Early Digital 1”, this sound was designed with the
use specific filtering of the synthesizers they were sam- Modal 002 synth, capturing sonic fingerprints similar to the
pled from, which gives another character using the filter famous PPGs. Try out DRIVE with the MODERN setting.
section in Monoment Bass.
Digital Dark
Listen to: “Voltage Overload”, sound designed using the
A collection of analog sources that don’t have a full
Schmidt Synthesizer, using Schmidt’s unique filters to darken
frequency spectrum and sound rather dark. Each source
the sound.
use specific filtering of the synthesizers they were sam-
pled from, which gives another character using the filter
Analog Punchy section in Monoment Bass.
A collection of analog sources with a punchy attack,
mainly designed with a filter envelope. Each synths’ Listen to: “Winter Night”, a really warm, but digital, sound
envelope and filter have something special and we designed with a rare Jomox Sunsyn, which great filters we had
didn’t just want to offer oscillator sounds from several to use!
synths, but also capture the different filter and envelope
behavior.

Listen to: “Unisono puncher”, sound designed using the

Schmidt Synthesizer, but here we used the filters and their
envelopes to create a punchy source.
 INSTRUMENTS USER’S GUIDE  | 71

Digital Noisy Organ

A collection of rather noisy digital sources of all kinds. A small collection of sources that remind of organ
The different kinds of harshness was designed with on- sounds. These sounds are a fundamental part of time-
board features of the specific synths like distortion, FM less dance and house tracks, but they definitely fit many
or other modulations, as well as with external processing other genres as well.
of the sources.
Listen to: “Hot Washed Organ”, another sound designed with the
Listen to: “Truck FM Radio”, a sound designed using the Nonlinear Nonlinear Labs C15, not a typical house organ, but a really deep and
Labs C15 synth - now you can hear that Monoment Bass is not a noisy organ for your next pop, dance or indie track!
standard bass synth, but an instrument with really unique and
inspiring sample sources!
Processed
A small collection of sources that have been heavily
Digital Punchy processed with analog filters, FM modulation, secret
A collection of digital sources with a punchy attack, stomp boxes and hardware modular devices. These
mainly designed with a filter envelope. Each synths’ sources enrich the Monoment source collection with
envelope and filter have something special and we sonic content, far beyond standard waveforms.
didn’t just want to offer oscillator sounds from several
synths, but also capture the different filter and envelope Listen to: “Circuit Board Fire”, the name isn’t entirely accurate,
behavior. but that’s what it sounds like. Another sound designed with the
Nonlinear Labs C15 and several secret processing tools on top.
Listen to: “Synclavier FM1”, did we say filter envelope before?
This sound was designed using the famous Synclavier synth. It uses
no filters, but has incredible sound shaping features, like harmonic Sub
envelopes and more. A collection of sub bass sources, typically with a low
harmonic content, which is useful for creating sub or
808 like basses. Be careful with your speakers! These
Digital Rich sources are very useful when you need to add more bot-
A collection of full spectrum digital sources. For these tom to any other source.
sources you have to try out filter section and filter
envelopes to form the rich spectrum in the right way. Listen to: “Earth Shaker”, the subtle richness and movement in
the source makes even a single note bass line interesting. It was
Listen to: “Outburst”, a monster of sound. Designed with the recorded with the Schmidt Synthesizer including filtering.
Nonlinear Labs C15. Make sure to use the filter here, unless you want
the audience to panic from all fatness!
72 |  MONOMENT BASS

Tone section
The purpose of this section is to sculpt the tone: how you mix the sources, if it should have a sharp attack,
or a slow fade-out. A lot of the “playability” of the sound can be adjusted here with just a few powerful
controls.
First step is to blend source a and b. In many cases it’s enough with a single source, and you can set
Source Mix all the way to a or b, but for modern production styles you often need to blend multiple sourc-
es. If you want to take the subs from source a, and the sizzle from source b, that’s easy to do by engaging
the Crossover. It separates source a and b at the Crossover Frequency.
Next step is to adjust the shape, the envelope, of the tone. That’s easily done by adjusting the Punch control.
Increase Punch and you’ll get a snappier, punchier sound. Decrease it and you’ll get a sound with a slow
build-up. The Release sets the time it takes for the sound to fade-out.

Decreasing Punch from 12 o’clock down

to nothing will make the onset of the note
slower. This is useful for creating slow build-
ing sounds or to reduce the built-in attack of
a source.

Increasing Punch from 12 o’clock will create

a sharper attack with a lowered volume on
the sustained note. Increase Punch to get a
pluckier and sharper sound.
 INSTRUMENTS USER’S GUIDE  | 73

When designing Monoment Bass we wanted to make Legato: the note will only glide
something that feels alive and real. Like a big beast that when you play legato, ie. connected
emits a lot of heat and creates earth-shattering lows. But notes. If there is a space between
sometimes you need something more static and a bit to notes being played, the pitch
more predictable. That’s what Aging does. More Aging will immediately jump to the latest
gives you a more authentic, but also slightly more unpre- played note. This mode is often
dictable sound with more dirt and grit. Don’t want that? called fingered glide, or auto glide.
Fine, turn Aging all the way down.
Glide time The amount of time it takes for the
glide to reach the target note. At its
minimum position (0.0), the glide
Parameters functionality is turned OFF.

Crossover ON/OFF Activates the crossover filter be- Punch Sets the shape, the envelope, of
tween source a and b. the sound. At 12 o’clock it doesn’t
do anything. Increase it to get a
sharper attack and more punch.
Crossover frequency Sets the crossover frequency. Decrease it to get a softer attack
source a will get the low part, with a slow build-up.
all frequencies below Crossover
Frequency, and source b will get
the frequencies above. Release Sets the time it takes for the note
to fade out.

Source mix Sets the blend between source a

and b. Aging Sets the amount of unpredictability
in Monoment Bass. More Aging
means less stable pitch, more un-
Source meters Shows the volume level of source predictable attacks, more dirt and
a and b after the crossover and mix. grit and more analog goodness.

Velocity ON/OFF Engage to get a velocity sensitive Volume Sets the final output volume.
instrument.

Output meter The level of the output signal.

Glide type Sets the type of glide or porta-
mento.
Always on: the note’s pitch will
always glide between the former
and the current note, in the time
that is set by Glide Time.
74 |  MONOMENT BASS

Filter section the synth doesn’t sound much more than a knock on
your door. (“But hang on, I tried that, and IT DIDN’T
DO NOTHING!”)
Filter Envelope Amount controls how much of the
Type effect you are getting (“Now you’re telling me?”)
and with Amount on full, the filter sweep will go from
nothing up to the cut-off frequency, or vice versa. Set
it half-way, and the filter sweep will go from half-way
between cutoff and nothing all the way up to the cut-off
(or vice versa).
You can clearly see how the cut-off is set, how it is
changing, and how much it can change in the filter
graph.

Even if a source, or a blend of sources, sound fantastic

on its own, a synth bass sound is all about how you filter
it, and how the filter changes when you hit a note. We
want to make that as easy as possible and boiled it down
to four main controls: the four knobs to the right.
Filter Cut-Off is the king. It rules them all. From
subby bass to screeching high. That’s what the Cut-Off
do. Resonance is the trickster, that sets the amount of
screechiness, and can be overdriven so that it distorts
into a creative mayhem. (No, it’s not your speakers
breaking, it’s how it should sound.) But the real heroes 1
are Filter Envelope Type and Amount. They control 2 3

how the filter changes when a note is being played!

And that’s how you get the classic synths sounds, like 1. Amount The combination of Cut-
the “pluck” (the filter is closes when the note is played), off, Resonance, Type, and
2. Current frequency Amount is by far the most
or the “rise” (the filter is slowly opening then a note is
played). 3. Cut-off frequency powerful knobs in Mono-
ment Bass. And we’ve spent
Filter Envelope Type goes from “slow rise” at its mini- a lot of time to make them
mum position. The filter will slowly open up and reach as versatile as possible yet
the cut-off filter after a while. Turn it up to 11 o’clock maintaining workflow and
and the filter will open up faster. At 12 o’clock it does speed.
nothing. Then when you increase it after that, the filter
will close faster and faster, and at its maximum position These filters distort. With too much resonance you’ll get a very
gritty (gritty-nice, not gritty-bad distortion!
 INSTRUMENTS USER’S GUIDE  | 75

Parameters 24, 12, 6 Sets the type of filter:

24 db/octave, classic analog synth
Filter cut-off Sets the cut-off frequency of the filter with steep cut-off
filter. Can also be adjusted by click- 12 db/octave, typical 2-pole filter
ing and dragging the curve in the
window. 6 db/octave, a gentler filter used
in a lot of modern productions.
Technically, a 6 dB filter cannot be
Resonance Sets the amount of resonance resonant, but many modern analog
(squealing) of the filter. With a lot synths have combined the gentle 6
of resonance, you can get the filter dB filter with a resonant circuit and
to distort in a very nice way! Can achieving a filter like this.
also be adjusted by clicking and
dragging the curve in the window. You will notice that heavy filters (like 24 dB/OCTAVE) will
remove too much of the built-in character that the sources
Filter envelope type Sets how the filter reacts to notes have, while 6 dB/OCTAVE lets the sources keep more of their
being played. Neutral at 12 o’clock, character.
increase for a decaying sound, all
the way to a short “plucky” sound.
Decrease to get a rising filter LFO (low frequency oscillator) is another way of
sweep. automatically change the filter frequency, but instead of
having it change when a note triggers, you can get it to
Filter envelope rhythmically change in time with your music. In general,
amount Sets how much the Filter Enve- you want to set it to sync the tempo with your DAW
lope Type should affect the filter (sync on) and set the LFO Speed to 1/4TH notes.
cut-off. This is indicated by the
shaded zone in the [Link] LFO ON/OFF Activates the filter LFO.
current cut-off frequency (the com-
bination of cut-off, filter envelopes
and LFOs) can also be seen in the LFO Rise (The dot on
window. the LFO Curve) Sets the start point of the LFO,
from triangle to saw-tooth.
In the window you can also set some additional filter
parameters:
LFO Amount Sets how much the LFO should
affect the filter cut-off, similar to
Filter ON/OFF Activates the filter. Filter Envelope Amount.

LFO Shape Sets the shape of the LFO, from

shark-fin to triangle.
76 |  MONOMENT BASS

Sync ON/OFF Activates tempo synced LFO. A note on filter modulation: synth enthusiasts will probably
scratch their head about how the modulation amount on the
filters work, so let’s state it clearly: the modulation will always
LFO Speed/LFO lower the cut-off frequency. Set the cut-off to the highest
DAW Speed Sets the speed of the LFO, in you need and adjust amount until the modulation goes low
seconds in the first case, in beats/
enough.
bar in the latter case.

Effects section

The effects section consists of five different effects

When dialing in distortion on a bass sound it’s often best to
that you can use to further sculpt your bass sound. These
listen to the bass in context of the whole mix. Bass distortion
effects have been carefully chosen and designed for bass
sounds very different in a context of other high frequency
sounds, and the control set has been thoroughly tweaked
instruments.
to give you as much control as possible with as few
knobs as possible.

The algorithms for the drive section come from the

Drive Harmonics Analog Saturation Processor plug-in, so if
If you need more dirt and grit, Drive is king. For a typi- you like them, or want more options for the distortion,
cal bass sound you often need one of two different types please check out the Harmonics plug-in.
of distortion: either a low frequency roar (transf.) that
adds harmonics to the lowest frequencies so that they
can be heard even on a small mobile speaker, or a full-
band distortion to make the bass sound sit better in the
mix (modern).
 INSTRUMENTS USER’S GUIDE  | 77

Parameters
Type Sets the type of ambience.
Drive ON/OFF Activates the drive section. neutral: A short all-round reverb,
created with a modern hardware
Type Sets the type of distortion, device combined with analog
filtering. This ambience gives your
transf: a transformer based low- basses some natural “air” and size.
frequency distortion. Will only
affect the lowest frequencies. electric: A short robotic reverb,
created with a French reverb device
modern: a full-band distortion from the 80s, combined with some
secret offline processing of the
Drive Sets the amount of distortion. recording. Use this ambience to
create a very special sonic finger-
print of your basses.
metal: A unique metallic reverb,
created with a French reverb device
Ambience from the 80s. This ambience gives
Many have been taught that putting reverb on the bass your bass sound some industrial
is a classic mistake. That is often true, since the reverb metallic sonic flavor.
smears out the bass in time, and you often need a very rusty: A short unique reverb,
focused and tight bass. But what would creativity be if created with a modern hardware
you can’t break rules? device combined with offline pitch
The ambience algorithms in Monoment Bass was shifting and other vintage tools
designed for synth bass and are meant to enhance the to give a rusty edge to your bass
stereo goodness and movement of the bass sounds. It sound
can add amazing texture to your sound, and it is quite dirty: A dirty reverb, created with
effective to use the spatialization features in conjunc- a famous modular reverb device
tion with the ambience to further tailor the sound. and combined with some secret
stomp boxes. Use this ambience to
Parameters
create a trashy little space around
your bass sound.
Ambience ON/OFF Activates the ambience section.

Tone Sets the tone of the ambience,

with dark tones counter clockwise
and brighter tones clockwise.

Dry/Wet Sets the amount of ambience.

78 |  MONOMENT BASS

EQ Multiband
Equalization, tone control, is an essential part of all The knob to rule them all. Multiband makes everything
sounds. The EQ in Monoment Bass is an extremely fatter, clearer, better, more defined… it’s hard to not use
powerful two-knob algorithm that, of course, has been it on everything. We got our product manager Paul, who
tailored for bass synths (do we need to say that again?). also designed the preset algorithms for Weiss MM-1
and Drawmer S73, to design a one-knob multiband
You can see the two controls (Bass and Tilt) as having
compressor especially for bass synth, and the result is the
two different purposes. With the Tilt knob you adjust
multiband you see in Monoment Bass. With just a bit of
the overall sound, the balance between the high fre-
compression you’ll get a warmer and fuller sound. Dial
quency harmonics and the sub-frequency content. The
it up even more and you get something that is ready to
Bass control is what you use to specifically target the
cut on a record. Overdrive it and it gets a character on
bass frequencies. In other words: Tilt is used to shape
its own.
the character, and Bass is for making it sit in the mix.
Parameters
Parameters
Multiband ON/OFF Activates the multiband compres-
EQ ON/OFF Activates the EQ section. sor.

Bass Counter clock-wise: cuts bass Amount Dial in the amount of compression.
frequencies
Clock-wise: reduces high frequen-
Meters From left to right: the amount of
cy content
low-frequency gain reduction, the
With the semi-resonant nature of amount of mid-frequency gain
the cut-filter it’s very easy to find reduction, the amount of high-
sweet-spots where the low frequen- frequency gain reduction.
cy rumble has been removed while
the fundamental frequencies are
being emphasized. This technique
has been used in many famous
low-frequency EQ circuits.

Tilt Turn clock-wise for a brighter

sound, turn counter clock-wise for
a darker sound. This is the knob
you reach for when you need to
balance the bass sound in the mix.
 INSTRUMENTS USER’S GUIDE  | 79

Spatialization Sources of sources

All sources and algorithms in Monoment Bass are ste- We spent a huge effort selecting and recording the
reo, and sometimes you want to enhance the stereo-ness sources for Monoment Bass, in order to reach a new
of them, or maybe reduce it. That’s what the spatializa- level of quality and fun using this product.
tion block does.
All samples were recorded in 96 kHz in stereo via
The Sub Mono knob forces the audio below the set fre- Merging Technologies Hapi AD converters and resam-
quency to become mono, which is great if you’re cutting pled to 44.1 kHz after all external processing.
vinyl or need a firmer low end. The High Freq Wid-
ener will increase the stereo information in the audio. All samples were designed with and sampled from real
When used in tandem, the Sub Mono will still make all hardware synths. We didn’t sample the standard Moog
frequencies below in mono, regardless of what the High or Roland synths for basses, but those exclusive and rare
Freq Widener is set at. products such as the following synths:
• Schmidt Synthesizer
Parameters
• Modal 002
Spatialization ON/ • Non Linear Labs C15
OFF Activates the spatialization
effect. • Kawai K5000
• Jomox Sunsyn
Sub Mono All audio below the set frequency • Yamaha DX5
will be in mono. Pull it all the way
up to force the output to be com- • NED Synclavier
pletely in mono. Synths from four decades were sampled via secret pro-
cessing chains of hand-picked boutique pre-amps, EQs
High Freq. Widener Increase to get more stereo width. and compressors. We sampled every 3rd note over two
and a half octave and sampled every note three times to
The spatialization section is a mid/side matrix with capture typical minimal sonic variations, controllable via
built-in EQ. Sub Mono enhances the “mid” part while the Aging knob.
High Freq. Widener enhances the “side” part.
The attack samples in the analog dirt section are
based on real recordings of objects with a certain attack
sound, sonically fitting to a bass for additional punch
and dirt. The noise samples are based on real noise
source recordings and processed sounds from field re-
cordings. Those noises add controllable dirt to the basses.
80 |  MONOMENT BASS

Monoment For Modular Credits

When you purchase Monoment Bass, you're also pur- Tobias Menguser – Initial concept, multi sample sound
chasing the possibility to use it as three separate blocks recording. Niklas Odelholm – Sound, visual and prod-
in our modular platform Softube Modular! uct design, project management. Björn Rödseth – DSP
programming. Erik Sight – Framework programming.
The three different modules for you to use in Softube
Filip Thunström – GUI programming. Jacopo Lovatello
Modular: Monoment Source, Monoment Filter and
– Filter design and modeling. Paul Shyrinskykh – Com-
Monoment FX. Here's a brief description of them:
pressor sound design. Johan Bremin – Quality assur-
ance. Kristofer Ulfves – Synth expert. Ulf Ekelöf – 3D
Monoment Source This is the Source engine from graphics modeling. Klaus Baetz – [Link]
Monoment Bass, available as Mars, Vandalism, Cr2, WA Production, Black Octopus,
stand-alone module. It has a built Function Loops – Factory presets.
in amplitude envelope, waveform
mixing, dirt level and aging. It can
be played monophonically within
modular over midi or monophoni-
cally via the gate and note jacks.
Glide, Punch, Release and Aging
parameters features external CV
control via jacks.

Monoment Filter This is the Filter section from

Monoment Bass, available as
stand-alone module. It has a built
in filter envelope and LFO. The
envelope is triggered through the
external gate jack. All sequencer
functions - Slew, Range, Amount
and Swing parameters - features
external CV control. The LFO
can be automatically locked to the
DAW tempo or set to free running
mode.

Monoment FX This is the Effect engine for

Monoment Bass, available as
stand-alone module. It has four
modes that can be run one at a
time – Drive, EQ, Multi comp and
Spatialization. Up to three param-
eters in each mode has external CV
control.
  | 81

6 Parallels

Parallels is all about sonic exploration. Softube Parallels is a pl-

ugin synthesizer featuring high quality pre-recorded multi-waveforms in the
Source-section, custom made filters in the Shaper-sections and a special selec-
tion of different effects in the, you guessed it - Effects section (right hand side
panel). Most of the parameters in the different sections can be modulated by
one of the five modulator types (LFO, RND, EUC, ENV, SEQ) available in
the Mod Pod section (left hand side panel).
We hope you will find Parallels inspirational and that you will have fun sound
exploring its hidden depths!
82 |  PARALLELS

Foreword by Johan Antoni, concept creator of Parallels

I have been using, selling and buying synthesizers as long as I can remember. My father had
a music store and imported the famed EMS Synthi-synthesizers (among others) in the mid
70s. You could say that I grew up with synthesizers and that they occupied much of my time
since I was a kid. Since 1996, I followed in my fathers footsteps and have been running (dare
I say?) Stockholms premier synth shop, selling mainly vintage, quirky and boutique synths. Or
any synth I find interesting, really. Lately, its been mostly expensive or rare modular systems.
A couple of years ago, after having played around with a Korg 800DV and an Oberheim
TwoVoice in the store for a couple of lazy summer days with no customers, I realized that I
sort of missed a less complicated and instead more direct way of doing more complex sounds.
As you may or may not know, both of these synths mentioned are old 70s vintage analog
synths with a kind easy-to-follow architecture, very versatile filters (even compared to todays
standards), not that many parameters and they work by giving you two of everything. In short,
they are very competent, user friendly, and they allow you to layer two sounds on top of each
other in order to make complex sounding sounds very quickly and easy.
Combined with my idea of the ”source waveform” based synthesis (explained later in this
manual) which allows you to switch quickly between different snapshots of synthesis, this
became a concept I could not let go of. I wanted this as a software plug-in. After some very
basic software idea tests I approached my friends at Softube and they loved the concept; why
not start developing this right now?
For my part, what followed was producing the ”source waveforms”. This took place mostly
after hours in the store using whatever I could think of (mostly vintage synth gear), some
basic programming at home and a period visiting friends in Tokyo.
 INSTRUMENTS USER’S GUIDE  | 83

User interface
1 2 3 4

1. Mod pod
2. Source section
3. Shaper section
4. Effect section

Parallels signal flow chart

84 |  PARALLELS

Introduction to Parallels's different Sections

Parallels is a very simple, but at the same time, complex
14 voice polyphonic synth. Polyphony is shared among Mod Pod
two layers, upper and lower. Parallels's simplicity lies in This Modulation Pod (alias Mod Pod) contains five dif-
that it has a very logical signal flow for the audio. How- ferent kinds of modulation that can be routed virtually
ever, for the complex part, Parallels also has a modula- everywhere in Parallels (with a few exceptions). It con-
tion resource, the Mod Pod, with multiple slots that can tains four Modulation Slots named Mod A to D which
be customized and routed to a huge number of available can contain any of the five different modulation types
destinations. Here follows a brief description of the dif- at ones. The Modulation types are a Low Frequency
ferent sections of Parallels: Oscillator (LFO), a digital Random Source (RND), a
Euclidian sequencer (EUC), a polyphonic modulation
envelope (ENV) and a modulation sequencer (SEQ).

Source section Effects

Let's start looking at the Source section: placed in the
middle left at the top and bottom, Parallels's Source The effects section contains five different effects in series
section and is the heart of the instrument. Each Source that can be turned on or off/bypassed, each with control
section, the upper and lower parts, contains a waveform over two parameters and dry/wet portion. The effects are
that is selected through the Wave dropdown menu or via Distortion, Chorus, Flanger, Delay (unsynced/synced)
the wave selection arrows. This waveform is displayed as and Reverb.
wrapped around so called the Color knob which clearly
indicates the waveform start-point and modulated loop.
Each Source section also have a dedicated Color modu-
lation envelope and a dedicated amp envelope.

Shaper
The Shaper section contains three different filtering
modes – Low Pass Gate (LPG), State Variable Filter
(SVF) and Resonator (RES) - each one with three
modulatable parameters.
 INSTRUMENTS USER’S GUIDE  | 85

MIDI Getting started

Parallels is a virtual instrument that interfaces with
your DAW through the MIDI protocol. Many DAWs Basics – what is this Source Waveforms,
load these types of “virtual instruments” on to so called
Instrument tracks which often are set up to send MIDI Shapers, Envelopes, Mod Pods etc???
information by default to the plugin instrument on
Sound is a vibration that typically propagates as an au-
channel 1. Parallels actually receives its MIDI informa-
dible wave of pressure, through a transmission medium
tion on all 16 channels (MIDI omni mode).
such as a gas, liquid or solid. In digital audio (as in
The Velocity option turns on and off Velocity to ampli- Parallels), sound is signal that has been recorded as or
tude response. This mean that, when Velocity is set to on, converted into digital form. This means that the sound
soft strokes on your MIDI keyboard will create pretty wave of the audio signal is encoded as numerical sam-
quiet notes while harder strokes will create louder notes. ples in continuous sequence stored in a digital medium
When Velocity is turned off, any change in velocity will (for example a computer hard drive).
thus not be reflected in quiet and loud notes.
The keyboard range of Parallels covers a little more than
five octaves (G0 – C#6). MIDI notes received outside
this range will not be registered and thus not heard.
The pitch bend range is always + - 2 semitones.
Modulation wheel (MIDI CC#1) is always routed to
vibrato amount, engaged when vibrato is turned on. The
present value of modulation wheel is not saved in the
patch.

Interface
Figure wave to waveshape.

Press CTRL/CMD to have fine-adjust mode activated Parallels’s Source section uses pre-recorded digitized
(as in our other plugins) which also will prevent more audio that has been meticulously recorded in high
than one step being changed at the same time in the fidelity and prepared to cover multiple octaves in order
sequencer. to ensure high quality and great musical performance.
Each waveform has been selected to be musically
Furthermore, for controls that change two parameter at
inspiring to work with and also each represent a sonic
the same time (such as for the shaper controls), it can be
transformation in the sonic spectral properties, but also
“locked” into just X or Y direction by pressing SHIFT
sometimes in amplitude and pitch. Each waveform can
when dragging. These two controls can also be combined
use any startpoint and be swept back and forth freely by
(where applicable).
the dedicated Color envelope shape or any modulation.
86 |  PARALLELS

The Source waveforms in Parallels creates a sonically

rich spectrum. This spectrum can be further shaped into Low
freq.
High
freq.
containing the desired amount of overtones and ampli-
tudes with the so called Shaper section. The Shaper sec-
tion contains different kinds of filters (and distortion).
Each filter affects the spectral outcome of the Source
waveforms in different musical ways.

Low High
freq. freq.

Example of lowpass filtering.

An envelope generator describes a triggered series of

timed events, in instruments normally triggered by the
note start. The envelope is used to represent the natural
sound properties in a formalised model. There are dif-
ferent models and school of thougths when it comes to
envelopes in synthesizers. Parallels uses several different
ones (AD, ASR and ADSR) for flexibility.
The Attack portion is the rise time of the envelope, i e
the time it takes for it to reach its peak. The Decay time Sustain level
is the time it takes for the envelope to fall from the peak
down to the next level, often to be the Sustain level. The
Sustain level is the level at which the note is statically
A D S R
suspended and sustained until the note is released (key is
released). The last envelope phase is the Release phase,
ADSR Envelope.
describing the time it takes from the note is released
until it has all died out.
 INSTRUMENTS USER’S GUIDE  | 87

Getting Started: Let’s get to know Parallels’s Source section!

1. We will start off by turning off all modulation and all

effects.

2. Continue on by turning off the lower Source section

and the top Shaper. Now when you play Parallels, all you
should hear is the raw waveform of the upper Source
section.
88 |  PARALLELS

3. Turn down the upper Source Movement Amount

slider to zero. Now try to move the big Color knob
clockwise and counterclockwise back and forth while
playing. You will notice that the sound goes from a
duller string sound to brighter one the further clockwise
you will go. And at the very end the waveform is silent.
Now turn the Color knob back all the way counter-
clockwise (Color 0%).
Now image that you could do the clockwise and
counterclockwise movement back and forth motion
you previously did with your mouse in an automated
manner - Yes, this is precisely what the Color Move-
ment Envelope is made for! The Movement Attack time
is the timing of the clockwise movement, the Movement
Decay time the timing of the counterclockwise move-
ment and Movement Amount the striking distance (i e
the multiplier) of the first two.

4. Try out the Color Movement Envelope by setting

a fairly long Movement Attack (~1300ms) and De-
cay (~2500ms), with a fairly high Movement Amount
(75%). Now play a long sustained note, listen and watch
as the playhead of the Source waveforms follows your
instructions and now sweeps forward clockwise at first,
then turning counterclockwise and returning to the
start-point set by the big Color knob.
 INSTRUMENTS USER’S GUIDE  | 89

5. Now, try out different settings where you experiment

with different Color knob settings for different start-
point of the sweep and different Movement Amount
for different strike range. Also try different time ratios
of the Movement Attack and Decay. You’ll notice that
when Movement Amount is too high in combination
with a high value on the Color knob (initial startpoint)
the Movement envelope can sometimes sweep outside
the waveforms boundaries resulting in a silenced or par-
tially note. This can however be used to our advantage
(more of this later).

6. OK, let’s try something else. Set the Movement

amount to zero again and the Color knob at default
position 50% (alt-click on the knob to set it back to
initial value).

7. Now, adjust the amplitude-envelope at the upper left

corner of the Source section, into a smoother curve. This
is done by adjusting the attack time and sustain level
to match the picture above. Play a note. You will notice
that the note now is quieter in the beginning, gradually
fading up to sustained level and staying there until the
note is released.
90 |  PARALLELS

8. Now, adjust the amplitude-envelope curve to match

the picture above again: Attack time at zero, sustain level
at 100% and release time at zero. Play a note again and
you will notice the instant full level amplitude response
of the waveform now. And when you release the note,
the sound is silenced at once.

9. Now, using the techniques you learned above, try out

and explore the other waveforms by browsing the differ-
ent waveforms in the waveform menu or using the arrow
buttons in the upper right corner of the Source sec-
tion. You will notice the vast amount variation available
already within Parallels’s Source section itself, and we’ve
only just begun!
 INSTRUMENTS USER’S GUIDE  | 91

Getting Started: Now let’s turn our attention to Parallels’s Shaper section.

1. Let’s turn on the Shaper section again. SVF mode is

the default Shaper mode for the upper Shaper section.

2. Now try clicking on the hotspot in the displayed SVF

(state variable filter) curve - it’s on the crest or peak
of the curve. Try clicking and moving it around while
playing. You’ll notice that by changing this graph in
horizontal direction changes the SVF cutoff frequency
while changing the graph in vertical direction changes
the SVF resonance. Note also that the cutoff frequency
and resonance knobs changes with the curve and vise
versa.
92 |  PARALLELS

3. Click on the other hotspot in the filter diagram

and try to move it. You’ll notice that it is linked to the
Type knob and locked to be modified only horizontally.
When the Type parameter is changed from a low value
to a high value, the SVF topology is seamlessly changed
from a lowpass filter, on to a bandpass filter and finally
a high pass filter. The displayed graph also reflects this
behaviour.

4. OK, Let’s look briefly at the Shaper RES mode, the

Resonator. Click on the RES tab on the Shaper mode
selector on the top right, an interactive three peak filter
curve appears. The Resonator shaper mode is great for
creating formants or vocal sounds, but can also be used
for crude phasing duties. By clicking on the middle
peak hotspot and dragging your mouse or touchpad left
and right, the RES Center frequency is changed. This is
also reflected on the Freq knob in the lower right part
of the Shaper window.
 INSTRUMENTS USER’S GUIDE  | 93

5. Let’s click on the hotspots on one of the side-peaks

in the filter curve. Clicking and dragging your mouse or
touchpad reveals that moving the side-peaks hotspots
vertically changes the RES Tilt (peak emphasis), while
moving them horizontally changes the RES spread (the
space in frequency between the different peaks). This
change is, of course, also reflected on the adjacent knobs
on the lower middle and left in the Shaper section.

6. At last, let’s look at the Shaper LPG mode. LPG

stands for Low Pass Gate which is a special vactrol-
controlled filter and VCA combination controlled via
a so called vactrol, often used in so called West-Coast
modular synthesis. Parallels’s Shaper LPG mode draws
some inspiration from the classic LPG to create a filter
with a controlled “sloppy” cutoff response. Click on the
LPG tab on the Shape mode selector on the top right to
bring up the LPG filter curve.

7. Clicking on the different hotspots in the filter curve

for the LPG reveals similar behaviour as the other two
modes. The peak hotspot moved vertically controls the
LPG resonance, while moving it horizontally, it will
control the LPG cutoff frequency. The other hotspot on
the left is locked to only vertical movement as it reflects
the LPG Slew, i e the amount of “sloppyness” behaviour
the Shaper LPG will display when its cutoff frequency
is modulated (more of this later). Let’s move on to the
Effects section!
94 |  PARALLELS

Getting Started: Getting to know Parallels's Effects section!

1. OK, let’s start by clicking on the activate-button on

the top effect in the Effects section (on the right in Par-
allels), distortion. When the color graphics light up (in
the case of distortion, it is red), the effect is active.

2. Each effect features two specially selected editable pa-

rameters and a dry/wet mix (the knob on the right). All
the effects in Parallels is chained in series with a signal
flow from top to bottom, which is good to know when
working with effect.
 INSTRUMENTS USER’S GUIDE  | 95

Getting Started: Looking at Parallels’s Modulation section

On the left panel we will find the Modulation Pod (or Mod Pod for short), containing all the four different
modulation slots named A, B, C and D. Most of the parameters in the different sections can be modulated
by one of the five modulator types (LFO, RND, EUC, ENV, SEQ) available in each slot of this Mod Pod
section.

1. Let’s get started by adding an LFO in Mod Pod slot

A (the slot on top).

2. Now, let’s add some modulation to the pitch of the

upper Source. This is done by clicking on the outer ring
of the pitch and dragging upwards. You will see the
modulation ring start to fill with white color from the
middle and out.
96 |  PARALLELS

3. By adjusting the Modulation mix slider between the

Modulation sources you will see that the color of the
modulation will change accordingly. When the Modula-
tion mix is turned all the way towards left where Mod
Pod Slot A is selected as modulation source, the modu-
lation color turns violet; the same color as the Mod Pod
Slot A has. Play a note and you will hear the LFO af-
fecting the pitch up and down, like a siren. Experiment
by changing the speed, shape and rise/fall times in the
LFO while playing.

4. Now, let’s add another modulation source. Click on

the Mod B Active button to active Mod Pod Slot B and
select RND as Mod B Type as pictured.

5. Now, click on the Pitch knob outer ring again to

bring up the modulation sources and mix controls for
this destination. Slide the Modulation mix all the way to
the right, towards mod B as modulation source, and you
will see the modulation color turn blue; the same color
as modulation slot B. Now, when playing a note you will
hear a highly buzzing erratic sound due to the noise-
source affecting the Source waveform pitch. Experiment
by changing the different parameters in the RND source
now selected in modulation slot B.
 INSTRUMENTS USER’S GUIDE  | 97

6. As we noticed before, when the modulation mix

slider is set somewhere in the middle, in between the
modulation source selected on the left and on the right,
the modulation color is white; indication that there is a
mixture of two modulation sources going on here.

7. As pictured and described, you can route any modu-

lator to any destination by clicking on the other ring of
a parameter of choice. Then chose the modulation from
two of the four modulation slots and the mix balance
between them. Set the amount of modulation at the
destination by clicking on the other ring of parameter
again, and drag your mouse or mouse-pad upwards (the
ring around the parameter will fill up).
Note that some parameters cannot be modulated - all
non-knob-type interface will not accept modulation
routing from the Mod Pod. This is true with the excep-
tion of the Octave knob that’s not available for modula-
tion (despite being a knob).
98 |  PARALLELS

Parallels in detail
In these sections that follows, you'll find all detailed
information about each and every part of Parallels.

The Source Section

[zoomed in picture of Source section w arrows]

7

1. Amplitude envelope
8 2. Color movement
9 envelope
2
3. Octave
4. Pitch
5. Oneshot
6. Vibrato
7. Waveform
8. Modulation
9. Color knob
3 4 5 6
 INSTRUMENTS USER’S GUIDE  | 99

Active on/off This parameter activates and

deactivates the Source with its
adjacent Shaper section. When a
section is deactivated, its graphics
is dimmed indicating that it is no
longer heard.

Wave menu In this dropdown menu you can

select from each of the different
wave category.

Wave selection
arrows With the wave selection arrows
you can rapidly change between
waveforms without using the drop-
down menu. Notice that a changed
waveform will not be heard until a
new note is pressed.

A complete Waveforms list is presented in "Appendix" on page

121.
100 |  PARALLELS

The Amplitude envelope Amplitude envelope

attack (1ms - 16sec) This horizontal slider controls the
attack portion of the (upper) layer's
The amplitude envelope controls the overall change amplitude envelope. Keep this
of amplitude over time. It is a so called ADSR (At- short (low values) for instantly re-
tack, Decay, Sustain, Release) envelope with simplified sponsive and snappy sounds, while
controls (i e one common control for Decay and Release using higher values for extending
times). the attack time for slower, fading
in notes.

Amplitude envelope
sustain (0-100%) This vertical slider controls the
sustain level of the amplitude enve-
lope for the upper layer. This is the
sustained volume level that is held
after the initial attack and decay
times of the envelope. If the sustain
level is at 100% the decay will not
be pronounced, effectively turning
the envelope into a ASR (Attack
Sustain Release) envelope.

Amplitude envelope
release (1ms-16sec) This horizontal slider controls
the decay and release portion of
(upper) layer's amplitude enve-
lope. This dual function parameter
controls both the initial decay
phase appearing right after the
attack phase, but simultaneously
also controls the final decay (often
also called release) that appears
when a note is released. Setting
this parameter low creates very
fast, abruptly ending sounds, while
using higher values creates lush
sounds with long hanging notes.
 INSTRUMENTS USER’S GUIDE  | 101

The Color envelope Color movement

envelope decay
(1ms-16sec) This parameter controls the decay
The Color envelope is a dedicated AD(Attack and time of the Color Movement enve-
Decay)-envelope that will perform a sweeping of the lope. The decay time is the timing
start and loop-position of the Source waveform, first in of the falling portion (decay) of the
a clockwise motion during attack phase, and then in a envelope.
counterclockwise motion during the decay phase.

Color movement
envelope amount
(0-100%) This parameter controls the
amount of color movement inflict-
ed by the dedicated Color Move-
ment envelope. Color movement
is the modulation of the start- and
playback-position of the Source
waveform. The movement inflicted
by the Color Movement envelope
is added to the offset position set
by the Color knob, as well as the
modulation added from the Mod
Pod (see further description below).

Octave (-1 / 0 / +1) This parameter let the user trans-

Color (0-100%) This parameter control the wave- pose the Source waveform up or
form playback start- and loop- down once octave. Default value is
point. This is the offset point from 0 (no transposition).
which the playback of the wave-
form always will begin.
Pitch (-12 – 0 - +12
semitones) With this parameter, the user can
Color movement detune the pitch of the Source
envelope attack waveform up or down from the
(1ms-16sec) This parameter controls the attack default offset. Maximum values
time of the dedicated Color Move- are + and – one octave. Modulate
ment AD (Attack Decay) envelope. this parameter with the Mod Pod
The attack time is the timing of sequencers for creating pseudo-
the rising portion (attack) of the arpeggios (see further description
envelope. below).
102 |  PARALLELS

Oneshot (on/off) This parameter turns on the

Oneshot playback mode of the
Source waveform. In Oneshot
mode, sustained loop-functionality
is turned off and the waveform is
played from the where the current
start-position (Color knob + the
modulation determines where). The
Color-envelope is also disabled in
Oneshot mode.

Vibrato (on/off) This parameter turn on the internal

vibrato. Vibrato is a low-frequency
pitch modulation that emulated
the vibrato of a violinist or cellist.
When this parameter is engaged,
MIDI modulation amount (MIDI
controller #1) will control the
maximum amount of vibrato (de-
fault is 100%).

The Mix Balance functionality

Src Mix This is the mix balance in volume

between the upper and lower layer
in Parallels. When this knob is
turned fully counter-clockwise,
only the upper layer will sound.
And of course, if this knob is
turned fully clockwise, only the
lower layer will sound. This de-
scribed behavior is also reflected
in the graphics as the waveform's
shown color intensity also will
reflect the current state. When a
waveform is faded to grey, it is not
heard.
 INSTRUMENTS USER’S GUIDE  | 103

The Shaper Section

1 2

1. Shaper active on/off

2. Shaper model
3. Hotspot
4. Interactive filter diagram
5. Filter parameters 1-3
104 |  PARALLELS

LPG slew
Active on/off This parameter activates and (0-100%) This is the amount of “sloppiness”
deactivates the Shaper section. in the cutoff response. It ranges
When the Shaper is deactivated, from 20 ms to 2000 ms, minimum
its graphics is dimmed indicating to maximum response.
that it is no longer heard and the
sound from its adjacent Source
The SVF (State
section is bypassed through to the
Variable Filter) Is an OTA-style filter with
Effect section.
variable characteristics (lowpass,
bandpass, highpas) and separate
Type LPG/SVF/RES This parameter determines which control over cutoff and the a wild
tone shaping model the Shaper resonance.
section will use. The three types
are:
SVF frequency
(16Hz - 17.6 kHz) This is the cutoff frequency of the
The LPG SVF Shaper.
(Low Pass Gate) Is a lowpass type of filter inspired
by West Coast synthesis, with a
SVF resonance
variable slew, cutoff and resonance
(0 - 100%) This is the amount of feedback in
control. While the cutoff
the SVF Shaper.
and resonance controls works
pretty much as on any like other
lowpass filter with feedback con- SVF type (lowpass -
trol, the slew parameter controls bandpass -highpass) This parameter set the SVF type
the response of modulation ap- used in the Shaper which ranges
plied to cutoff frequency, mimick- from lowpass mode with knob at
ing the “slop” of a vactrol control. counterclockwise, bandpass with
knob at 12 o’clock, to highpass
mode at fully clockwise.
LPG frequency
(20Hz - 20kHz) This is the cutoff frequency of the
LPG. When modulated, the LPG The RES (Resonator) Is a three band variable resonator-
Slew will determine the “sloppi- bank with control over the center
ness” its response (see below). frequency, as well as the tilt and
spread of the bands.
LPG resonance
(0 - 100%) This is the amount of feedback in
the LPG Shaper.
 INSTRUMENTS USER’S GUIDE  | 105

RES center freq Copy from (arrow on

(159Hz – 2518kHz) This is the center resonator peak module you want
cutoff frequency of the RES to copy from) Clicking on this arrow on the up-
Shaper mode. per or lower Shaper instantly cop-
ies the settings for the Shaper type
RES tilt (0 – 100%) This parameter set the RES tilt currently selected, selects the same
balance used in the Shaper which Shaper type on the other Shaper.
ranges from high freq boost with
knob at counterclockwise to low Swap Clicking on this “double arrow”
freq boost at fully clockwise. symbol instantly swaps the settings
of the upper and lower Shaper.
RES spread (0 - Clicking the same cymbol again
100%) This parameter set the spread swaps back.
between the three different bands,
from roughly doubling in frequen- Note: No modulation information is copied or swapped with
cy for each band at fully counter- the functions described above. Because of this, settings copied
clockwise, to up to eight times the from the upper Shaper to the lower Shaper or vise versa can
frequency at fully clockwise (x2 sound quite different although the same Shaper type and set-
- x8). tings are being used. This can of course be cured by manually
selecting the same modulation sources, mix and amount.

The Shaper Copy and Swap functionality

The Shaper sections also contains some smartness - you
can copy and swap setting between the upper and lower
Shaper by clicking on one of the three different “arrow”-
buttons (see further description below).

Copy shaper settings to lower.

Swap shaper settings between upper and lower.
Copy shaper settings to upper.
106 |  PARALLELS

The Mod Pod

The left section of Parallels contains the modulation slots A to D and is called the Modulation Pod or Mod
Pod for short. Each slot in the Mod Pod contains a configurable modulation source. This means that any of
the modulation slots can be assigned to do similar modulation tasks and to be assigned just about anywhere.
All slots have their own individual modulation color that is reflected in the assigned modulation.

1 2 3

6 7

1. Modulation active on/off

2. Modulation slot A-D
3. Modulation type
4. Hotspot
5. Interactive modulation diagram
6. Modulation parameter 1
7. Modulation parameter 2
 INSTRUMENTS USER’S GUIDE  | 107

Active on/off This button turns the Modulation LFO rise (0-100%) This parameter sets the how much
Slot on or off. When turned off, of the LFO cycle that will be the
modulation is cut from all destina- rising portion and thus also the
tions using it and thus can radically remainder that is to be the fall
change the sound. portion.

Modulation type LFO shape (0-100%) This parameter set the shape on
(LFO/RND/EUC the rise and fall period of the LFO
/ENV/SEQ) With this type button you can curve. It goes seamlessly from
choose which kind of modulation inverted exponential (0%) to linear
you want the modulation slot to (50%) to exponential at (100%).
use. Here follows the detailed de-
scription of each of these modula-
LFO DAW speed (4
tion types available in Parallels:
bars/1 bar/half note/
fourth note/eight
note/sixteenth note) When the LFO sync is turned on,
each LFO cycle is quantized into
division of a beat ranging from one
cycle every 4th bar to one cycle
LFO (Low-frequency Oscillator) each 16th note.

An LFO is a low-frequency oscillator - a cyclic rise and

fall type of wave oscillation that can be used to modulate
LFO speed
your target parameter destination with as slow move-
(0.1 Hz – 50Hz) The LFO speed parameter sets the
cycle time of the LFO, from a very
ment as 0.1Hz (i e 1/10 cycle each second, meaning that
slow 0.1Hz to a moderate 50Hz
cycle time is 10 seconds).
(just above audio-rate).

LFO sync (off/on) This parameter turn on and off the

DAW tempo sync. When turned
on, each LFO cycle is quantized
into division of a beat (see LFO
DAW speed).
108 |  PARALLELS

RND (Random modulation generator) RND noise (lowpass -

flat - highpass) This parameter which is the move-
The RND is a digital random modulation generator ment in the X-axis on RND panel,
that outputs bursts of random pulses at a regular rate. controls the filtering of the gener-
This means that for each clock-cycle a pulse may of may ated noise, from the heavy lowpass
not appear. The clocked rate in the RND is called “rain” filtered version at 0%, on to flat (no
to illustrate the light drops of rain at a low rate, to the filtering) at 50% and on to heavy
heavy rain of a high rate. There's also a low- or highpass highpass filtered at 100%. The
filtering of the generated noise as well a internal LFO X-axis movement can be locked by
controlled amplitude-shaping called “wave”. The “Storm” holding down shift and moving the
option makes the wave go bananas! mouse horizontally for only adjust-
ment of the RND noise (filtered
noise).

RND wave (0 –
100%) This parameter controls the
amount of “breathing” scaling to
the modulation amount. This is a
cyclic slow amplitude modulation
of the filtered random pulse output
that can be turned completely off
by setting the RND wave to 0%.

RND storm (on/off) This option completely turns off

the wave modulation and instead
amplitude modulates the RND
output with another uncorrelated
RND rain (0-100%) This parameter which is the move- white noise source.
ment in the Y-axis on RND panel,
controls the internal speed of the
clocked random source, from the
light drops of rain at a low rate
(0%), to the heavy rain of a high
rate (100%) - white noise. The
Y-axis movement can be locked by
holding down shift and moving the
mouse vertically for only adjust-
ment of the RND rain (clocked
speed).
 INSTRUMENTS USER’S GUIDE  | 109

EUC (Euclidian sequence generator)

The Euclidian sequence generator (EUC) in Parallels
EUC fill (0-100%) This parameter determines how
can be used to create a number of evenly distributed
many percentage of the available
gates (modulation maximum) over the course of one
steps in a bar that will send gates.
bar. The number of gates are filled from the first beat
clockwise by a percentage and the resulting gates can be
shifted around the beat for (nearly) endless array of pos-
sibilities. The EUC is always synced to DAW tempo and
position, therefore its effect will not be heard when the
DAW transport is stopped.

For example, in a 16 step sequence a 25% fill will result

in 4 distributed gates.

EUC steps (1-32) This parameter determines the

number of evenly distributed gates
(modulation maximum) over the
course of one bar.

EUC shift (0-100%) The EUC shift parameter is used

to shift the steps around the pe-
rimeter by percentage.

EUC Retrig (off/on) This parameter determine if the

EUC cycle will retrigger on next
16th note.
110 |  PARALLELS

ENV (modulation Envelope generator)

ENV Release
The modulation Envelope generator of Parallels is a (50ms - 8000ms) This parameter defines the final fall
ASR or ADSR generator (configured by the ENV time of the modulation envelope.
Decay on/off button). It can be used to, for example, It takes from a key is released
modulating the filters in the Shaper section, sweeping until the modulation envelope has
the waveforms loop start-points and altering the dry/wet fallen down to zero again. When
level of the effects. the modulation envelope is set to
ADSR mode via the ENV Decay
option.

ENV Decay (off/on) When this option is turned on, the

modulation envelope changes its
curve to a ADSR envelope, adding
the optional decay stage that will
be proportional to, and controlled
by the same parameter as the ENV
Release (descriped above). In a
ADSR envelope, the decay portion
describes the fall time from the
peak of the envelope, down to its
ENV Attack sustain level.
(5ms - 4000ms) This parameter set the attack
time of the modulation envelope.
It defines the rise time until the
envelope has reached its peak. A
lower attack value equals a faster
rise time.
Note: the modulation envelope is the only modulation param-
eter that is assigned per voice, that is affects each destination
ENV Sustain (0- polyphonically (true for all destinations except for destinations
100%) The Sustain parameter defines with the effect section).
the hold level of the modulation
envelope. This is the level that the
envelope will rise to from zero
through the attack phase that lasts
as long as defined by the ENV at-
tack parameter (described above).
 INSTRUMENTS USER’S GUIDE  | 111

SEQ (modulation Sequencer)

The modulation Sequencer in Parallels is designed to provide slewed sequenced modulation or gating informa-
tion that can be used to modulate different things: pitch, filter cutoff etc. It's speed is a 16th note division set by
the DAW sync tempo and its alignment is to transport when DAW is running. The modulation sequencer has two
modes: modulation and trig. Where modulation sequencing is stepped level set by each step, the trigged gates of the
trig mode is either on or off, and each gate only lasts half of a 16th note (a 32th note). In modulation mode you can
easily draw you modulation curves continuously across the 16 steps, and fine-adjustments can be done by pressing
and holding CTRL (pc) or CMD (mac) to fine-adjust. This will also prevent more than one step being changed at
the same time in the sequencer. Note that the draw functionality can be turned off in the setup menu.

SEQ slew (0-100%) The slew parameter defines the

slew rate of the output modulation
from the modulation sequencer.
The higher slew value, the slower
lag (or glide) is added to the output
modulation.

SEQ Trig (off/on) This parameter controls the output

mode of the sequencer. Modulation
mode (SEQ Trig: off ) sequencing
is stepped level set by each step,
and Trigger mode (SEQ Trig:on) is
SEQ first step (1-16) This parameter sets the first step
trigged gates.
of the modulation sequence. If this
step occurs after the last step, then
the sequence will go backwards. SEQ step CV 1 – 16
For example, if the first step is (0-100%) This is the amount of modulation
12 and the last step is 8, then the to be generated by this step.
sequence will start at step 12, then
play steps 11 through 8 and loop
back to step 12 on the next 16th
SEQ step trig 1 – 16
note.
(off/on) In trig-mode, this is the amount
(either 0 or 100%) to be generated
by the gates of each step. Each gate
SEQ last step (1-16) This parameter sets the last step if will last for half a 16th note.
the modulation sequence. If this
step is positioned before the first
step, the sequence will reverse order
as described above.
112 |  PARALLELS

Modulation Routing
In Parallels, nearly all parameters in Parallels can be
modulated from the modulation sources available in the
Mod Pod. Click on the outer ring, modulation ring, on a
knob to bring up the available modulation sources (A/B/
C/D) and the mix balance between them. By clicking
on the modulation ring while dragging your mouse/
mousepad upwards you will add modulation amount to
that destination. The color ring around the destination
knob will light up with a color reflecting the modulation
amount and mix of the sources chosen to modulate this
knob. A 50/50 mix of two sources will result in a white
color. There's is also a small indicator on the ring show-
ing the presently applied sum of modulation.
Modulation routed in Parallels is only positive with one
exception: Modulation of the to pitch is bipolar, which
means that a Source waveform will stay in pitch when
modulated with a LFO. This also means that when
modulating pitch from the modulation sequencer at full
range, nominal pitch will be at 50% on a sequencer step
giving the sequencer a modulating pitch range of a total
of two octaves.

Note: A few of the parameters cannot be modulated and those

are primarily sliders: Color Attack, Color Decay, Color Amount
and Octave. Also, oneshot and vibrato on/off options cannot be
modulated from the Mod Pod. Change of modulation routings is
only reflected in the next triggered note.
 INSTRUMENTS USER’S GUIDE  | 113

The Effect Section Distortion

This effect saturates the signal with a vacuum tube-like
The effects signal flow in Parallels are setup in series, flavor.
from top to bottom. Each effect has its own dry/wet mix
and bypass switch. Distortion Amount
(0-100%) The amount of distortion on the
effected signal.

Distortion Tone
(0-100%) Dark or Bright distortion, you
decide.

Distortion Mix
(0-100%) This is the dry/wet mix between
the dry signal and the effected
(distorted) signal. Blend to your
preferred ratio.

Chorus
This effect emulates the behavior of a classic stereo-
chorus, often found in polyphonic synthesizers of the
late 1970s and early 80s.

Chorus Speed
(0-100%) The internal chorus speed.

Chorus Width
(0-100%) The stereo width and amount of
the chorus.

Chorus Mix
(0-100%) This is the dry/wet mix between
the dry signal and the effected
(chorus) signal. Blend to your
preferred ratio.
114 |  PARALLELS

Flanger Delay
A flanger is effect a time-dilation effect where parts of This delay is an echo effect quite similar to the Filter
the signal is slightly delayed, feedback and mixed with a echo of Softube Heartbeat. It features both a set delay-
constant change of he delayed timed. The results is not speed on the first half on the speed knob. But also a vari-
so different from a phaser but can still be distinguished able delay-speed set as division of a beat synced to your
as it creates an unlimited series of equally spaced notches DAW, on the second half on the same knob.
and peaks, both harsh and sweet sounding at the same
time.

Time (1-900ms, 1/16,

Flanger Speed 1/32, 1/16, 1/16+,
(0-100%) This is the flanger internal sweep 1/8T-, 1/8T, 1/16D,
speed (approximate range 0.5 – 1/8, 1/8+, 1/4T-,
5Hz). 1/4T, 1/8D, 1/4,
1/2T, 1/4D, 1/2) This parameter determines the de-
lay time of the echo; i e how long
Flanger Feedback time passes between each delay
(0-100%) This parameter controls the “hit”. On the left half of the Time
feedback path of the flanger, but
knob, the range is from 1 to 1000
also the stereo width of the sweep;
milliseconds. On the right side, the
i e the more feedback, the wider
delay time can be set in divisions
flange.
of the DAW tempo, ranging from
1/64th to 1/2 of a beat. The latter is
Flanger Mix useful for setting the delay to act in
(0-100%) This is the dry/wet mix between time with your song.
the dry signal and the effected
(flanged) signal. Blend to your
Feedback (0-100%) Is set the amount of feedback,
preferred ratio.
how many delay repeats there will
be. It ranges from one repetition
to roughly 10 repetitions at full
feedback.

Delay Mix (0-100%) This is the dry/wet mix between

the dry signal and the effected
(delayed) signal. Blend to your
preferred ratio.
 INSTRUMENTS USER’S GUIDE  | 115

Reverb Setup
The Reverb in Parallels is Softube custom reverb al- By clicking on the Setup window tab in the lower right
gorithm tailored to suit the needs of a synth sound. It corner of Parallelss widow, a screen of global options
creates everything from a short slap-back room to a vast will be displayed. Many of the options requires shutting
synthesized textured space. Tweak it according to your down and opening Parallels again (good to know). The
needs. setup options are as follows:

Time (0-100%) This parameter changes many Warn when deleting

things at once about the reverb. presets from
Low values makes the pre-delay preset collection Turns off or on the dialogue ap-
more apparent, with less feedback pearing when deleting user presets
and shorter times in the feedback in the preset collection. Factory
loop. 20-40% creates a small space presets cannot be deleted, although
and with values higher than 50% they can be filtered out (not
a very large space is created by the shown).
reverb.
Warn when
Tone (0-100%) This parameter sets the filtering overwriting presets
of the feedback networks in the in preset collection This option turns off or on the
reverb. While 50% is a flat filter to- dialogue appearing when over-
pology, lower values below 50% will writing user presets in the preset
dampen higher frequencies in the collection.
reverb (dark reverb). Values above
50% will dampen lower frequencies Use Open GL graphics Turns off or on Open GL graphics
in the reverb (brighter reverb). acceleration. This is an option that
affects all Softube Plugins and if
Reverb Mix (0-100%) This is the dry/wet mix between selected, a DAW restart is required
the dry signal and the effected before change of this option is
(reverb) signal. Blend to your pre- active.
ferred ratio.
Color Blind Mode This option enables or disables
colors specially adapted for the
colorblind. Close and open the
Parallels GUI for the change to
have effect.
116 |  PARALLELS

Show Colors in Menu This option enables or disables

colors in the wave menu reflecting
the colors of the waveforms already
before they are selected. Close and
open GUI again for the change to
have effect.

Always use
smaller GUI This option forces Parallels’s
rescaler to always open the plugin
in a smaller window. Close and
open the Parallels GUI for the
change to have effect.

Show tooltips Turns on or off the tooltips (screen

text overlay for parameters). Close
and open the Parallels GUI for the
change to have effect.

Show value display Turns on or off the value display

for edited parameters in the lower
left corner. Close and open the
Parallels GUI for the change to
have effect.
 INSTRUMENTS USER’S GUIDE  | 117

Tips and tricks

Use the Amp Envelope to change the dynamic character of any sound. Pictured above
is the difference on the Amp Envelope between a plucked string sounds and slow,
bowed stringed sound.

Most of the different Source waveforms have change of harmonic content when
sweeping the Color knob clockwise. Make use of these harmonic changes either by
using the dedicated Color Movement Envelope or by assigning a modulation slot to
create a harmonic change while playing. And of course you can also do both at once.
Pictured above is how a LFO in Mod Pod C is assigned to sweep the lowpass filter
in the “Ana Saw LP” Source Waveform.
118 |  PARALLELS

Use the RND to create random octave jumps with the

RND Wave parameter set at 0. Use RND modulation
on full 100% amount to make the RND pulses to create You can modulate the internal LFO speed of the flanger
moderatly slow random octave jump. with a modulation LFO by assigning a Mod Pod con-
taining the LFO to the LFO speed knob of the Flanger
(as pictured above).

Total polyphony is shared between upper and lower

layer. Double your polyphony by turning off one layer if Create your own unusual flange effect by assigning a
you do not need it. modulation LFO to speed knob of the Delay effect (as
pictured).
 INSTRUMENTS USER’S GUIDE  | 119

Parallels For Modular

When you purchase Softube Parallels, you're also pur-
chasing the possibility to use it as five separate blocks in
our modular platform Softube Modular!
The four different modules for you to use in Softube
Modular: Parallels Source, Parallels Shape, Parallels
Mod, Parallels Env and Parallels FX. Here's a brief
description of them:

Parallels Source This is the Source engine from

one half of Parallels Lead, avail-
able as stand-alone module. It has
a built in amp and color envelopes,
vibrato and one shot mode. It can
be played polyphonically within
modular over midi and/or mono-
phonically at the same time via the
Create a tremolo by using a modulation LFO to modu- gate and note jacks. All envelopes
late mix with one Source turned off. stages, pitch parameters and color
parameters features CV control via
the external jacks.

Parallels Shape This is the Shaper section from

Parallels, available as stand-alone
module. It hasthree built in modes
(LPG, SVF and RES). All controls
are CV-controllable via external
CV control.

Parallels Mod This is the Modulation section

from Parallels. It features four
different modulation modes that
all can be externally controlled in
different ways. The random source
can be externally clock, as does also
the euclidian and step sequenc-
Another way of creating a tremolo effect is by setting a ers. Sequencers have extensive CV
late start in the Source Wave and assigning a modulation control over first, last step and
LFO to modulate playback.
120 |  PARALLELS

output slew. When not externally

clocked the sequencers is automati- Credits
cally locked to the DAW tempo at Johan Antoni – Initial concept, multi sample sound-re-
all times. cording and library, testing and presets. Kristofer Ulfves
– Project lead, sound design, presets, user manual. Björn
Parallels Env This is the Modulation Env from Rödseth – Tech lead, programming. Kim Larsson –
Parallels, available as stand-alone DSP modeling, programming. Erik Sight – program-
module. It is externally triggered ming. Patrik Holmström - programming. Jacopo
by a gate over 1.33v and features Lovatello – programming. Filip Thunström – program-
CV-control over each phase at any ming, preset conversion. Tord Jansson – programming
time. When Decay is activated it and GUI engine customization. Oscar Öberg – Men-
shifts from ASR to ADSR type. toring, programming. Arvid Rosén – Mentoring, pro-
gramming. Manuel Colomb – GUI design. Joe Lawton
– Testing, presets. Henrik Johansson – Testing, presets.
Parallels FX This is the Effect engine for Fredrik Mjelle – Testing, presets. Christoffer Berg
Parallels, available as stand-alone – Testing, presets. Maxus Widarsson – Deep testing,
module. It has five modes that can Qualification. Johan Bremin – Deep testing, Qualifica-
be run one at a time – Distortion, tion. Sven Bornemark – Testing. Fanny Hökars – User
Chorus, Flanger, Delay and Reverb. Manual layout.
Three parameters in each mode has
external CV control.
 INSTRUMENTS USER’S GUIDE  | 121

Appendix
Waveforms list

Cathegory Index no Name Description clockwise harmonic change

Digital Synth 001 Digi Guitar Synth-guitar sound
002 Digi Noisy Seagulls a slowly swelling synthetic sea-gull sound
003 Digi Strings A somewhat brassy synth-string sound
004 Digi Meta 1 Digital wave that propagates from a soft to a harsh sound
005 Digi Meta 2 Digital wave that evolves from a soft pad into a harsh piercing sound.
006 Digi Meta 3 Digital chunky chord sound that evolves into a huge space.
007 Digi Meta 4 Digital guitar into added harmonic content.
008 Digi Meta 5 Digital plucked string sound extended into a held tone warped into distortion.
009 Digi Meta 6 Digital percussive looped sound into warped distortion
010 Digi Meta 7 Digital guitar into warped distortion.
011 Digi Superwave Static sawtooth into a detuned swarm of supersaw.
012 Digi Table 1 Swept digital wavetable with different harmonic content.
013 Digi Table 2 Another swept digital wavetable with different harmonic content.
014 Digi Table 3 Swept digital wavetable from even to odd harmonics.
015 Digi Table 4 Digital additive synthesizer style wavetable.
016 Digi Table 5 Swept formant wavetable.
017 Digi BP Amped Digital distorted triangle wave through bandpass.
018 Digi LP Decimated Digital distorted lowpassed triangle wave.
019 Digi LP Dist Overload Another digital distorted lowpassed triangle wave.
020 Digi Tri Meta 1 Digital choir into distortion.
021 Digi Tri Meta 2 Digital female choir into distortion.
022 Digi Tri Meta 3 Digital voice into distortion.
023 Digi Wave Digital wave with filter sweep.
Analog Synth 024 Ana Hoover Classic hoover sound from the analogue classic.
025 Ana Sweep Filter LP sweep sound from an analogue poly classic.
026 Ana Saw BP Sawtooth bandpass-sweep from a vintage analogue synth.
027 Ana Saw HP Sawtooth highpass-sweep from a vintage analogue synth.
028 Ana Saw LP Sawtooth lowpass-sweep from a vintage analogue synth.
029 Ana Squ BP Squarewave bandpass-sweep from a vintage analogue synth.
030 Ana Squ HP Squarewave highpass-sweep from a vintage analogue synth.
031 Ana Squ LP Squarewave lowpass-sweep from a vintage analogue synth.
032 Ana Tri BP Trianglewave basspass-sweep from a vintage analogue synth.
033 Ana Tri Hp Trianglewave highpass-sweep from a vintage analogue synth.
122 |  PARALLELS

034 Ana Tri LP Trianglewave lowpass-sweep from a vintage analogue synth.

035 Vintage Saw Classic vintage sawtooth sound through lowpass sweep.
036 Vintage Saw Feedback Saturated classic vintage sawtooth sound through lowpass sweep.
037 Vintage Saw Res Classic vintage sawtooth sound through resonant lowpass sweep.
038 Vintage Squ Classic vintage squarewave sound through lowpass sweep.
039 Vintage Squ Res Classic vintage squarewave sound through resonant lowpass sweep.
040 Vintage Tri Classic vintage trianglewave sound through lowpass sweep.
041 Vintage Tri Feedback Saturated vintage trianglewave sound through lowpass sweep.
042 Vintage Saw LP Amped Amped vintage sawtooth sound through resonant lowpass sweep.
Combo 043 Combo 1 Combination of waveforms with an increased harmonic complexity.
044 Combo 2 Combination of waveforms with an increased harmonic complexity.
045 Combo 3 Combination of waveforms with various pulse wave content.
046 Combo 4 Combination of squarewaves with different tuning.
047 Combo 5 Combination of waveforms morphing into each other.
Chords 048 Chords 1 A minor 3rd interal tuned up to a 5th
049 Chords 2 Unison tuned up to a minor 3rd
050 Chords 3 Minor 3rd with increased FM modulation.
051 Chords 4 Minor 3rd stab with increased assymetric triggering.
052 Chords 5 Minor 3rd stab with increased assymetric triggering.
Drones 053 Drone Combo 1 Atonal drone with increased FM amount.
054 Drone Combo 2 Atonal feedback sound.
055 Drone Combo 3 Atonal cyclic silent drone fade up.
FM 056 FM Mallet Classic icy FM Mallet sound.
057 FM 1 4 operator FM sweep with feedback.
058 FM 2 Even broader 4 operator FM sweep with feedback.
059 FM 3 4 operator FM sweep, different pitch relations
060 FM 4 Dubstep style FM sweep
061 FM 5 Harsh FM sweep
062 FM 6 Broader and harsher FM sweep
Physical Mod 063 Phys Mod Hybrid Woodwind pulse, inverse amplitude sweep
064 Phys Mod 1 Hollow body wave
065 Phys Mod 2 Bowed string wave
066 Phys Mod 3 Modal string, inverse amplitude sweep
067 Phys Mod 4 Rubber into odd harmonics sweep
 INSTRUMENTS USER’S GUIDE  | 123

068 Phys Mod 5 Rubber into FM sweep

Stacked 069 Stack 1 Oscillator stack with pitch variations in the beginning and end
070 Stack 2 Sine stack through waveshaper
071 Stack 3 Bounce stack with increased rate
072 Stack 4 Pulse stack
073 Stack 5 Square to Triangle shape stack
074 Stack 6 Triangle to pulse shape stack
075 Stack 7 Sinusoid sub stack to FM transformation
076 Unison 1 Unison squares with added pitch modulation
077 Unison 2 Unison tilt modulated saw/triangle
078 Unison 3 Unison pulse with added pitch modulation
079 Unison 4 Unison square-sine with added pitch modulation
Distorted 080 Thrashy 1 8-bit style pulse trash wave
081 Thrashy 2 8-bit style pulse trash wave
082 Thrashy 3 Lo-fii FM with sync portion
Environment 083 Ebisu 1 Enviromental sounds from Ebisu area blended with sines
084 Ebisu 2 Enviromental sounds from Ebisu area
085 Ebisu 3 Gong from Ebisu with freezed looping
086 Ebisu 4 Power station in Ebisu
Chaos 087 Chaos 1 Chaotic analogue synth sweep
088 Chaos 2 Chaotic analogue synth sweep
089 Chaos 3 Particle synth sweep
090 Chaos 4 Sine noise decay
091 Chaos Phys Mod 1 Chaotic physical modelling synth sweep
092 Chaos Phys Mod 2 Particle string into square
093 Chaos Phys Mod 3 Irregular string model
094 Chaos Phys Mod 4 Particle string into pad
095 Chaos Phys Mod 5 Atonal string, inverse amplitude sweep
096 Vintage Chaos 1 Westcoast Chaos
097 Vintage Chaos 2 Westcoast Chaos
124 | 

7 Statement Lead

Statement Lead is the next product in the series that started with Monoment Bass.
The Monoment Bass user will feel right at home with Statement Lead, although
some parts are different:
First, this is obviously a lead instrument - it’s polyphonic and covers 5 octaves. It
also features quite different source waveforms from Monoment.
Statement also features a slightly different set of Softube effects: Drive, Reverb,
Delay, a one-knob Multiband compressor and Spatialization.
 INSTRUMENTS USER’S GUIDE  | 125

Statement, like it’s brother Monoment, is a no-brainer, always-sound-good, easy-to-use poly-

phonic lead machine that creates complex sounds but feels analog.
Due to its polyphonic nature, we have omitted the glide feature and instead added an auto-glide
feature. The idea is that you can trigger a glide/pitch shift at the onset of the note/chord, or at
the end of it. You can select how you want to trigger it, for instance if Velocity is above a certain
threshold, if Aftertouch reaches a certain level, or maybe every time a note is played or released.
Statement has the same simplified control set of the envelopes as Monoment - Punch/Release
instead of a full ADSR, “Env Type” instead of a full ADSR on the filter, simplified controls in
the effects section.

User Interface
The user interface consists of four parts:
1. Source section, where you select different sound sources
2. Filter and Sequence section, where you set the cut-off frequency of the filter, or use the dedi-
cated filter sequencer to automatically change filter cut-off or amp.
3. Tone, where you balance your sources and set the punchiness of the sound.
4. Effects, the place for distortion, reverb, delay, compression and spatialization.
In Statement, we have again created a synth workflow with filters, envelopes and modulation, all
easily accessible and adjustable, for you to shape the sources into the tone you need right now.
And to compliment the textures of the sources, the effects section with reverb, delay, spatializa-
tion, distortion and multi-band compressor is there to help you; all that you need to make your
awesome synthesizer sound take its desired position in the mix. Again, it’s about sound quality
and workflow. A modern synth-lead sound in no time.
126 |  STATEMENT LEAD

Source section The Source Material for

The Source section is the heart of Statement. Each
sound is build up by a mix of one or two waveforms.
Statement
Adding to that is a analog dirt section with looped The extensive Source material for Statement uses
or transient material to enhance your sound. The two meticulously recorded and processed material from rare
sources are always sent to the filter section while the dirt and expensive synthesizers such as Schmidt Synthesizer,
has the option to be added on the side if needed. Synclavier, Oberheim Four Voice and Black Corpora-
tion Deckard's Dream. The soundmaterial in all consists
of 90 waveforms in 11 different categories:
Analog Sync – Oscillator hard- and soft-sync type of
waveforms.
Analog Clean – fairly basic analogue sound waveforms.
Analog Dirty – analogue waveforms with a bit more
grit and distortion.
Digital Rich – digital rich waveforms with plenty of
harmonic content
Digital Noisy – digital waveforms with a bit more grit
and lo-fi sound
Analog Rich - analogue rich waveforms with plenty of
harmonic content
Digital Dirty - digital waveforms with a bit more grit
and distortion.
Digital Percussive - digital waveforms with a defined
attack.
Digital Voiced - digital waveforms with different kinds
of formant character.
Digital Clean - fairly basic FM and additive waveforms.
Analog Percussive - analogue waveforms with a defined
attack.
 INSTRUMENTS USER’S GUIDE  | 127

Parameters
Source A This is where you select your wave- Analog Dirt This is where you will select your
form for Source A out of the 11 dirt layer sound out of 20 (15 loop-
different Source categories. Click ing and 5 transient attack) different
in the display to activate the drop- waveforms. Remember to turn up
down menu for an overview or use the dirt level on the tone page in
the back and forward arrows to go order to properly hear this feature.
through the different waveforms
one by one.
Dirt to Filter /
to Output This switch will determine if the
Source B This works similar to Source A Analog Dirt sound is mixed with
selection but for second source the rest of the sources (A and B)
waveform. and sent into the filter, or if it is
sent directly dry to the output
section.
Source B Octave This is the relative transposition of
the Source B section. It can be set
to be one octave below, at the same
octave or one octave above the
pitch of Source A.

Source B Detune The detuning of Source B against

the pitch of Source A. It ranges
from minus seven semitones to a
plus seven semitones.
128 |  STATEMENT LEAD

The Filter and Sequencer section Env Type This knob defines the envelope
type and timing. From a very
To the right on the Source section, is the Filter-section
slow attack with the knob set at
with its built-in modulation sequencer. At center is the
fully counter clock-wise, to a very
main filter display window that shows filter interactive
fast attack at the knob at fully
filter characteristics as well as the modulation sequencer
clock-wise. And of course all the
with its controls. To the right of the filter display are
interpolating times in between. So
the controls that are directly related to the filter and its
if you, for example, would want a
built-in envelope. The envelope determines how the fil-
medium decaying filter envelope
ter changes when you hit a note. As we wanted to make
then set the envelope type knob at
that as easy as possible for you we boiled it down to four
2 o'clock.
main controls: Filter cutoff, Resonance, Envelope Type
and Envelope amount.
Env Amount The envelope amount knob defines
how much the envelope will affect
your filtgers cutoff frequency. This
Cut Off This knob set the cutoff frequency is value is reflected in the filter
of the filter in Statement. The graph as a “shadowed area” show-
cutoff frequencey determines the ing the end-destination level of the
roll-off point of the lowpass filter cutoff-frequency when applied this
after which high frequencies are amount. While playing, you will
diminished. The steepness of this also clearly see how it is changing
roll-off is dependent on the Filter in the filter graph.
type (see below).
Key Track This switch enables full keyboard
Resonance This knob controls the pronounced tracking to the filter cutoff. This
feedback around the cutoff means that the filter tracks and
frequency in the filter. The more opens the filter cutoff in relation to
resonance, the more “hollow” or the notes that is played.
“singey” the filter gets.
 INSTRUMENTS USER’S GUIDE  | 129

Filter Type In the top right corner of the filter

graph window, you can change
The Modulation Sequencer
between the three different filter- The built-in modulation sequencer is another way of
types in Statement: 24 dB/octave, automatically change the filter frequency or output vol-
12 dB/octave and 6 dB/octave – ume, either stepped or slewed. The sequencer is always
essentially three lowpass filter typer running with its tempo synchronized to the DAW clock
with different roll-off curves with 6 so you'll always can get a rhythmic change in time with
dB/octave being the most “gentle” your music.
and 24 dB/octave being the most
“aggressive”.

Filter On Off This is a switch in the upper left

corner of the filter graph window
to swiftly bypass the filter for
instantly listening to the Source
waveforms without the coloration
of the filter. When turned off, the
Filter graph window is blacked out.

Seq On/Off This small button at the upper left

of the Sequencer window enables
or disables the sequencer. When
turned off, the sequencer window is
blacked out.

Seq levels/trigs The 16 steps in the modulation

sequencer can be set to be either
levels or distinctive triggers (on/
off ). Just click on a level drag with
your mouse to adjust it. In trig
mode, click repeatedly on a step to
toggle it on or off. Only one mode
can be used at a time.
130 |  STATEMENT LEAD

Seq Amount This will determine the effect the Seq to filter/to Vol This double click area determines
modulation sequencer will have whether the sequencer controls to
on its destination (filter cutoff or the cutoff frequency of the filter
output volume, see below). If the or the output volume. Experi-
filter is turned off (filter graph is mentation with this one is fun – a
black) then the sequencer will not sequence that modulates the filter
have any effect. makes a totally different sound
when modulating the output
volume!
Seq Slew This parameter will sets the slewing
of the output sequencer data ap-
plied to the filter or output volume. Seq Trig On Off This switch toggles between nor-
More slew equal smoother sound. mal sequencer level mode (Trig:
Great when using the sequencer off ) and sequencer trigger mode
as more of an programmed, synced (Trig: on).
LFO.
Seq Range This sets the loop-length of the
Swing This parameter will change sequencer. It can be set as low as 1
the timing of the even steps (no loop) and as high as 16 (all 16
(2,4,6,8,10,12,14 and 16) to make steps).
it swing more towards triplets.
Range is from 33% to 67% where
50% represents normal, straight
timing.
 INSTRUMENTS USER’S GUIDE  | 131

The Tone section

The Tone section is where you sculpt the tone: here you can mix the sources and choose
whether you prefer an overall sharp attack or a slow fade-out for your sound. The main
“playability” of the sound is adjusted here with just a few powerful controls. Here's an
overview.

Next step is to adjust the shape, the envelope, of the ent mono unison modes. Unison
tone. That’s easily done by adjusting the Punch con- mode 2 is slighly more pronounced
trol. Increase Punch and you’ll get a snappier, punchier than M1. In unison performance
sound. Decrease it and you’ll get a sound with a slow is monophonic, meaning that one
build-up. The Release sets the time it takes for the sound note at a time is heard. Last note
to fade-out. played is prioritized.

Parameters Velocity This switch toggles Velocity

sensitivity on or off. The level of
sensitivity can be changed in the
Dirt Level This parameter will set the dirt options menu (see further descrip-
volume level from non-existant to tion below).
pretty subtle - but yet again, the
dirt in Statement is meant to be
a sonic spice not the source of a Punch This parameter sets the overall
sound. amplitude envelope of the sound
in Statement. Increase Punch and
you’ll get a snappier, punchier
Source Mix This knob sets the balance between sound. Decrease it and you’ll get a
Source A and B before they enter sound with a slow build-up.
the filter.
Release This parameter sets the time it
Mono Unison This three stage switch changes takes for the body of the sound to
Statement between normal fade-out. Note that long reverb
polyphonic mode and two differ- and delay can prolong the sound
further (see section below).
132 |  STATEMENT LEAD

Auto-glide
The special auto-glide feature of Statement Lead means
Auto Glide End This parameter determines whether
that you can start or end each note with an automatic
the glide will occur at the end of
pitch-bend up or down with a programmable time and
the played sound. When set to the
range. There are also some conditional features such a
velocity option, the threshold-level
threshold for setting when the bend should and should
will determine at which velocity
not occur. Let's go through them all:
the autobend is triggered. When
set to the aftertouch option, any
aftertouch above the threshold
occuring while note is playing
will trigger the auto-glide at the
end of the sound (when the key is
released).

Auto Glide Pitch Shift This determines where the glide

will start or end. Range goes from
minus two octaves to plus two
octaves.

Auto Glide Threshold This threshold determines the

trigger-point for the auto-glide
when used in conjunction with
velocity and/or aftertouch (see
description above).

Auto Glide Start This parameter determines whether Auto Glide Speed This is the auto-glide speed rate. It
goes from off, fast to fairly slow.
the glide will occur in the start of
the sound. When set to the velocity
option, the threshold-level will Aging Sets the amount of unpredictability
determine at which velocity the in Statement. More Aging means
auto-glide is triggered. less stable pitch, more unpredict-
able attacks, more dirt and grit and
more analog goodness.

Volume This parameter sets the overall

output volume
 INSTRUMENTS USER’S GUIDE  | 133

The Effects section

The effects section consists of five different effects that you can use to further sculpt
your lead sound. These effects have been carefully chosen and designed for polyphonic
synthesizer-lead sounds, and the control set has been thoroughly tweaked to give you
as much control as possible with as few knobs as possible.

Parameters Reverb Time This parameter set the reverb time

from very short to very long (near
Drive On Off This switch enables or disables the infinite). The decay time of the
Drive effect. This transformer drive reverb depends on the reverb tone
is quite subtle but gives your sound setting – a neutral setting (50%)
the warm edge it needs. will generate the longest reverb
times.
Drive Amount Sets the amount of drive coloration.
Reverb Tone This parameter is the equalization
Reverb On Off This switch enables or disables the of the reverb signal. Low settings
Reverb effect simulation. This is an of this parameter brings out more
algorithmic reverb with a pre-delay. of the low end while high settings
brings out the high end.

Reverb Pre-delay This is the pre-delay that always

is synced to the DAW tempo. The Reverb Ducking This feature enables the user to
pre-delay is set to be a subdivision have create a sound where the
of the tempo and ranges from 32th decaying reverb from previously
notes at min to half notes (“2”) played notes is reduced in volume
through 16th, 8th, 8 triplets (“6”), when a new note is played. This pa-
quarter notes and quarter note rameter will determine how much
triplets. When set to “off ”, the pre- the reverb will “duck” against the
delay effect is disabled. new dry sound.
134 |  STATEMENT LEAD

Reverb Dry Wet This parameter sets the dry/wet Delay Sync On Off This turn the DAW synchroniza-
balance of the reverb. tion on or off.

Delay On Off This switch enables or disables the Delay Time This parameter sets the Delay time.
Delay effect. It creates musically It ranges from very short (32ms)
interesting echos that can be de- to long (2 seconds). How it is pre-
fined time-based in milli-seconds sented is dependent whether the
or as divisions, synchronized of the Delay is synced to the DAW or not
DAW tempo. (see above). When sync is set to off,
the delay time of the longest taps
(L7 and R7) are set in milliseconds.
Delay Taps On Off The delay effect can be used as a When DAW sync is turned on, the
standard one tap delay with feed-
delay time is defined as subdivi-
back (taps off ) or as a multi-tap
sions of the DAW tempo.
delay (taps on) where up to eight
delay taps per channel, left and
right, is defined (see below). Note that in “1/2-tempo“ the odd taps will is affected by the
swing parameter set in the modulation sequencer, this is
Delay Tap L 0 – L7, deliberate and very musical.
R0 - R7 These buttons turns the delay taps
on and off. The taps farthest to the
right (L7 and R7) is the longest
and will represent the chosen time,
while the ones to left of this are Delay Feedback This sets the amount of feed-
subdivisions down to 1/8 of the backed signal sent from the slowest
time at the very left end (L0 and delay taps (L7 and R7). The inter-
R0). Delay taps are like playheads nal feedback is send through a low.
in a tape-recorder and will, when
enabled, play back a perfect replica Delay Ducking This feature enables the user to
of the played sound delayed in have create a sound where the
time. decaying delay signal from previ-
ously played notes is reduced in
volume when a new note is played.
This parameter will determine how
much the delay will “duck” against
the new dry sound.

Delay Dry Wet This parameter sets the dry/wet

mix balance of the delay effect.
 INSTRUMENTS USER’S GUIDE  | 135

Comp On Off This switch enables or disables the Options menu

one knob multiband compressor. Hidden in plain sight - top middle of the Filter graph
Multiband makes everything fatter, window - is the options menu. In here you'll find global
clearer, better, more defined...use parameters not often changed. They are:
it on everything! With just a bit
of compression on your synth-
lead you’ll get a warmer and fuller Pitch range This is the customizable pitch-bend
sound. range. This will determine how
much the pitch of the Sources will
bend up and down when a MIDI
Comp Amount The sets the amount of compres- pitchbend message is received. You
sion. Overdo it and a character on can configure the bend-range to be
its own gets through. anything from zero to twelve semi-
tones, quantized in semitone steps.
Spatialization On Off This turns the Spatialization
feature on or off. While all sources Mod Wheel Depth This will determine how much
and algorithms in Statement are the internal modulation will affect
stereo, you sometimes want to pitch when applied through ex-
enhance the stereoness of them, or ternal MIDI modulation message
maybe reduce it. That’s what the (midi CC#1).
Spatialization effect does.

Mod Wheel Rate This sets the speed of the internal

Sub Mono This monomaker sets all audio modulation oscillator, from a fairly
below the set frequency will be slow pace at 0.3Hz to fairly quick
in mono. Pull it all the way up to pace at 30Hz.
force the overall output of State-
ment to be completely in mono.
Velocity Range This parameter set sensitivity to
incoming MIDI velocity, where
High Freq Widener This stereo Widener let you the minum value is totally oblivi-
enhance stereo differences and sup- ous to velocity information and at
press mono behavior. maximum setting it has full range
(meaning that velocity received
with a value of 0 will be totally
silent).
136 |  STATEMENT LEAD

Saving and loading sounds

Saving and recalling your own or other sounds is very simple in Statement Lead. In the top
left corner of the plugin window is the preset display window and just to the left of that are
the two buttons for next and previous preset quick browsing.

When clicking on these you will scroll back and forth in

the list that is selected and filtered in the preset collec-
tion browser.
The preset collection browser window is quickly open by
clicking on the window symbol to the right of the small
preset name display. For details about Preset Collection
see the separate chapter.

When you have created a really great sound that you

want to save, simply click on the drop-down arrow just
to the right of the preset display window and choose
Add preset or Save as – you'll now be promted to give
your preset a name (the same procedure can of course
also be performed in the preset collection by itself ) and
press enter to save it.

Your preset has now been saved and can found among
the user presets in Preset Collection. You can even share
it with your friends by exporting it along with other pre-
sets as a separate “.softubepreset”-file. Details about this
can be found in the Preset Collection chapter.
When just tweaking a sound you'll notice that the name
will get an * addition after the name, indicating that this
preset has been changed from its saved state. If you want
to save those changes simply choose “save” in the preset
dropdown menu.
 INSTRUMENTS USER’S GUIDE  | 137

Statement For Modular Credits

When you purchase Statement Lead, you're also pur- Tobias Menguser – Initial concept, multi sample sound
chasing the possibility to use it as three separate blocks recording, presets
in our modular platform Softube Modular! The three
Niklas Odelholm – Sound, visual and product design
different modules for you to use in Softube Modular:
Statement Source, Statement Filter and Statement FX. Kristofer Ulfves – Project lead, presets, user manual.
Here's a brief description of them:
Erik Sigth – Framework programming
Patrik Holmström – GUI programming
Statement Source This is the Source engine from
Statement Lead, available as Filip Thunström – GUI programming
stand-alone module. It has a built
Jacopo Lovatello – DSP programming
in amplitude envelope, waveform
mixing, dirt level and aging. It can Alexander Näs – DSP programming
be played polyphonically within
Björn Rödseth – Programming, Mentoring
modular over midi and/or mono-
phonically at the same time via the Arvid Rosén – Filter optimization
gate and note jacks. Dirt Level,
Maxus Widarsson – Quality assurance
Punch, Release and Aging param-
eters features CV control. Ulf Ekelöf – 3D graphics modeling
Klaus Baetz – programming
Statement Filter This is the Filter section from Tord Jansson – programming and GUI engine customi-
Statement Lead, available as stand-
zation.
alone module. It has a built in
filter envelope and sequencer. The Henrik Johansson – Testing, presets.
envelope is triggered through the
Fredrik Mjelle – Testing, presets.
external gate jack. All sequencer
functions - Slew, Range, Amount Patrick Detampel – presets
and Swing parameters - features
Erik Putrycz - presets
external CV control. The Sequenc-
er is automatically locked to the
DAW tempo at all times.

Statement FX This is the Effect engine for State-

ment Lead, available as stand-alone
module. It has five modes that
can be run one at a time – Drive,
Reverb, Delay, Multi comp and
Spatialization. Up to three param-
eters in each mode has external CV
control.
cxxxviii | 

8 SOFTUBE AB’S END USER also remember that you may have, as set out specifi-
cally in the Terms, a limited right to cancellation and/or
LICENSE AGREEMENT withdrawal of your purchase of the Product.
Moreover, as is set out in certain provisions of this
(“EULA”).FOR PLUG-INS EULA and the Terms, if you are a consumer (or an indi-
AND OTHER SOFTWARE vidual with corresponding rights) under applicable and
statutory law such rules may entitle you to other and/
PRODUCTS or additional rights, which then in relevant parts have
precedence before the relevant part of the EULA and/or
(ver 2019-06) the Terms. We have highlighted certain such provisions
in this EULA for your convenience.
When does the EULA become binding for you?
However, upon the earliest of your (i) ACCEPTANCE
1. Applicability of the EULA, the Terms OF THIS EULA, (ii) DOWNLOAD AND/OR FOL-
LOWING THE INSTALLATION OF THE PROD-
and Softube’s privacy policy UCT AND/OR (iii) USE OF THE PRODUCT, you
Some definitions of importance for the EULA agree to be bound by the terms and conditions of this
This End User License Agreement (“EULA”) is a EULA together with the applicable conditions of the
contract between you (“you”, your”, “yours” and similar) Terms.
either as an individual or representing a legal entity, and What to do if you do not accept the EULA?
Softube AB (“Softube”, “we”, our”, “ours”), a Swedish If you do not accept the terms and conditions set forth
company, governing your use of one or more accom- in this EULA, do not install the Product and/or delete
panying Softube products such as our Plug-ins and/or the Product from your equipment (as the case may be)
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also our General Terms and Conditions of Purchase All or most of our interaction with you will require our
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To avoid any misunderstandings with regard to the If you have any questions about our processing of your
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you to carefully read and consider the provisions of this always contact us. Our contact details are set out in the
EULA before installation and use of the Product. Please, Privacy Policy and on our website.
 INSTRUMENTS USER’S GUIDE  | cxxxix

2. Our license options and license key individual components of a Bundle are not to be sold/li-
censed separately, except and only to the extent that such
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applicable Product manual or Product instructions for
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Softube applies different licensing models, which enti- follows from the Bundle). The set-ups, pricing mecha-
tles you to use the Product. The license models which nisms and possibilities to transfer individual Products
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In this EULA the above Perpetual License, Time
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Please observe that Softube does apply differing terms order for us to i.e. provide you the ability to re-download
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The License Models are normally applied only in rela- referenced therein.
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tion to different Product bundles (“Bundles”) consisting The Product is developed and designed for use upon
of hardware and software or only software bundles. a computer or other hardware equipment with certain
Bundles are only sold/licensed as a package and the hardware and software and other technical requirements
cxl | 

applicable for such equipment, as set out in our specific to you, subject to the agreed the License Model applied,
Product documentation for each of Softube’s Products and thus not sold.
and the relevant version of the same.
For avoidance of doubt, it is also agreed that no right,
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3. Price and payment of the Products logo, domain or trade name of Softube, its licensors or in
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All details in relation the prices for the Products in dif-
users of the Product.
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offers and similar.
You are as from the effective date of this EULA under
If and to the extent a Product in whole or in part is pay- the Terms and the provisions of this EULA granted
able through use of a voucher, coupon or other similar a non-exclusive, transferable, time-restricted (if ap-
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The license may thus be perpetual or subject to certain
Unless otherwise set out in the Terms or a specific end-
limitations in time or otherwise, and may also only be
user offer, all Products are to be paid either through a
possible to use together with certain equipment.
full pre-payment or subject to a payment plan e.g. for a
Subscription License, Rent-to-Own License or other The license applies for all versions of the Product (i.e.
Time restricted License and similar. such as patches, updates, upgrades etc.), which you may
receive from us during the term of the agreed License
All our other payment conditions and available and
Model. The availability of such later versions of the
accepted payment means, as available from time to time,
Product, if any, is subject to our sole and exclusive dis-
are set out in the Terms and on our website.
cretion as applied from time to time.

4. Intellectual property rights in relation Unless you change (subject to possibility under the
Terms) and/or agree to change the applicable License
to the Products Model for your Product with us, as applicable, the origi-
nally agreed License Model shall continue to apply for
Softube and/or its licensors own all copyright and you until expiry or termination of the same, as the case
other intellectual property rights in and to the Products may be.
(including any images, photographs, graphics, anima-
tions, video, audio, music, and text incorporated into the
Product), accompanying printed or digital materials, and 6. Termination of a Product license and
any copies you are permitted to make under the provi-
sions of this EULA or applicable statutory rights, are effects of a termination
owned by Softube or its licensors. Our Products are also You may at any time and for any reason terminate the
protected by copyright laws and international copyright Product license granted to you with immediate effect,
treaties, as well as other intellectual property laws and subject however to certain provisions and limitations
treaties. Any and all intellectual and other property in relation to Time restricted Licenses, Subscription
rights to and in the Products vest in and shall remain Licenses, Rent-to-Own Licenses and Combination
vested in Softube or its licensors. The Product is licensed Licenses in accordance with the Terms. If we have
 INSTRUMENTS USER’S GUIDE  | cxli

agreed to provide you with either of a Time restricted dispositions are explicitly allowed due to the Terms, the
License, Subscription License, Rent-to-Own License or applicable Product manual or Product instructions.
Combination License, you can normally not prematurely
You may neither alter nor modify the Product and may
terminate such a license prior to the first expiry date. We
not analyze, reverse engineer, decompile or disassemble
will however not refund any amounts paid to us if you
the Product or any part of the Product, incorporate the
prematurely terminate any license granted to you, unless
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such termination is due to a material breach against the
out the Product, except and only to the extent that such
provisions herein or the Terms from us.
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Warranty for media upon which the Product is delivered, if
Softube may however terminate the relevant Product
applicable
license with immediate effect if you breach the provi-
In addition to what is set out in the Terms, we warrant
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the media on which the Product is recorded (to the
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Upon termination of the relevant Product license, you
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obligation to replace he media not meeting the Softube’s
the Product limited warranty and which is returned to Softube or an
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You may use the Product for only as many simultaneous receipt. Softube will have no responsibility to replace any
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You may not copy or reproduce the Product, except with corresponding rights) under applicable law, our
to the extent otherwise set out in applicable statutory responsibility and liability with regard to possible defects
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or indirectly, dispose of the Product or any deriva- Products do not conform to the relevant specification
tive work of the Product (including its accompanying when used on advised equipment and in accordance
information), except and only to the extent that such with the documentation and other instructions, gener-
cxlii | 

ally or specifically issued/published from time to time by are a consumer (or an individual with corresponding
us. Softube may in its own discretion decide how such rights) under applicable law. If and to the extent this
possible defects shall be handled, i.e. through rectifica- EULA and/or applicable parts of the Terms limit, re-
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All our Products, are provided to you strictly on an
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(a) your right to return the Product (and deletion
EXCLUDED. SOFTUBE DOES NOT WAR-
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RANT THAT THE FUNCTIONS CONTAINED
instructions) and our following repayment of
IN THE PRODUCT WILL MEET YOUR RE-
Product price paid by you;
QUIREMENTS, OR THAT THE OPERATION

OF THE PRODUCT WILL BE INTERRUPTED
or
OR ERROR-FREE, OR THAT DEFECTS IN THE
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MORE, SOFTUBE DOES NOT WARRANT OR
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9. “AS IS” and LIMITATION OF LIABILITY NEITHER SOFTUBE NOR ITS LICENSORS
SHALL BE LIABLE FOR ANY DAMAGES SUF-
This EULA, including this section 9 and applicable FERED BY YOU OR ANY THIRD PARTY AS A
parts of the Terms, is not intended to constitute any RESULT OF USE OR INABILITY TO USE THE
restriction or limitation of your rights, to the extent you
 INSTRUMENTS USER’S GUIDE  | cxliii

PRODUCT. IN NO EVENT WILL SOFTUBE

NOR ITS LICENSORS’ BE LIABLE FOR ANY
11. Version(s) of the EULA
LOST REVENUE, PROFIT OR ANTICIPATED Both technology development as well as our in-licensing
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UNDER THE APPLICABLE LICENSE MODEL.
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Terms
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disputes between us and you.
cxliv | 

ACKNOWLEDGEMENTS AND LICENSES SHALL THE COPYRIGHT OWNER OR CON-

TRIBUTORS BE LIABLE FOR ANY DIRECT, IN-
Third Party Legal Notices DIRECT, INCIDENTAL, SPECIAL, EXEMPLARY,
One or more of Softube’s products may include software OR CONSEQUENTIAL DAMAGES (INCLUD-
licensed under terms that require Softube to display the ING, BUT NOT LIMITED TO, PROCUREMENT
following notices: OF SUBSTITUTE GOODS OR SERVICES; LOSS
OF USE, DATA, OR PROFITS; OR BUSINESS
--
INTERRUPTION) HOWEVER CAUSED AND
Nigel Stewart, Milan Ikits, Marcelo E. Magallon and
ON ANY THEORY OF LIABILITY, WHETHER
Lev Povalahev
IN CONTRACT, STRICT LIABILITY, OR TORT
The OpenGL Extension Wrangler Library
(INCLUDING NEGLIGENCE OR OTHERWISE)
Copyright (C) 2008-2016, Nigel Stewart
ARISING IN ANY WAY OUT OF THE USE OF
<nigels[]users sourceforge net>
THIS SOFTWARE, EVEN IF ADVISED OF THE
Copyright (C) 2002-2008, Milan Ikits
POSSIBILITY OF SUCH DAMAGE.
<milan ikits[]ieee org>
Copyright (C) 2002-2008, Marcelo E. Magallon --
<mmagallo[]debian org>
Brian Paul
Copyright (C) 2002, Lev Povalahev
Mesa 3-D graphics library
All rights reserved.
Version: 7.0
• Redistribution and use in source and binary forms, Copyright (C) 1999-2007 Brian Paul All Rights Re-
with or without modification, are permitted provided served.
that the following conditions are met:
Permission is hereby granted, free of charge, to any
• Redistributions of source code must retain the above person obtaining a copy of this software and associated
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lowing disclaimer. ware without restriction, including without limitation
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• Redistributions in binary form must reproduce the
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THE SOFTWARE IS PROVIDED “AS IS”, WITH-
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AND ANY EXPRESS OR IMPLIED WARRAN-
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TIES, INCLUDING, BUT NOT LIMITED TO,
BRIAN PAUL BE LIABLE FOR ANY CLAIM,
THE IMPLIED WARRANTIES OF MERCHANT-
DAMAGES OR OTHER LIABILITY, WHETHER
ABILITY AND FITNESS FOR A PARTICULAR
IN AN ACTION OF CONTRACT, TORT OR
PURPOSE ARE DISCLAIMED. IN NO EVENT
 INSTRUMENTS USER’S GUIDE  | cxlv

OTHERWISE, ARISING FROM, OUT OF OR sublicense, and/or sell copies of the Software, and to
IN CONNECTION WITH THE SOFTWARE permit persons to whom the Software is furnished to do
OR THE USE OR OTHER DEALINGS IN THE so, subject to the following conditions:
SOFTWARE. The above copyright notice and this permission notice
shall be included in all copies or substantial portions of
--
the Software.
The Khronos Group Inc.
THE SOFTWARE IS PROVIDED “AS IS”, WITH-
Copyright (c) 2007 The Khronos Group [Link]
OUT WARRANTY OF ANY KIND, EXPRESS OR
is hereby granted, free of charge, to any person obtaining
IMPLIED, INCLUDING BUT NOT LIMITED TO
a copy of this software and/or associated documentation
THE WARRANTIES OF MERCHANTABILITY,
files (the “Materials”), to deal in the Materials without
FITNESS FOR A PARTICULAR PURPOSE AND
restriction, including without limitation the rights to
NONINFRINGEMENT. IN NO EVENT SHALL
use, copy, modify, merge, publish, distribute, subli-
THE AUTHORS OR COPYRIGHT HOLDERS
cense, and/or sell copies of the Materials, and to permit
BE LIABLE FOR ANY CLAIM, DAMAGES OR
persons to whom the Materials are furnished to do so,
OTHER LIABILITY, WHETHER IN AN AC-
subject to the following conditions:
TION OF CONTRACT, TORT OR OTHERWISE,
The above copyright notice and this permission notice
ARISING FROM, OUT OF OR IN CONNEC-
shall be included in all copies or substantial portions of
TION WITH THE SOFTWARE OR THE USE OR
the Materials.
OTHER DEALINGS IN THE SOFTWARE.
THE MATERIALS ARE PROVIDED “AS IS”,
--
WITHOUT WARRANTY OF ANY KIND, EX-
PRESS OR IMPLIED, INCLUDING BUT NOT dhbaird@[Link]
LIMITED TO THE WARRANTIES OF MER- easywsclient
CHANTABILITY, FITNESS FOR A PARTICU- Copyright (c) 2012, 2013 <dhbaird@[Link]>
LAR PURPOSE AND NONINFRINGEMENT.
Permission is hereby granted, free of charge, to any
IN NO EVENT SHALL THE AUTHORS OR
person obtaining a copy of this software and associated
COPYRIGHT HOLDERS BE LIABLE FOR ANY
documentation files (the “Software”), to deal in the Soft-
CLAIM, DAMAGES OR OTHER LIABILITY,
ware without restriction, including without limitation
WHETHER IN AN ACTION OF CONTRACT,
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TORT OR OTHERWISE, ARISING FROM, OUT
sublicense, and/or sell copies of the Software, and to
OF OR IN CONNECTION WITH THE MATERI-
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ALS OR THE USE OR OTHER DEALINGS IN
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The above copyright notice and this permission notice
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JsonCpp THE SOFTWARE IS PROVIDED “AS IS”, WITH-
Copyright (c) 2007-2010 Baptiste Lepilleur OUT WARRANTY OF ANY KIND, EXPRESS OR
Permission is hereby granted, free of charge, to any IMPLIED, INCLUDING BUT NOT LIMITED TO
person obtaining a copy of this software and associated THE WARRANTIES OF MERCHANTABILITY,
documentation files (the “Software”), to deal in the Soft- FITNESS FOR A PARTICULAR PURPOSE AND
ware without restriction, including without limitation NONINFRINGEMENT. IN NO EVENT SHALL
the rights to use, copy, modify, merge, publish, distribute, THE AUTHORS OR COPYRIGHT HOLDERS
cxlvi | 

BE LIABLE FOR ANY CLAIM, DAMAGES OR person obtaining a copy of this software and associated
OTHER LIABILITY, WHETHER IN AN AC- documentation files (the “Software”), to deal in the Soft-
TION OF CONTRACT, TORT OR OTHERWISE, ware without restriction, including without limitation
ARISING FROM, OUT OF OR IN CONNEC- the rights to use, copy, modify, merge, publish, distribute,
TION WITH THE SOFTWARE OR THE USE OR sublicense, and/or sell copies of the Software, and to
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Mutable Instruments Rings
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