Dave Smith Instruments | Evolver | Poly Evolver Keyboard Operation Manual

Poly Evolver
Keyboard
Operation Manual
Poly Evolver Keyboard
Operation Manual
Version 1.4
October, 2009
Dave Smith Instruments
1210 Cabrillo Hwy N
Half Moon Bay, CA 94019-1449
USA
© 2005-2009 Dave Smith Instruments
www.DaveSmithInstruments.com
Tested To Comply
With FCC Standards
FOR OFFICE USE
This device complies with Part 15 of the FCC Rules. Operation is subject to the
following two conditions: (1) This device may not cause harmful interference and
(2) this device must accept any interference received, including interference that
may cause undesired operation.
This Class B digital apparatus meets all requirements of the Canadian InterferenceCausing Equipment Regulations.
Cet appareil numerique de la classe B respecte toutes les exigences du Reglement
sur le materiel brouilleur du Canada.
For Technical Support, email support@davesmithinstruments.com
4
Contents
Quick Start 6
Preset Notes 8
FAQs 9
Chaining Evolvers and Polys 10
Inside Evolver 12
Signal Flow Diagram 13
Basic Operations 14
Naming Programs and Combos 16
Global Parameters 18
Program Parameters 22
Analog Oscillators (1 and 2) 22
Digital Oscillators (3 and 4) 23
Lowpass Filter 25
Amplifier (VCA) 26
Highpass Filter 27
Feedback 27
Distortion 28
Delay 28
Envelope 3 31
Low Frequency Oscillators (LFO)
Modulators 33
Miscellaneous Parameters 34
Sequencer Operation 37
Modulation Destination Table 41
Modulation Source Table 43
Combo Parameters 44
MIDI Implementation 48
MIDI Parameters 48
Basic MIDI Messages 50
System exclusive Messages 54
Global Parameter Data 62
Combo Parameter Data 64
Program Parameter Data 66
31
5
Welcome…
Thanks for purchasing the Poly Evolver Keyboard! Listen to the sounds, twiddle
some knobs, have some fun!
Register
If you purchased your Poly directly from us, there is no need to register – we
already have your contact information. If you purchased it from a music dealer,
please go to www.davesmithinstruments.com and register.
Quick Start
Here’s how to quickly get started with your new keyboard:
First, plug in the power supply. The power supply will work anywhere in the
world; use the included Euro AC adapter if necessary. Next, plug the stereo
audio outputs into your mixer/sound system and switch on the power.
The Poly Evolver has two main modes, Program and Combo. Program mode
sets all 4 voices to the same sound, one of the 128 Programs in 4 Banks (512
total). It powers up in Program mode, ready to play. If you are an Evolver owner,
you are already familiar with the basic Poly voice – it is the same, but now there
are four of them!
Programs are usually meant to be played from the keyboard, but you have the
option of hitting the Sequencer’s START/STOP switch, and voice 1 will play the
sequence associated with that Program. You can then play along with the other 3
voices. Not all Programs have pre-programmed sequences.
Try applying keyboard pressure (aftertouch) and the mod wheel. Many sounds
are fairly simple at first, then come alive when you use the controllers. With other
sounds, you may need to hold the notes a while to let the sound unfold. Playing
in different ways has a big effect on the Programs.
Selecting and Editing Programs, Combos, and Global Settings
There are a number of ways to change Programs; you can use the ten-key pad
to directly select any Program, and use the 4 Bank switches to select banks. Or,
you can use the +/- switches to step through the Programs. Finally, the PARAM 1
knob changes the Program number, and the PARAM 2 knob changes the Bank.
Check the diagram on the next page for reference.
If you want to edit a Program, just turn any knob. The new value will be displayed
in the LCD. Once a parameter has been selected, the PARAM 1 knob will also
change the value, and the +/- switches will increment or decrement the value.
That’s the whole idea with this instrument – grabbing knobs and changing the
sound!
6
To select Combo mode, press the COMBO switch. Combos give you complete
flexibility configuring the four voices; you can stack or split the keyboard, assign
different Programs to different MIDI channels, set it to play multiple different
sequences synchronously, and so on.
There are 3 banks of 128 Combos for a total of 384. There are up to 4 Parts in
each Combo, though all four do not have to be used. For example, a split
Combo, with one voice for bass on the low end of the keyboard, and 3
polyphonic voices on the upper end, would only require 2 parts. The COMBO PART
switches select the four parts for quick editing.
Your Poly Evolver also has some very cool features for use as a stereo signal
processor. In Combo mode you can have one or more voices using the External
Signal Input, so the external signal can be routed to all four voices, with each
voice doing different processing, such as filtering, envelope following, distortion,
feedback, delay, driving a sequence, and so on.
Press the GLOBAL switch to change higher level parameters, such as MIDI
channel number, Transpose/Detune, and so on. These are remembered when
the synth is turned off. Note that in Global Mode, the screen displays two
parameters at a time. The top parameter is changed by the PARAM 1 knob and
the lower parameter is edited by the PARAM 2 knob. The +/- switches select new
pages.
Summary
You should be up and running now; for more operation information, read on. Or,
just look up specific parameters for detailed notes. Pages 41 through 43 contain
a handy reference for mod destinations and sources. At some point you should
read through the manual to discover all the little features that you might not
notice at first.
I should mention that this manual does not include explanations of basic
synthesizer functions. It assumes you already know what an oscillator is, how a
lowpass filter affects the sound, what an ADSR envelope looks like, and so on.
Fortunately, these days it is quite easy to find such resources on the Internet. If
you want to learn the lingo and the basics, just try a search in Google (or the
search engine of your choice), something like “analog synthesizer tutorial”. You’ll
find plenty of good reading material.
Have fun!
Dave Smith
Special thanks to the “bragging rights” team for their assistance during
development:
Tim Ande, David Bryce, Robert Shanks, Ravi Ivan Sharma, and Stefan Trippler. Also
to Mark Wilcox for assistance on this manual.
7
About the Presets
There are 512 Programs and 384 Combos in your Poly Evolver. The factory
sound set is on our website if you ever need to refresh it. There are additional
banks of Programs at:
http://www.davesmithinstruments.com/polyevolver/sounds.html
Remember to save your sounds via program dumps occasionally!
The Programs are not set up in any particular order, so you might just want to
listen through them to see what you like. Bank 4 programs are used for most of
the combo sequences, so some may not make sense as a program.There are
some test Programs at the end of Bank 4 that you might want to erase. Also,
Program 128 in all four banks is a simple basic Program that you can use as a
starting point.
Combos are also mixed, again with some test Combos at the end of bank 3. You
will also see that there is only one bank of Combos. You will likely want to make
your own Combos based on the specific combinations of Programs that fit your
music.
When using Combos, remember that changing a Program will affect any Combo
that refers to it.
The Programs and Combos were collected from previous Evolver and Poly
Evolver Rack patches, and a bunch of new ones were made up for the keyboard.
Special thanks to Program contributors (past and present), including:
Tim Ande
Andrew Bode
Cameron Brand
David Bryce
Chris Curtis
Mike Estee
Don Gothard
Damon Menne
Eric Norlander
Mike Peake
Ravi Ivan Sharma
Doug Terrebonne
Goffe Torgerson
Stefan Trippler
Dave Wyatt
8
Frequently Asked Questions
The Poly Evolver is a very flexible instrument. While this provides a wide range of
operational possibilities, it also means that you can put Evolver into a state where it
doesn’t seem to work. Here are some tips:
•
How do I save a Program or Combo? Hit the WRITE switch. Then press the
+/YES switch when prompted. All other switches are locked out, though you can
hit the -/NO switch if you change your mind. You can change the Program and/or
Bank and store in a different location using the knobs. You can also press
COMPARE to check the sounds in the Program destinations.
•
When I change Programs, the Sequencer speed always stays the same.
Check the Global Prog Tempo parameter – if it is Off, then the speed is not
updated when Programs change. Set it to On.
•
I can’t get the filter to oscillate. Check the 4/2/POLE switch – the filter only
oscillates when in 4-pole mode. (The filter is in 4-pole mode when the 4/2/POLE
switch is lit.)
•
I seem to be getting distortion in my output. Assuming that Distortion and
Output Hack are off, you are likely just overloading the signal somewhere. There
are many signal sources in the Poly, and many sources of gain. If too many are
used at levels that are too high, you will likely get some distortion. For example, if
you are using all four oscillators, lower the LEVEL setting of each oscillator to the
40 – 60 range. Likewise, if using all three delay taps, lower the AMOUNT setting of
each.
•
I can’t hear the External Audio input. In addition to increasing External In
LEVEL, the filter and VCA must be open to hear the signal. You can initially turn
up the Lowpass Filter FREQUENCY and the initial VCA LEVEL to hear the signal.
The Peak Hold or Envelope Follower can be used to control the VCA or Filter
level, or the sequencer can trigger the envelopes. There are many different ways
to use different modulation sources to control the VCA and Filter when using
external inputs.
9
Chaining Multiple Evolvers Together
The Poly Evolver Keyboard has 4 voices that are identical to the 4 voices in a
rackmount Poly Evolver, and the single voice in the original desktop Evolver. This
compatibility enables you to chain multiple Evolvers together to increase polyphony,
using your Poly Keyboard as a controller for all chained Evolvers.
Note that if the Poly Chain parameter is Off, the Poly Chain MIDI Output jack acts as
a second MIDI Out jack.
To chain a single Poly Rack to your Poly Evolver Keyboard:
1.
Connect the Poly Chain MIDI output on the back of your Poly Evolver
Keyboard to the MIDI In of the Poly Rack.
2.
Connect the stereo outputs of the keyboard to the right and left Mix Inputs of
the Rack, then connect the output of the Rack to your mixer/sound system.
3.
On the Keyboard, in Global select the Poly Chain screen, and set it to the
total number of voices you have chained, ie 8 for a keyboard and a rack in
this case.
4.
Next set the MIDI clock parameter to MIDI Out on the keyboard (or MIDI
In/Out if using an external MIDI clock to drive the keyboard). On the Rack,
select MIDI Clock In.
You should be all set to play! You can now virtually ignore the Rack, since the
controls on the keyboard will control both units as if they were a single 8 voice. This
includes saving a Program/Combo; if you save an edited program on the keyboard, it
will also save the program on any Poly Chained instruments (updated with the latest
revision software).
Note: Remember that if you change a Main parameter on the Keyboard, the Rack
will change also. For example, changing MIDI channels on the Keyboard will also
change the MIDI channels on the Rack, which is likely what you would want.
There are a couple exceptions: if you change Poly Chain or MIDI clock, it is not
chained, since these parameters are usually different in each unit.
While everything is transparent in Program mode, there are some differences in
Combo mode operation. For example, Combos that have Mono parts will be handled
differently. This is due to the fact that in Mono, Poly chain does not function, since the
Part interprets new notes per the Key Mode (low note, last note, and so on), and does
not re-transmit the notes. If, for example, you have a 1/3 split with Part 1 playing a
mono Program, and Part 2 playing 3 voices polyphonically, with two Polys chained
you will still only have a single mono voice in Part 1, but Part 2 will now be 6 voices.
So, you will lose a voice in this configuration.
Other configurations work as you would expect; for example, if you have a Combo
with 2 programs stacked, it will play them as a 4 voice with two Polys.
Using Multiple Poly Racks
You can also chain more than a single Rack in the same manner. With two Racks, set
the main parameter Poly Chain on the Keyboard to 12, and set Poly Chain on the first
Rack to 8. The second Rack Poly Chain should be set to Off.
10
On the Keyboard MIDI clock is again set to Out, the first Rack set to In/out, and the
second Rack to In.
Chaining Mono Evolvers
You can also use one or more mono table-top Evolvers for more voices. If using one
to get 5 voices (a magic number!), set the Keyboard to MIDI clock Out, and set Poly
Chain to 5. Set the Evolver to MIDI Clock In.
A Note on Versions
The same basic voice structure is used on all three instruments, the mono Evolver,
the Poly Rack, and the Poly Keyboard. Though there has been great care to keep
backwards compatibility, there have been a few changes necessary in both the mono
Evolver and the Poly Rack to make them work more seamlessly with the keyboard.
As a result, you will likely have to update your current synths to be compatible. Please
check our website to get the latest information on these updates.
11
The Poly Evolver Voice
Before going through the individual parameters, following is a brief description of the
architecture of a single Poly Evolver voice. The signal flow diagram on the next page
is a good starting point for understanding how the Poly works.
The Analog Side
The analog electronics for each voice consist of two identical (Left/Right) synth
sections, each with an analog waveshape oscillator, a 2/4 pole resonant lowpass
filter, and a Voltage Controlled Amplifier (VCA). Control voltages are generated by the
processors to control the analog components.
The Digital Side
Surrounding the Analog electronics is a high-speed Digital Signal Processor (DSP)
that both pre- and post-processes the audio signal. Since the DSP also computes the
control voltages for the analog circuitry, it can handle a wide range of modulation with
high precision.
The DSP provides audio functions such as the Digital Oscillators, Envelope Follower,
the Peak/Hold detector (and associated external trigger generator), Highpass filter,
Distortion (with noise gate), Pan, Delay, and Hack. It also handles the tuned
feedback, as well as the additional Delay feedback paths. And all the modulation
calculations (envelopes, LFOs, routing, and so on).
Analog-to-Digital (A/D) and Digital-to-Analog (D/A) converters are used to connect the
analog and digital sections. There are two sets of stereo converters running at a
48 kHz sampling rate with 24 bits of precision for minimum impact on the analog
sound.
Each voice is completely independent, except that the single stereo external Audio In
signal is routed to all four voices.
Inputs and Outputs
There are several audio jacks on the rear panel. All are unbalanced stereo pairs (two
mono jacks). First, there are the Audio Inputs, which can be routed to the input of any
or all of the voices, for using the Poly as a signal processor.
Next, there are individual voice outputs for all 4 voices. When a plug is inserted into
one of these jacks, that signal is disconnected from the mix output. This allows each
channel to go to a different mixer channel for separate EQ/processing. It also allows
the output of one voice to be routed to the Audio Input jacks, where it can then be
routed to another voice’s input for some interesting effects.
Next are the mixed Stereo Outputs. If you only use the Left/Mono jack, you will get a
mono mix of both channels – but you really should use both channels! Finally, there is
a stereo headphone jack on the rear panel.
Note: Always turn down your mixer/amplifier volume when turning the Poly on or
off to prevent pops!
12
13
Basic Operation
Program Mode
When you first turn the Poly on, it is in Program Mode with the PROGRAM LED lit and
the following screen active:
Program: xxx B:x
xxxxxxxxxxxxxxxx
The top line shows the Program (1…128) and Bank (1…4) number of the currently
selected Program, and the bottom line shows the 16-character name of the Program.
The PARAM 1 knob changes the Program, and the PARAM 2 knob changes the Bank.
The Program can also be incremented or decremented by pressing the +/YES or -/NO
switch respectively or selected with the numeric program selection switches.
To edit a Program, simply turn any knob while in Program mode. See the Program
Parameters section for a detailed list of all parameters and their functionality.
Combo Mode
When you press the COMBO switch, the Poly switches to Combo Mode with the
following screen active:
Combo:
xxx B:x
xxxxxxxxxxxxxxxx
The top line shows the Combo and Bank number of the currently selected Combo,
and the bottom line shows the 16-character name of the Combo. The PARAM 1 knob
changes the Combo, and the PARAM 2 knob changes the Bank. To increment or
decrement the Combo, press the +/YES or -/NO switch respectively.
14
To edit the Combo parameters, first hit the desired COMBO PART Switch. The PARAM 1
knob now selects the parameter, and the PARAM 2 knob changes the value. The + and
– switches will increment/decrement the value also. See the Combo Parameters
section for a detailed list of all parameters and their functionality.
Saving a Program or Combo
To save a Program or Combo, press the WRITE switch and the following screen
appears:
Write? P:xxx B:x
Hit: Yes or No
Press the +/YES switch to save the current Program or Combo, or -/NO (or the WRITE
switch again) to cancel. To store in a different location, use PARAM 1 to select a new
Program or Combo destination, and PARAM 2 for a different bank.
If there is another Poly Evolver or Evolver Poly Chained, and they have been updated
to the latest software revisions, the program/combo will be saved in the chained units
also.
Compare Feature: While editing a Program or Combo, you can press the COMPARE
switch to listen to the original version. If you press the switch again, the Poly returns
to the edited version.
Audition Destination Feature: While there is a write pending (see screen above),
you can press the COMPARE switch to hear the target Program or Combo destination
before saving. Just be sure to turn Compare off again before you actually hit the
+/YES switch to save.
15
Transposing the Keyboard Range
Use the UP and DOWN Transpose switches to transpose the Poly Keyboard up or
down by octaves. The LED indicates the current keyboard transposition state. The
transposition changes the MIDI note number of the keys, so MIDI notes sent will also
be transposed. The transposition can also affect the key ranges in Combos.
Renaming a Program or Combo
To rename a Program or Combo, press the NAME switch. The lower LCD line displays
the name of the Program. The PARAM 1 knob selects which character is currently
active, which is displayed by blinking the letter. The PARAM 2 knob changes the
character.
Voice Assignment
The Poly has a total of four voices, and as such uses a specific method for assigning
them as keys are played. The scheme used by the Poly is a circular assignment; that
is, as a new notes are received, the next unused voice is assigned to the new note.
You can see how this works by watching the 4 voice LEDs as you play.
When all 4 voices are held and a new note is received, it is necessary to “steal” a
voice to play the new note, since you always want to hear any new key hit. The
algorithm used in the Poly steals the oldest note held of the 4 voices playing. This is
done to be consistent; you can always predict which note will be stolen.
When in Combo mode, each Part acts as a separate mini-synthesizer, so the same
voice assignment rules apply within the Part.
16
An exception to the voice stealing rule is when Poly Chain is On. In this case rather
than stealing an already-used voice, the Poly will transmit the new note over MIDI so
it can be played by another linked Poly.
Individual Voice Outputs
The Poly has a pair of output jacks for each of the four voices on the back panel,
allowing separate mixing/processing of each voice. When a plug is inserted in the
jack, that signal is disconnected from the mix output.
Another trick is to route the output of one voice to the external audio inputs; then, in
Combo mode, you can use one (or more) voices to process a different voice. Or take
two different voice outputs (programmed in mono) and run one to the Left input and
one to the Right input for even wilder results.
Note: The individual outputs will normally be used in Combo mode only, where
you have complete control over the individual voices.
17
Global Parameters
To edit the Global parameters, press the GLOBAL switch and Global page 1 is
displayed. The PARAM 1 knob changes the parameter on the upper LCD line, and the
PARAM 2 knob changes the lower parameter. The +/YES and -/NO switches select the
other pages.
Note: If you hold the -/NO switch while you hit the +/YES switch, it will jump to the
last page. Similarly, if you hold the +/YES switch when you hit the -/NO switch, it
will jump to the first page.
Note: When in Combo mode, some of the Global parameters will be overwritten
by the Combo parameters.
Page 1:
Transpose:
Fine Tune:
xx
xx
Transpose: -36…+36 – Master Transpose control, 0 is centered. Steps in semitones.
Fine Tune: -50…+50 – Master Fine Tune control; 0 centered. Steps in cents (50
cents = ½ semitone).
Page 2:
MIDI Channel: xx
Poly Chain: xx
MIDI Channel: ALL, 1…16 – Selects which MIDI channel to send and receive data, 1
to 16. All receives on any channel.
Poly Chain: Off, 5…20 – Use this to link multiple Evolvers and Poly Evolvers into a
system with more voices by intelligently processing the keys hit and passing MIDI
data through to the Poly Chain MIDI out jack where it can be routed to another
Evolver or Poly Evolver. Note that MIDI clocks are handled separately per the MIDI
Clock parameter. Check page 10 for more details.
Page 3:
Clock: xxxxxxxx
Prog Tempo: xx
Clock: see table – Selects the MIDI clock status, and enables External sequencer
triggers, as follows:
Display
Internal
MIDI Clock Setting
MIDI clock is neither sent nor received
MIDI Out
MIDI clock is sent
MIDI In
MidiIn/Out
MIDI clock is received
MIDI clock is received and transmitted (use
MidInNoS/S
with Poly Chain)
MIDI clock is received, but MIDI
start/stop/continue messages are ignored.
Prog Tempo: Off, On – When set to Off, changing a Program or Combo will not
change the tempo- this is useful for keeping a constant tempo but using different
sounds. If set to On, a Program change will change the tempo to the BPM and Clock
Divide values saved with the Program. When on, changing the main BPM will also
change the Program BPM, and vice-versa. When off, changing one has no effect on
the other.
Page 4:
Tempo (BPM): xxx
Clock Div:xxxxxx
Tempo: 30…250 – Sets the basic speed for the sequencer in BPM. Actual speed also
depends on the Clock Divide setting. If using MIDI clock, it will display the BPM of the
incoming MIDI clocks. If Prog Tempo is On, the Tempo and Clock Divide will both be
updated on every Program or Combo change.
Clock Divide: see table – Used as a clock divider to provide a wider range of
sequencer speeds. When set to Quartr (quarter notes), the BPM setting is exact, i.e.
120 BPM = 120 BPM. If set to Half (half note), the actual speed is half, so a setting of
120 BPM will actually play at 60 BPM.
Swing settings add a delay to every the odd steps (1, 3, 5, and so on), while
shortening the even steps by the same amount, for a swing feel to the timing. Half
swing is the same with less delay.
Here are all the possible settings, with the effect on the overall tempo:
Display
Half
Tempo
BPM/2
Timing Division
Half note
Quartr
BPM
Quarter note
Eighth
BPM x 2
Eighth note
8 half
BPM x 2
Eighth note, half swing timing
8swing
BPM x 2
Eighth note, full swing timing
8 trip
BPM x 3
Eighth note triplets
16th
BPM x 4
Sixteenth note
16half
BPM x 4
Sixteenth note, half swing timing
16swng
BPM x 4
Sixteenth note, full swing timing
16trip
BPM x 6
Sixteenth note triplets
32nd
BPM x 8
Thirty-second note
32trip
BPM x 12
Thirty-second note triplets
64trip
BPM x 24
Sixty-fourth note triplets
Page 5:
19
MIDI Program:xxx
MIDI Pressure:xx
MIDI Program: Off, On – When On, the Poly will respond to MIDI program changes
received, and will transmit Program changes to MIDI Out.
MIDI Pressure: Off, On – When On, the Poly will respond to MIDI pressure
(aftertouch) received, and will transmit Keyboard Pressure to MIDI Out.
Page 6:
MIDI Control:xxx
MIDI SysEx:xx
MIDI Control: Off, On – When On, the Poly will respond to MIDI controllers, and will
transmit controllers from the keyboard to the MIDI Out. Controllers include Pitch
Wheel, Mod wheel, Pedal 1, and pedal 2.
MIDI SysEx: Off, On – When On, the Poly will respond to MIDI SysEx messages,
and will transmit them from the keyboard to the MIDI Out. Note that all
knobs/parameters on the keyboard are sent as SysEx messages when enabled.
Page 7:
Input Gain:xxxxx
LCD Contrast: xx
Input Gain: 0db… 24d – Provides extra gain on the Left and Right External Inputs.
You can select no gain (0 dB), or a gain in steps of 3 dB up to 24 db.
LCD Contrast: 1…100 – This sets the contrast level for the LCD. Normally it will be
around 15.
Page 8:
Pedal 1:xxxxxxxx
Pedal 2:xxxxxxxx
Pedal 1: see table – Sets the destination for the Pedal/CV1 input. Note that this input
is heavily filtered for clean operation, so there is a limit to the speed it will respond to
an external control voltage.
Pedal 2: see table – Same for Pedal/CV 2.
Display
FootCtrl
Breath
Expressn
Volume
LpFilter
20
Pedal Routing
Routed to the Foot Control Modulation
Routed to the Breath Control Modulation
Routed to the Expression Modulation
Controls Master Volume
Routed to the low pass filter
LpF Half
Routed to the low pass filter, but with half
the range
Page 9:
Velocity Curve:x
Pressure Curve:x
Velocity Curve: 1…4 – Sets one of the four velocity curves for the keyboard; this
gives you the ability to adjust the keyboard to your playing style.
Pressure Curve: 1…4 – Sets one of the four pressure curves for the keyboard; this
gives you the ability to adjust the keyboard to your playing style.
Page 10:
LocalControl:xxx
DamperPolarity:x
Local Control: Off, On – Enables or disables the internal connection between the
keyboard and panel controls and the synth electronics. This is useful with external
sequencer operation.
DamperPolarity: -, + – For compatibility with different sustain (Damper) pedals
connected to the Sustain jack on the rear panel. Use + for normally Open switches,
and use – for normally closed switches.
Page 11:
Dump: (Hit S/S)
xxxxxxxxxxxxxxxx
MIDI Dumps: see table – Allows dumping of Programs and Combos over MIDI in a
number of ways.
Display
Single Program
Program Bank
All Program Banks
Single Combo
Combo Bank
All Combo Banks
Everything
MIDI Transmit Operation
Send current program
Send all 128 programs in current bank
Send all programs in all four banks
Send current combo
Send all 128 combos in current bank
Send all combos in all three banks
Sends the whole banana (all of the above)
When this screen is active, the sequencer START/STOP LED will start blinking. When
the START/STOP switch is hit, the transmission will start. It is handy for saving
Programs on a computer or sending to another Poly. The dumps include Program
and Bank numbers, so when received it will be stored in the same location.
21
Program Parameters
All Program parameters can be edited using the front panel controls. To edit a
program, simply turn the desired parameter knob. The selected parameter and value
appears in the LCD display.
After a parameter is selected by turning its knob, you can also use the PARAM 2 knob
to change the value of the selected parameter. The +/YES or -/NO switches
incrementally adjust parameter values as well.
Following are descriptions of each Poly Evolver Program Parameter.
Oscillators
There are four oscillators per Poly Evolver voice. To select a particular oscillator for
editing, press the appropriate oscillator switch, 1–4. Turning a knob will then adjust
the parameters of the selected oscillator. Holding one of the four switches will solo
that oscillator (the switch will blink) by setting the levels of the other three to zero. It
does not affect any modulation that is routed to oscillator level, though, so at times it
may not completely turn off all other levels.
Oscillators 1 and 2
Oscillators 1 and 2 are analog oscillators. Oscillator 1 is hardwired to the Left channel;
Oscillator 2 is hardwired to the Right channel.
Note: There are additional modulation controls that affect Oscillators 1 and 2.
These are covered in other sections of the Parameter definitions.
22
Frequency: C -2…C 8 – Selects the base oscillator frequency over a 10 octave
range, from 8 Hz to 8KHz, stepping in semitones. C3 is middle C, the first octave is –2
(C-2, C#-2, and so on), the second octave is –1 (C-1, C#-1, and so on), the third is
zero (C 0, C# 0…), and so on.
Fine: -50…+50 – Fine Tune control; 0 centered. Steps in cents (50 cents = ½
semitone).
Shape/PW: see table – Selects the analog waveshape as follows:
Display
Sawtooth
Waveshape
Sawtooth
Triangle
Triangle
Saw-Tri
Sawtooth – Triangle mix
Pulse xx
Pulse Wave, with pulse width ranging from minimum
(0) to maximum (99). The pulse width will turn off at the
two extremes – this allows some interesting modulation
possibilities. A square wave will be around P50.
Level: 0…100 – Sets the volume of the selected Oscillator.
Glide: Normal 0…100; Finger 02…Finger 100; Keybd Off – Sets the Oscillator
Glide rate. Glide can be set independently for each oscillator. Low settings are faster.
Normal Glide covers the range from 1 to 100 (0 is no glide). A “fingered” mode that
only glides when more than one note is held down is selected by setting glide over
100, where it ranges from Finger 02 to Finger 100 (equivalent to glides of 2 to 100).
Note: If you set glide all the way to maximum, it goes to Keybd Off, which has the
effect of disconnecting the selected oscillator from the keyboard.
Note: Fingered Glide only works in Mono or Unison key assign modes.
Sync 2-> 1 – When enabled (lit), turns oscillator hard sync on. With sync on,
whenever oscillator 2 resets, it will also reset oscillator 1 for the classic hard sync
sound.
Oscillators 3 and 4
Oscillators 3 and 4 are digital waveshape oscillators. Oscillator 3 is hardwired to the
Left channel; Oscillator 4 is hardwired to the Right channel. Like the original Prophet
VS, the digital oscillators in Evolvers get quite trashy at higher frequencies.
Frequency: C -2…C 8 – Selects base frequency over a 10 octave range, from 8 Hz
to 8KHz, stepping in semitones. C3 is middle C, the first octave is –2 (C-2, C#-2, and
so on), the second octave is –1 (C-1, C#-1, and so on), the third is zero (C 0, C# 0…),
and so on.
Fine: -50…+50 – Fine Tune control; 0 centered. Steps in cents (50 cents = ½
semitone).
Shape/PW: 1…128 – Selects a digital waveshape. Waveshapes 1 - 95 correspond to
ROM (preset) Waveshapes 32 – 126 in the Prophet-VS. Waveshapes 97 – 128 are
user programmable via the software editor. In the VS, the user waves were 0 - 31,
and wave 127 was noise, which is not included because the Poly Evolver has a
separate noise generator. Wave 96 has a Waveshape that is unique to Evolver in
23
place of the VS noise. Wave 95 (126 on the VS) is a “blank” wave, which can give
some options while sequencing waves. The Poly Evolver ships with waves 97 – 128
the same as 1 – 32.
Level: 0…100 – Sets the volume of the selected Oscillator.
Glide: Normal 0…100; Finger 02…Finger 100; Keybd Off – Sets the oscillator
Glide rate. Glide can be set independently for each oscillator. Low settings are faster.
Normal Glide covers the range from 1 to 100 (0 is no glide). A “fingered” mode that
only glides when more than one note is held down is selected by setting glide over
100, where it ranges from Finger 02 to Finger 100 (equivalent to glides of 2 to 100).
Note: If you set glide all the way to maximum, it goes to Keybd Off, which has the
effect of disconnecting the selected oscillator from keyboard.
Note: Fingered Glide only works in Mono or Unison key assign modes.
FM: 0…100 – Sets the amount of Frequency Modulation. If Oscillator 3 is selected,
FM is applied to Oscillator 3 from Oscillator 4. If Oscillator 4 is selected, FM is applied
to Oscillator 4 from Oscillator 3. Note that each digital oscillator can FM the other at
the same time for some wild results.
Ring Mod: 0…100 – Sets the amount of Ring (Amplitude) Modulation. If Oscillator 3
is selected, Ring Modulation is applied to Oscillator 3 from Oscillator 4. If Oscillator 4
is selected, Ring Modulation is applied to Oscillator 4 from Oscillator 3. Note that each
digital oscillator can Ring modulate the other at the same time.
Note: If the Ring Mod amount is turned up, you will get output from the Oscillator
even if the Oscillator Level is set to zero.
Shape Seq: Off, Seq1...4 – This parameter allows sequencing Waveshapes. Off if
not in use, otherwise select one of the four sequences Seq 1, Seq 2, Seq3, or Seq 4
to change the waveshape on every sequence step. In other words, if sequence 1 is
selected, with step 1 = 10 and step 2 = 5, then waveshape 10 will play in the first step,
and waveshape 5 will play in the second.
Noise
Level: 0…100 – Controls the volume of white noise mixed into the filter. The same
amount goes into both channels.
External In
24
Level: 0…100 – Controls the volume of external audio input connected to the Left
and/or Right Audio Input jack on the back of the Poly Evolver Keyboard. The same
signal is routed to all four voices.
Note: Use the External Audio input type parameter in the Misc Parameters section
to choose the input mode.
Lowpass Filter
The analog (real analog!) lowpass filter is actually two different filters; one for the Left
channel and one for the Right channel. This allows true stereo processing of external
audio signals run through Evolver. However, for simplicity and consistency the two
filters are normally driven together in tandem, so they normally respond the same
way.
Exceptions are when using the SPILT parameter, and when using the separate filter
cutoff and resonance modulation destinations, which allow the two filters to be
modulated independently. Note that though they are normally controlled together,
since they are analog there will always be some subtle differences between the two
filters, which gives the Poly Evolver a more natural sound.
4/2 Pole: – Selects either 2- or 4-pole operation for the filter. (The filter is in 4-pole
mode when the 4/2/POLE switch is lit.)
Frequency: 0…164 – Sets the base filter cutoff frequency over more than 13 octaves.
There is special smoothing on the operation of the filter knob to eliminate stepping as
you turn the knob for clean manual filter sweeps.
Resonance: 0…100 – Sets the Resonance level of the filter. At high settings the filter
will self-oscillate in 4-pole mode. If the filter does not oscillate, make sure that 4 pole
mode is selected. (The filter is in 4-pole mode when the 4/2 POLE switch is lit.)
Env Amount: -99…+99 – Sets the amount of filter envelope to the cutoff frequency.
This can be positive or negative, allowing inverted envelope control of the filter.
Velocity: 0…100 – Amount of MIDI velocity controlling the level of the filter envelope.
Key Amount: 0…100 – Sets the amount of keyboard (MIDI note) to the filter cutoff. A
setting of 72 will step the filter one semitone for each MIDI note, 36 would be halfsemitones, and so on. Also, the MIDI note is derived using Oscillator 1 Glide, allowing
Glide tracking.
Attack: 0…110 – Sets the Attack time of the filter ADSR envelope generator
25
Decay: 0…110 – Sets the Decay time.
Sustain: 0…100 – Sets the Sustain level.
Release: 0…110 – Sets the Release time.
Audio Mod: 0…100 – Sets the amount of audio modulation from the analog oscillator
to the filter, separate in left and right channels; i.e. Oscillator 1 modulates the left filter,
and Oscillator 2 mods the right filter.
L/R Split: 0…100 – Split separates the cutoff of the left and right filters by raising the
left and lowering the right. Normally the filters track in both channels, so this
parameter provides a way to unlock them.
Amplifier
VCA Level: 0…100 – Sets a base level for the VCA (Voltage controlled Amplifier).
This allows the VCA to be essentially bypassed, which may be necessary for
processing external audio signals, or for Programs that drone.
Note: If VCA Level is on full, Envelope Amount has no effect.
Env Amount: 0…100 – Sets the amount of VCA envelope to the VCA level.
Velocity: 0…100 – Sets the amount of MIDI velocity controlling the level of the VCA
envelope.
Attack: 0…110 – Sets the Attack time of the VCA ADSR envelope generator.
Decay: 0…110 – Sets the Decay time.
Sustain: 0…100 – Sets the Sustain level.
Release: 0…110 – Sets the Release time.
Output Pan: see table – Sets output panning. This affects the feedback; it allows
signal from one channel to feedback into the other, for example.
Display
LxxxxR
xLxxRx
xxLRxx
26
Output Pan Selection
Stereo 1 – Left channel panned fully left, Right fully to the
right
Stereo 2 – Left channel panned mostly left, Right mostly to
the right
Stereo 3 – Left channel panned somewhat left, Right
somewhat to the right
xMonox
xxRLxx
xRxxLx
RxxxxL
Mono – Both channels mixed to the center – also useful
when only using one output
Reverse Stereo 1 – Right channel panned somewhat left,
Left somewhat to the right
Reverse Stereo 2 – Right channel panned mostly left, Left
mostly to the right
Reverse Stereo 3 – Right channel panned fully left, Left fully
to the right
High Pass Filter
Frequency: 0…99 – Sets the cutoff frequency of the four-pole highpass filter. When
the PRE/POST switch is on (lit), the highpass filter is inserted before the analog
lowpass filter, and only affects external audio input. When the PRE/POST switch is off
(unlit), the highpass filter is placed after the analog lowpass filter and VCA (but before
the Delay) and filters the Evolver’s audio accordingly. Refer to the Signal Flow
diagram on page 13 for details on the signal path. There are two separate highpass
filters, one for each channel, and they are controlled in tandem.
Remember that any of the modulation sources can be routed to control the Highpass
Filter. For example, Envelope 3 can be dedicated to the Highpass.
Tuned Feedback
Feedback is implemented via two identical tuned delay lines, one for each channel.
See the diagram on page 13 for details on the signal path. Since the delay is tuned, it
can be played by modulating the feedback frequency, from the sequencer or other
sources.
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Note: Feedback can also be used to implement plucked string physical models.
Use Envelope 3 with Noise as a destination (all oscillators off). Play around with
different Feedback Levels, and adjust the filter cutoff frequency.
Frequency: 0…48 – Sets the base frequency of the main feedback loop. It steps in
semitones from C0 to C4 (0 – 48) for a four octave range. The exact frequency is
influenced by other factors, such as the filter frequency and number of poles, which
can drive it slightly sharp or flat.
Level: 0…100 – Sets the level of feedback. As the level goes up, the feedback will
eventually oscillate at the set Frequency. Medium levels of feedback add depth and
movement to the sound.
Grunge: OFF…On – When on, it enables nasty feedback at higher levels. It has no
effect at lower levels of feedback.
Distortion
Distortion: 0…99 – Sets the amount of distortion. There are two separate
distortions, one for each channel. When the PRE/POST switch is on (lit), the distortion
is introduced before the analog filter, and only affects external input. When the
PRE/POST switch is off (unlit), the distortion is introduced after the analog filter, VCA,
and Highpass, but before the Delay.
Note: There is a built-in noise gate that is enabled when distortion is not zero. If
you want to use the noise gate but without distortion, use a distortion setting of 1.
The noise gate uses the Left channel signal level to gate both channels.
Delay
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The delay takes a mix of both channels as input, and provides up to three
independent taps, each of which can be individually time or level modulated. To select
a delay tap for editing, press the appropriate Delay switch, 1–3. Turning a knob will
then adjust the parameters of the selected Delay tap. Holding one of the three
switches will solo that delay (the switch will blink) by setting the levels of the other two
to zero. It does not affect any modulation that is routed to delay level, though, so at
times it may not completely turn off all other levels.
The outputs of the three taps are mixed and summed with the Left and Right
channels. The delay output also can be mixed back to the input of the delay for more
ambience, repeating delays, or tuned feedback if the feedback level is set high.
A second feedback path takes the delay output and routes it back to the input of the
analog filter. This path can be used for more extreme feedback effects.
Note: If all three Delay taps are in use, the Levels of each should be set to lower
amounts to prevent overload distortion.
Time: 0…150, sync – Sets the delay time of the selected delay tap. A setting of 0 150 will adjust the delay from zero to 1 second at 16 bits 48KHz sampling, no
compression. The middle range steps are in tuned semitones (noticeable with
Feedback 1 turned up high). Since delay is a time measurement, higher delay
numbers are lower frequencies. Step 22 corresponds to C7 (2,093 Hz), down to step
94 which is tuned to C1 (32.7 Hz).
After 150 the sync delay times are as shown in the table below. The delay time can be
set in multiples of a single sequencer step, or exact divisions of a step.
Note: Depending on the current sequence speed, the longer sync delays may not
be reachable. For example, at Tempo of 60 BPM and Clock Divide of Quartr
(quarter note) each beat takes one second, so if you set it to 2 Steps (Delay is 2
steps in length), the delay should be two seconds. But, there is only enough
memory for one second of delay, so it will not work. When too slow as in this case,
simply clamping it at one second would not likely be a multiple of the step time.
So, if the requested time is too long, the requested time is cut in half until it fits
within the one second of available memory. So, don’t be surprised if changing
longer sync delay times does not make any difference to the sound.
Display
32 Steps
Timing Sync
Delay is 32 steps in length
16 Steps
Delay is 16 steps in length
8 Steps
Delay is 8 steps in length
4 Steps
Delay is 4 steps in length
2 Steps
Delay is 2 steps in length
1 Step
Delay is 1 step in length
1/2 Step
Delay is one-half step in length
1/4 Step
Delay is one-quarter step in length
1/8 Step
Delay is one-eighth step in length
1/16Step
Delay is one-sixteenth step in
length
Delay is 6 steps in length
6 Steps
29
3 Steps
Delay is 3 steps in length
1/3 Step
Delay is one and a half steps in
length
Delay is two-thirds of a step in
length
Delay is one-third step in length
1/6 Step
Delay is one-sixth step in length
1.5 Step
2/3 Step
Amount: 0…100 – Sets the delay amount of the selected delay tap. The left and right
channels are mixed into a single delay.
Feedback 1: 0…100 – Sets the amount of feedback from the summed output of all
the delay taps to the input of the delay.
Feedback 2: 0…100 – Sets the amount of feedback from the summed output of all
the delay taps to the input of the filter for more extreme effects.
Output Hack
Amount: 0…14 – Trashes the output signal, quite rudely.
Voice Vol
Level: 0…100 – Sets the voice volume; usually used for matching volumes between
Programs.
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Envelope 3
Destination: see table – Sets the Envelope 3 destination. See the Modulation
Destination table on page 41 for a list of possible destinations.
Amount: -99…+99 – Sets the amount of Envelope 3.
Velocity: 0…100 – Sets the amount of MIDI velocity controlling the level of envelope
3.
Delay: 0…100 – Sets the delay time of Envelope 3, prior to Attack.
Attack: 0…110 – Sets the Attack time of Envelope 3.
Decay: 0…110 – Sets the Decay time.
Sustain: 0…100 – Sets the Sustain level.
Release: 0…110 – Sets the Release time.
LFOs
The Poly Evolver has four identical Low Frequency Oscillators (LFOs). To select a
specific LFO for editing, press the appropriate switch, 1–4. Turning a knob will then
adjust the parameters of the selected LFO. Holding one of the four switches will solo
that LFO (the switch will blink) by setting the Amounts of the other three to zero. It
does not affect any modulation that is routed to LFO Amounts, though, so at times it
may not completely turn off all other Amounts.
31
Frequency: 0…150, sync – Sets the LFO frequency. Range 0–150 for unsynced
LFO; speed ranges from slow (30 seconds) to very fast – at 90 (8 HZ, C-2) and above
the speed steps in semitones, up to 150 (261 Hz, middle C).
Note: Some of the analog functions may not respond well to the fastest LFO
speeds, due to speed limitations of the control voltages; but they will certainly
generate some interesting sounds.
Above 150, the sync speeds as follows:
Display
32 Steps
16 Steps
Timing Sync
Sequence speed divided by 32; i.e. one LFO cycle
takes 32 steps
Sequence speed divided by 16
8 Steps
Sequence speed divided by 8
4 Steps
Sequence speed divided by 4
2 Steps
Sequence speed divided by 2
1 Step
One cycle per step
1/2 Step
Two cycles per step
1/4 Step
Four cycles per step
1/8 Step
Eight cycles per step
1/16Step
Sixteen cycles per step
Shape: see table – Selects the LFO waveshape:
Display
Triangle
Rev Saw
Sawtooth
LFO Shape
Triangle
Reverse Sawtooth
Sawtooth
Square
Square Wave
Random
Random – changes once per cycle for
sample-and-hold effects
Amount: 0…100 – Sets the amount of LFO routed to the destination.
Key Sync: When this switch is enabled (lit) the Poly Evolver re-starts the LFO each
time a new note is played (Key Sync). Each LFO can be set independently.
Destination: see table – see the Modulation Destination table on page 41 for a list of
possible destinations.
32
Modulators
The Modulators section lets you configure the modulation routing and amount for the
Poly Evolver’s four general-purpose modulation slots as well as for MIDI controllers
such as the Mod Wheel, Key Pressure, Velocity, Breath Control, and more.
Since each Evolver mod source has a single destination, the four general purpose
Mods provide a way to send a mod source (such as a sequence or LFO) to additional
destinations, with a different amount. There are also additional mod sources available
here, such as noise and the digital oscillators, allowing a wide variety of possibilities,
such as audio-rate modulation. While some destinations may not be able to keep up
with audio-rate modulation, you will certainly be able to generate interesting sonic
results.
To configure a general-purpose modulation slot, press the appropriate switch, 1–4,
and use the Source, Destination and Amount knobs to set the modulation as desired.
Holding one of the four switches will solo that Mod (the switch will blink) by setting the
Amounts of the other three to zero. It does not affect any modulation that is routed to
Mod Amount, though, so at times it may not completely turn off all other Amounts.
To configure modulation for a controller, press the FIXED switch, select the desired
controller with the Source knob, then use the Destination and Amount knobs to set its
modulation.
The Breath and Foot Controller parameters can be controlled by the Pedal/CV 1 and
2 inputs on the rear panel. This gives you the ability to route them to different
parameters on each Program for more flexible control.
The In Peak fixed source takes the momentary peak of the left external audio input,
and uses it as a modulation signal. The In Env Follower generates an envelope from
the Left external audio input, and uses it as a modulation signal.
Source 1: see table – Selects a modulation source. See the list on page 43 for
possible sources.
Note: General-purpose mod slot Sources are not filtered, so a MIDI controller
going through this route will react quicker, but may produce stepping noise,
depending on the controller. For filtered (smoothed) MIDI controller operation, use
the direct Pressure, Mod Wheel, Breath Control, or Foot Control parameters in the
Fixed mods.
Amount 1: -99…+99 – Sets the amount of modulation.
33
Destination 1: see table – Selects a modulation destination. See the Modulation
Destination table on page 41 for a list of possible destinations.
Misc Parameters
The Misc Parameters section lets you configure a variety of parameters not found
elsewhere. The parameter list is printed on the panel as seen above.
Trigger Select: see table – Selects the source of triggers/gates for the envelope
generators. In the Poly (different from the Evolver) some of the Trigger modes will
automatically turn the Sequencer on. This allows gated-sequence Programs to be
played without having to manually hit the START/STOP switch. The Trigger modes that
do this are marked in the table as AUTO.
Display
Sequencer or Key
Sequencer Only
Envelope Trigger Selections
The envelopes will be triggered by either the
sequencer or the keyboard. When triggered by the
sequencer, the gates are on for half the step time.
Simply adjust the envelope parameters (ADSR) for the
desired effect.
The envelopes will be triggered by only the sequencer.
Keyboard Only
The envelopes will be triggered by the keyboard only.
Key, Resets Seq
The envelopes will be triggered by the keyboard, and
the sequencer will be reset on every key (if it is
running). The sequencer will not trigger the envelopes.
Gated mode – the envelopes will be triggered by the
sequencer when a key is held; in other words the
keyboard will gate the sequencer. AUTO
Gated mode, reset – same as Gated mode, except
every time a key is hit, the sequencer is reset to step
1. AUTO
The envelopes are gated by the Left external audio
input signal level, in other words, when the signal gets
above a fixed threshold, the envelopes start. The
envelopes then go into the release phase when the
Key, Gates Seq
KeyGates Seq Rst
Ext Audio Input
34
ExtIn, ResetsSeq
ExtIn, Gates Seq
ExtIn GateSeqRst
Key GatesSeqOnce
Key GateSeqOnceR
Ext In Steps Seq
Key Steps Seq
signal level drops below a second fixed threshold.
Same as external in, but also resets the sequencer to
step 1 if it is running.
External In signal will gate the sequencer. AUTO
External In signal will gate the sequencer, and also
resets the sequencer to step 1 on each new gate.
AUTO
Plays a sequence once (according to the length of
Sequence 1) when a key is hit. The sequence is not
restarted on multiple keys until it finishes and stops.
AUTO
Also plays a sequence once when a key is hit, but will
re-start the sequence on each key hit. AUTO
Plays one step of the sequencer on each External
Input audio trigger. AUTO
Plays one step of the sequencer on each key hit.
AUTO
Key Mode: Poly, Mono, Unison 1, Unison 2; see table – Selects the key mode
when playing on the keyboard. There are 4 groups of key modes: Poly, Mono, Unison
1, and Unison 2. Each mode has 6 basic key modes as seen in the table. Poly is for
normal polyphonic playing; in Program mode and Poly, the six key modes will have no
effect, though they will in Combo when set to Mono.
Mono will only play one voice in Program mode. Unison will play all four voices
together for a very thick sound. Unison 2 has more detuning between the voices than
Unison 1.
Note: For quick key mode changing while playing in Program mode, the four
Combo Part switches will select between Poly, Mono, Unison 1, and Unison 2
modes when switches 1-4 are hit respectively.
Display
Low Note
LowRetrig
HighNote
HighRetrg
LastNote
LastRetrg
Keyboard mode
Low note priority
Low note priority, re-trigger envelopes
High note priority
High note priority, re-trigger envelopes
Last note hit priority
Last note hit priority, re-trigger envelopes
Key Off/Xpose: Off, -36…+36 – Enables and transposes the keyboard. If set to Off,
the keyboard note values are ignored. Otherwise, it transposes the keyboard from –36
to +36 semitones (+/- 3 octaves). It is usually set to –24 or –36 to be in the best range
for both the keyboard and the sequencer.
Note: When set to Off, the Poly will not respond to the keyboard.
Another Note: This parameter is useful to help balance oscillator pitch ranges
between the keyboard and the sequencer. For example, if you make a Program
using the sequencer, you will likely set the Oscillator frequencies up to the desired
35
pitch range. But, if you then try to play this Program from a keyboard, the pitches
will likely be too high. Rather than lowering all the oscillator frequencies (which
would mess up the sequence!) you can simply use the transpose here.
Pitch Wheel Range: 0…12 – Sets the Pitch Bend Range of the Pitch Wheel, in
semitones.
Osc Slop: 0…5 – The amount of random oscillator frequency slop. The analog and
digital oscillators in Evolver are very accurate, and will not drift. This works great for
accurate sounds, and allows precise de-tuning. The Oscillator Slop parameter allows
subtle amounts of frequency drift. For larger amounts, use a random LFO or white
noise mod.
Input Mode: see table – Selects the external signal input mode. Note that the same
signal goes to all four voices; this can be useful in Combo mode to do multiple parallel
processing of an external audio signal. Or, the output of one voice can be routed to
the input of another voice.
Display
Stereo
Mono Left
External Audio Input Mode
The left channel in goes to the left channel, right to right.
The left channel in goes to both channels (mono in).
Mono Right
The right channel in goes to both channels (mono in).
LCon RAudio
A mono audio signal is input to the Right Input; and a
separate control audio signal (for envelope follower,
peak hold, and clock source) into the Left Input. This
allows one audio signal to control another for gating,
filtering etc.
Env Shape: Exponential, Linear – Selects whether all three envelopes have a linear
(straight line) shape, or exponential (curved). Exponential is the more natural of the
two.
Input Hack: 0…14 – Trashes the external input signal, quite rudely. But, the analog
filter tames it nicely. A good way to mess up a clean stereo signal.
36
Sequencer
The Poly Evolver features a 4 x 16 “analog-style” step sequencer that can generate
four separate sequences of up to 16 steps each. Individual sequences can be routed
to any standard modulation destination (see the table on page 41). Using VCA
Envelope as a destination, for example, varies the volume of each step; a destination
of Filter or Filter Envelope Amount will produce different filter settings per step.
Typically, however, at least one sequence is routed to an oscillator to control pitch.
The sequencer can be triggered in a variety of ways, including via its own internal
clock, by the keyboard, or with an external audio signal.
BPM: 30…250 – Sets the programmed basic speed for the sequencer in BPM. When
“Prog Tempo” is set to On in the Global Parameters menu, changing this parameter
also changes the master BPM, and vice-versa. When Off, changing this parameter
has no effect.
Tap Tempo – Lets you tap in a tempo. If the sequencer is Off, hit the Tap Tempo four
times, and on the fifth hit the sequencer will start with the speed set according to the
timing of the taps. If you keep hitting it, or otherwise hit it while playing, the sequence
speed will change to match the tap speed. You can use this to speed up or slow down
a sequence by continually hitting the switch.
Clock Divide: see table – Provides a wider range of sequencer speeds. When “Prog
Tempo” is set to On in the Global Parameters menu, changing this parameter also
changes the master Clock Divide, and vice-versa. When Off, changing this parameter
has no effect.
Display
Half
Tempo
BPM/2
Timing Division
Half note
Quartr
BPM
Quarter note
Eighth
BPM x 2
Eighth note
8 half
BPM x 2
Eighth note, half swing timing
8swing
BPM x 2
Eighth note, full swing timing
8 trip
BPM x 3
Eighth note triplets
16th
BPM x 4
Sixteenth note
16half
BPM x 4
Sixteenth note, half swing timing
16swng
BPM x 4
Sixteenth note, full swing timing
16trip
BPM x 6
Sixteenth note triplets
32nd
BPM x 8
Thirty-second note
32trip
BPM x 12
Thirty-second note triplets
37
64trip
BPM x 24
Sixty-fourth note triplets
Programming a Sequence
Each of the 16 steps in the sequence has its own knob, which can be set to a value
from 0-100. Turning a Step knob past 100 sets the step to “Reset.” Reset is useful for
creating a sequence of fewer than 16 steps. For example, if you want to create a four
step sequence, set step 5 to Reset.
In addition, in Sequence 1 you can program rests by setting a step value to “Rest",
just past Reset. On that step, no trigger is sent to the envelopes. Since Sequence 1
controls rests for Sequences 2–4 as well, the rests will end up in different places on
other sequences if they are a different length.
If you want all sequences to be the same length, make sure that the reset step is the
same for all four sequences. If however, each sequence is a different length, the rests
and clock swing settings will follow sequence 1. In other words, the envelopes are
always triggered from one sequence and can’t be separately handled by each of the 4
sequences.
Using rests, resets, and different Clock Divides (half swing, swing, and so on) you can
generate very complex sequences.
To program a sequence:
1.
Select the sequence you want to program by pressing the appropriate
switch, 1–4.
2.
Select the destination for the sequence using the Destination knob. For
example, to generate a sequence of notes, select OscAllFreq.
Note: When a sequence is routed to oscillator frequency, each knob increment
equals half of a semitone. The LCD display will show the relative note value, with
a “+” after it to show when at a half-semitone step.
3.
Press the Reset switch to reset the sequence to Step 1.
4.
Turn the Step 1 knob to the desired value. If the sequencer is stopped, each
time you turn a Step knob, the envelopes are triggered, allowing you to hear
the notes (or other modulation) generated by the step value.
5.
Repeat for each subsequent step in the sequence.
6.
Press the START/STOP switch to start the sequence.
7.
Press the START/STOP switch again to stop the sequence.
Note: Pressing the RESET switch resets the sequencer to step 1 whether or not it
is running. The RESET switch also acts as an all-notes-off, and resets all
controllers if pressed while the sequencer is not running.
An alternate way to program a sequence is to use the keyboard. Hit the WRITE switch,
then hit START/STOP – you are now in sequence record mode. Simply hit the keys you
want to record and the sequencer will automatically increment to the next step. It will
keep looping from 16 to 1 if you keep hitting notes. You can hit any of the other
38
sequence switches while recording to program all of the sequences in one write
session. Hit START/STOP or WRITE when you are done recording.
When recording from the keyboard, you cannot reach the half semitone step values.
You can program rests by just hitting any key above the highest D key, and you can
program a reset by hitting high C. Note that you can program values into sequences
using the keyboard even if a sequence is going to a destination other than oscillator
pitch; this makes for quick programming.
In Program mode, only voice 1 plays the sequence (if one is programmed); the other
3 voices are still controlled via the keyboard. In Combo mode, each Part can have the
sequencer individually enabled or disabled.
Some Trigger modes will automatically start the sequencer for gated sequence
operation. In this case, all four voices in Program mode will use the sequencer, not
just voice 1.
Suggested Destinations
You can really have some fun with other destinations. For example, route a sequence
to Delay amount to have the delay level change; or to feedback amount to drastically
change the sound every step. FM and Ring Mod Levels are fun to sequence, too –
you get the idea. With four sequences, you can program a very dynamic sequence.
Note: Another very useful way to modulate a sequence is using LFOs with sync;
LFO frequency runs 0–150, after which you can select the sync settings. A setting
of 16 Steps for LFO Frequency with a Triangle wave selected and routed to the
filter will provide a clean filter sweep over a 16 step sequence, perfectly in sync!
This is much easier (and smoother) than programming a filter sweep using
sequence steps.
The sequencer can also be routed to MIDI output destinations, including Note
Number, Velocity, Mod Wheel, Pressure, Breath, and Foot Controller. Velocity is a
special case – it only works if selected as the destination for Sequence 2 when
Sequence 1’s destination routed to Note Number. The same for Sequence 3 and 4
(Sequence 4 can be velocity for Sequence 3). If velocity is not used as a destination,
the velocity output is 120. So, it is possible to have up to 4 note sequences sent out
over MIDI.
The actual MIDI note transmitted is the sequence step value plus one (since MIDI
note on of zero = note off). Note that this is different than the half-semitone when
driving the internal oscillators – this was done to provide a wider range of notes. Also,
the main Transpose is added/subtracted to the MIDI note output. Velocity and the
other controllers are converted from 0 – 100 range to 0 – 127 range for MIDI.
Note: The MIDI output destinations only work on Voice 1; you cannot have
multiple voices in Combo mode sending out to MIDI.
Another possible sequencer destination is Clock Mod. It works via a multiplier based
on a step value of 40. If a sequencer step is set to 40, the clock speed stays as set. If
set to 20, (half of 40), the clock will be twice as fast for that step. Likewise, a step
value of 80 will be twice as slow as normal, and 10 would be 4 times faster.
39
Note that overall limits of 30 to 250 BPM still apply; for example, if you have a BPM of
120, and a sequencer step of 10, it will try to go four times faster than 120, which is
480. Since it is greater than 250, it will clamp at 250. With clever choices of BPM
(using Clock Divide as necessary) you can develop a pretty wide range of timing
possibilities. Also, with sequences of different lengths, it can really get quite wild.
40
Modulation Destinations
Display
Off
Destination
No destination selected
Osc 1 Freq
Oscillator 1 Frequency
Osc 2 Freq
Oscillator 2 Frequency
Osc 3 Freq
Oscillator 3 Frequency
Osc 4 Freq
Oscillator 4 Frequency
OscAllFreq
Oscillator All Frequency – goes to all four
Osc1 Level
Oscillator 1 Level
Osc2 Level
Oscillator 2 Level
Osc3 Level
Oscillator 3 Level
Osc4 Level
Oscillator 4 Level
OscAll Lev
Oscillator All Level
NoiseLevel
Noise Level
ExtInLevel
External In Level
Osc1 PulsW
Oscillator 1 Pulse width
Osc2 PulsW
Oscillator 2 Pulse width
Osc All PW
Oscillator All Pulse width
FM Osc4>3
Frequency Mod (FM) Amount; Osc 4 -> 3
FM Osc3>4
Frequency Mod (FM) Amount; Osc 3 -> 4
RM Osc4>3
Ring Mod (Amplitude) Amount; Osc 4 -> 3
RM Osc3>4
Ring Mod (Amplitude) Amount; Osc 3 -> 4
Low Pass
Lowpass filter frequency
LP Split
Filter Split –separation between left / right
Resonance
Resonance
High Pass
Highpass filter- will not work if Highpass is set to 0
UCA Level
VCA amount
Output Pan
Pan
FBack Freq
Feedback frequency
FBack Amt
Filter Amount
Delay1Time
Delay 1 Time
Delay2Time
Delay 2 Time
Delay3Time
Delay 3 Time
DlyAllTime
Delay All Time
Delay1 Amt
Delay 1 Amount
Delay2 Amt
Delay 2 Amount
Delay3 Amt
Delay 3 Amount
DlyAll Amt
Delay All Amount
Delay FB1
Delay Feedback 1
Delay FB2
Delay Feedback 2
41
LFO 1 Freq
LFO 1 Frequency
LFO 2 Freq
LFO 2 Frequency
LFO 3 Freq
LFO 3 Frequency
LFO 4 Freq
LFO 4 Frequency
LFOAllFreq
LFO All Frequency
LFO 1 Amt
LFO 1 Amount
LFO 2 Amt
LFO 2 Amount
LFO 3 Amt
LFO 3 Amount
LFO 4 Amt
LFO 4 Amount
LFOAll Amt
LFO A Amount
Env 1 Amt
Envelope 1 Amount (Level)
Env 2 Amt
Envelope 2 Amount (Level)
Env 3 Amt
Envelope 3 Amount (Level)
EnvAll Amt
Envelope All Amount (Level)
Env1Attack
Envelope 1 Attack Rate
Env2Attack
Envelope 2 Attack Rate
Env3Attack
Envelope 3 Attack Rate
EnvAll Att
Envelope All Attack Rate
Env1 Decay
Envelope 1 Decay Rate
Env2 Decay
Envelope 2 Decay Rate
Env3 Decay
Envelope 3 Decay Rate
EnvAll Dec
Envelope All Decay Rate
Env1Releas
Envelope 1 Release Rate
Env2Releas
Envelope 2 Release Rate
Env3Releas
Envelope 3 Release Rate
EnvAll Rel
Envelope All Release Rate
LeftLP Frq
Filter 1 (Left) lowpass filter cutoff frequency
RightLPFrq
Filter 2 (Right) lowpass filter cutoff frequency
LeftLP Res
Filter 1 (Left) lowpass filter resonance
RightLPRes
Filter 2 (Right) lowpass filter resonance
Distortion
Distortion - will not work if distortion is set to 0 (off) or
1 (noise gate select)
Additional Sequencer-Only Modulation Destinations
Seq Clock
Sequencer clock (BPM) multiplier
Midi Note
MIDI note number
M Note Vel
MIDI Velocity
Midi ModWh
MIDI Mod Wheel
Midi press
MIDI Pressure
Midibreath
MIDI Breath Controller
Midi Foot
42
MIDI Foot Controller
Modulation Sources
Display
Off
Source
No Source selected
Sequence1
Sequence 1
Sequence2
Sequence 2
Sequence3
Sequence 3
Sequence4
Sequence 4
LFO 1
LFO 1
LFO 2
LFO 2
LFO 3
LFO 3
LFO 4
LFO 4
FilterEnv
VCA Env
Filter Envelope
Amp (VCA) Envelope
Envelope3
Envelope 3
ExtInPeak
External Audio Input Peak
EInEnvFol
External Audio Envelope Follower
PitchBend
Pitch Bend
Mod Wheel
Mod Wheel
Pressure
Pressure (Aftertouch)
MidBreath
Midi - Breath Controller
Midi Foot
Midi - Foot Controller
Velocity
Keyboard Note Velocity
KeyNumber
Keyboard Note Number
Midi Exp
Midi – Expression
Noise
Noise
Osc 3
Oscillator 3
Osc 4
Oscillator 4
43
Combo Parameters
Combos are used to make different combinations of Programs, and use them in
different ways. You can use up to four different Parts, each with its own set of 16
parameters.
To edit the Combo parameters, first hit the desired COMBO PART Switch. The PARAM 1
knob now selects the parameter, and the PARAM 2 knob changes the value. The + and
– switches will increment/decrement the value also. The COMBO PART switches select
one of the four parts.
While playing a Combo, it is possible to edit the Program parameters of the individual
Parts, or of all the Parts together. If you turn a knob with no Parts selected (meaning
no Combo Part LEDs are on), the new value will go to all Parts. While this doesn’t
really make a lot of sense, since the Programs are often very different in each Part, it
turns out to be interesting to do quite often.
Otherwise, if you select a Part first, and then turn a knob, then just that Part will be
edited. This allows you to go between different parts while performing and change the
sound however you wish.
Note: You cannot save the individual programs in each Part while in Combo
mode. Since a Program can be used in many different Combos, saving the
changes will likely cause problems elsewhere.
Below we describe the 16 parameters for each Part. The upper LCD line shows the
Part number; lower lines are used for the parameter.
Mode: see table – Selects the polyphony of this Part. When a Combo is selected, it
starts assigning voices to Parts with Part 1. You cannot assign more than 4 voices.
For example, if you set both Part 1 and Part 2 to Poly 3, the total would be 6 voices,
so it obviously it will not work in a four voice instrument. In this case, it would assign
the first 3 voices to Part 1, and the last voice to Part 2, ignoring the rest of the Parts.
Looking at the voice LED’s on the front panel will help to see the voice operation.
Display
Off
Part Mode
Don’t use this Part
Poly 4
Assign 4 voices to this Part
Poly 3
Assign 3 voices to this Part
Poly 2
Assign 2 voices to this Part
Mono
Assign 1 voice monophonically to this Part
Program: 1…128 – Selects the Program to use for this Part.
Bank: 1…3 – Selects the Bank of the Program to use for this Part.
MIDI Mode: see table – Selects the Program to use for this Part.
44
Display
Off
MIDI mode
This Part will not respond to MIDI
Notes
This Part only responds to MIDI notes
Cntrls
On All
This Part only responds to MIDI controller
messages
This Part responds to both MIDI notes and MIDI
controller messages
MIDI Ch: 1…16, All – Selects the MIDI channel to use for this Part. If All is selected, it
responds to any MIDI channel. If MIDI Mode is set to Off, this parameter is ignored.
Sequencer: Enable, Disable– Enables or disables the Program’s sequencer for this
Part. Only Parts with the Sequencer enabled will respond to hitting the START switch
or MIDI Start commands (when MIDI clocks are enabled in the Global setting). If this
Part uses a gated sequence Trigger mode (see below), you should leave the
Sequencer Off – the voices in this Part will play the gated sequences automatically.
Tempo: 30…250 – Sets the tempo of the Part – ignored if the Sequencer is Off.
Clock Div: see table – Sets the clock divider for this Part, also ignored if Sequencer
is Off.
Display
Half
Tempo
BPM/2
Timing Division
Half note
Quartr
BPM
Quarter note
Eighth
BPM x 2
Eighth note
8 half
BPM x 2
Eighth note, half swing timing
8swing
BPM x 2
Eighth note, full swing timing
8 trip
BPM x 3
Eighth note triplets
16th
BPM x 4
Sixteenth note
16half
BPM x 4
Sixteenth note, half swing timing
16swng
BPM x 4
Sixteenth note, full swing timing
16trip
BPM x 6
Sixteenth note triplets
32nd
BPM x 8
Thirty-second note
32trip
BPM x 12
Thirty-second note triplets
64trip
BPM x 24
Sixty-fourth note triplets
Trigger: see table – Selects the source of triggers/gates for the envelope generators
for this Part. Note that the Sequencer and/or keyboard must be enabled to match the
Trigger selected.
In the Poly (different from the Evolver) some of the Trigger modes will automatically
turn the Sequencer on. This allows gated-sequence Programs to be played without
having to manually hit the START/STOP switch. The Trigger modes that do this are
marked in the table as AUTO.
45
Display
Sequencer or Key
Sequencer Only
Envelope Trigger Selections
The envelopes will be triggered by either the
sequencer or the keyboard. When triggered by the
sequencer, the gates are on for half the step time.
Simply adjust the envelope parameters (ADSR) for the
desired effect.
The envelopes will be triggered by only the sequencer.
Keyboard Only
The envelopes will be triggered by the keyboard only.
Key, Resets Seq
The envelopes will be triggered by the keyboard, and
the sequencer will be reset on every key (if it is
running). The sequencer will not trigger the envelopes.
Gated mode – the envelopes will be triggered by the
sequencer when a key is held; in other words the
keyboard will gate the sequencer. AUTO
Gated mode, reset – same as Gated mode, except
every time a key is hit, the sequencer is reset to step
1. AUTO
The envelopes are gated by the Left external audio
input signal level, in other words, when the signal gets
above a fixed threshold, the envelopes start. The
envelopes then go into the release phase when the
signal level drops below a second fixed threshold.
Same as external in, but also resets the sequencer to
step 1 if it is running.
External In signal will gate the sequencer. AUTO
Key, Gates Seq
KeyGates Seq Rst
Ext Audio Input
ExtIn, ResetsSeq
ExtIn, Gates Seq
ExtIn GateSeqRst
Key GatesSeqOnce
Key GateSeqOnceR
Ext In Steps Seq
Key Steps Seq
External In signal will gate the sequencer, and also
resets the sequencer to step 1 on each new gate.
AUTO
Plays a sequence once (according to the length of
Sequence 1) when a key is hit. The sequence is not
restarted on multiple keys until it finishes and stops.
AUTO
Also plays a sequence once when a key is hit, but will
re-start the sequence on each key hit. AUTO
Plays one step of the sequencer on each External
Input audio trigger. AUTO
Plays one step of the sequencer on each key hit.
AUTO
Transpose: -36…+36 – Transpose control for this Part; 0 is centered, steps in
semitones. Note that it is summed with the Global Transpose, and the overall limit of
the two controls is –36 to +36. For example, if the Combo is transposed down two
octaves (-24) and you then turn the Global transpose down two octaves, summing the
two would be –48, which is out of range. In this case, it automatically adds octaves to
keep it in range.
Fine Freq: -50…+50 – Fine Tune control for this Part; 0 centered, steps in cents (50
cents = ½ semitone). As with the Transpose, it is summed with the Global Fine Freq,
and the summed limit is –50 to +50.
46
Volume: 0…100 – Sets the Volume level for this Part.
Low Key: C -2…C 8 – This parameter, along with the High Key parameter following,
sets the keyboard range that this part will respond to. The frequency covers a 10
octave range, from 8 Hz to 8KHz, stepping in semitones. C3 is middle C (MIDI note
60). The keyboard range is used for setting up keyboard splits, for example when Part
1 is set from C-2 to C2 with one voice (unison), and Part 2 is set from C#2 to C 8 with
3 voices (Poly 3).
Or, you may want to stack two voices, by setting two Parts to Poly 2, and setting both
keyboard ranges to the same range (C-2 to C8). You can even stack four Unison
Parts, each with a different Program, for a super-thick mono synth.
High Key: C -2…C 8 – This parameter sets the high keyboard limit for this Part in
conjunction with the Low Key parameter.
Low Velocity: 0…127 – This parameter, along with the Hi Velocity parameter
following, sets the velocity range this Part responds to. This is useful for setting a
velocity split point, so one Part plays at low velocity notes, and another plays at higher
velocities. Or, you could set multiple velocity split points.
Hi Velocity: 0…127 – This parameter, along with the Lo Velocity parameter following,
sets the velocity range this Part responds to.
47
MIDI Implementation
The Poly Evolver receives MIDI data according to the mode controls in the Global
Section. When in Combo mode, the Global parameters may be overridden by the
Combo settings. In addition, there is interaction between some of the Program
parameters that determine the overall response of Evolver to MIDI data. Following are
the parameters that affect response to MIDI.
Global Parameters
MIDI Channel: ALL, 1…16 – Selects the MIDI channel to send and receive data, 1 to
16. All receives on any channel.
Poly Chain: ALL, 5…20– Use this to link multiple Evolvers and Poly Evolvers into a
system with more voices by intelligently processing the keys hit and passing MIDI
data through to the Poly Chain MIDI out jack where it can be routed to another
Evolver or Poly Evolver. Note that MIDI clocks are handled separately per the MIDI
Clock parameter.
Local Control: Off, On – Enables or disables the internal connection between the
keyboard and panel controls and the synth electronics. This is useful with some
sequencers.
Clock: see table – Selects the MIDI clock status, and enables External sequencer
triggers, as follows:
Display
Internal
MIDI Clock Setting
MIDI clock is neither sent nor received
MIDI Out
MIDI clock is sent
MIDI In
MIDI clock is received
M In Out
MIDI clock is received and transmitted (use
with Poly Chain)
MIDI clock is received, but MIDI
start/stop/continue messages are ignored.
In no ss
Combo Parameters
MIDI Mode: see table – Selects the Program to use for this Part.
Display
Off
MIDI mode
This Part will not respond to MIDI
Notes
This Part only responds to MIDI notes
Cntrls
On All
This Part only responds to MIDI controller
messages
This Part responds to both MIDI notes and MIDI
controller messages
MIDI Ch: 1…16, All – Selects the MIDI channel to use for this Part. If All is selected, it
responds to any MIDI channel. If MIDI Mode is set to Off, this parameter is ignored.
RESET switch: Acts as a MIDI all-notes-off, and resets all MIDI controllers when hit
while the sequencer is not running.
49
MIDI Messages
Received Channel Messages
Status
1000 nnnn
1001 nnnn
1010 nnnn
1011 nnnn
Second
0kkkkkkk
0kkkkkkk
0kkkkkkk
0vvvvvvv
1100 nnnn
0ppppppp
1101 nnnn
1110 nnnn
0vvvvvvv
0vvvvvvv
Notes:
0kkkkkkk
nnnn
Third
0vvvvvvv
0vvvvvvv
0vvvvvvv
0vvvvvvv
0vvvvvvv
Description
Note Off. Velocity is ignored
Note On. Note off if vvvvvvv = 0
Polyphonic Key Pressure
Control Change; see “Received Controller
Messages” table following
Program change, 0 – 127 for Programs 1 – 128
within current Bank
Channel Pressure
Pitch Bend LS Byte then MS Byte
Note number 0 - 127
Channel number 0 to 15 (MIDI channel 1-16). Ignored if MIDI
channel set to ALL
Value
0vvvvvvv
Received Controller Messages
Status
1011 nnnn
1011 nnnn
1011 nnnn
1011 nnnn
Second
1
2
3
7
Third
0vvvvvvv
0vvvvvvv
0vvvvvvv
0vvvvvvv
1011 nnnn
74
0vvvvvvv
1011 nnnn
13
0vvvvvvv
1011 nnnn
32
0vvvvvvv
1011 nnnn
64
0vvvvvvv
1011 nnnn
1011 nnnn
125
123
0vvvvvvv
0vvvvvvv
Additional received CCs:
20
21
22
23
24
25
26
50
Oscillator 1 Frequency
Oscillator 2 Frequency
Oscillator 3 Frequency
Oscillator 4 Frequency
Oscillator 1 Level
Oscillator 2 Level
Oscillator 3 Level
Description
Mod Wheel – directly assignable controller
Breath Controller – directly assignable controller
Foot Controller – directly assignable controller
Volume – Combined with Master Volume and
Program Volume
Brightness – Added to lowpass filter cutoff
frequency
Expression Controller – directly assignable
controller
Bank Select – 0 to 3 selects banks 1 to 4; others
ignored
Damper pedal – holds envelopes in Sustain if
0100 0000 or higher
All Notes Off – clear all MIDI notes
Reset All Controllers – clears all MIDI controllers
to 0, MIDI volume to maximum
27
28
29
30
31
40
41
42
43
62
52
53
54
55
56
57
58
59
60
61
75
76
77
78
13
85
86
12
102
103
104
105
106
107
108
109
Oscillator 4 Level
Oscillator 1 Shape
Oscillator 2 Shape
Oscillator 3 Shape
Oscillator 4 Shape
FM 4->3
FM 3->4
RM 4->3
RM 3->4
Noise Level
Low Pass Filter Frequency
Filter Resonance
Filter Envelope Amount
Filter Attack
Filter Decay
Filter Sustain
Filter Release
Filter Audio Mod
Filter Split
Filter Key Amount
Amp Attack
Amp Decay
Amp Sustain
Amp Release
Highpass Filter Cutoff
Feedback Frequency
Feedback Level
Distortion
Delay 1 Time
Delay 2 Time
Delay 3 Time
Delay 1 Amount
Delay 2 Amount
Delay 3 Amount
Delay Feedback 1
Delay Feedback 2
51
System Common Messages
Status
1111 0010
Second
0vvvvvvv
Third
0vvvvvvv
Description
Song Position Pointer – LS Byte then MS Byte.
Positions depends on Clock Divide. For example,
if Clock Divide is set to 4n (quarter note), then
the sequence is 4 measures of 4/4 in length. The
Song Position will calculate correctly within the
four bars.
System Real-time Messages
Status
1111 1000
1111 1010
1111 1011
1111 1100
Description
Timing Clock
Start – starts the sequencer from step 1
Continue – re-starts the sequencer from the current step
Stop – Stops the sequencer
Universal System Exclusive Message (Device Inquiry)
Status
1111 0000
0111 1110
0vvv vvvv
0000 0110
0000 0001
1111 0111
Description
System Exclusive (SysEx)
Non-realtime message
If MIDI channel is set to 1-16, 0vvvvvvv must match (unless MIDI Channel
= ALL); always responds if 0vvvvvvv = 0111 1111.
Inquiry Message
Inquiry Request
End of Exclusive (EOX)
Evolver responds with:
Status
1111 0000
0111 1110
0vvv vvvv
0000 0110
0000 0010
0000 0001
0010 0001
0000 0000
0000 0000
0000 0000
0jjj nnnn
0jjj nnnn
52
Description
System Exclusive (SysEx)
Non-realtime message
If MIDI Channel = ALL, 0vvvvvvv = 0111 1111. Otherwise 0vvvvvvv =
Channel Number 0-15.
Inquiry Message
Inquiry Reply
DSI ID
Poly Evolver ID (Family LS)
Family MS
Family Member LS
Family Member MS
Main PIC Software version: jjj – Major rev; nnnn – Minor Rev
Voice PIC Software version: jjj – Major rev; nnnn – Minor Rev
0vvv vvvv
0vvv vvvv
1111 0111
DSP Software version LS
DSP MS
End of Exclusive (EOX)
Transmitted Channel Messages
Status
1000 nnnn
1001 nnnn
1011 nnnn
Second
0kkkkkkk
0kkkkkkk
0vvvvvvv
1100 nnnn
0ppppppp
1101 nnnn
1110 nnnn
0vvvvvvv
0vvvvvvv
Notes:
0kkkkkkk
nnnn
0vvvvvvv
Third
0000000
0vvvvvvv
0vvvvvvv
0vvvvvvv
Description
Note Off.
Note On.
Control Change; see “Received Controller
Messages” table following
Program change, 0 – 127 for Programs 1 – 128
within current Bank
Channel Pressure
Pitch Bend LS Byte then MS Byte
Note number 0 - 127
Channel number 0 to 15 (MIDI channel 1-16). Ignored if MIDI
channel set to ALL
Value
Transmitted Controller Messages
Status
1011 nnnn
1011 nnnn
1011 nnnn
1011 nnnn
1011 nnnn
1011 nnnn
1011 nnnn
1011 nnnn
Second
0000 0001
0000 0010
0000 0100
0000 0111
0100 1010
0000 1101
0010 0000
0100 0000
Third
0vvvvvvv
0vvvvvvv
0vvvvvvv
0vvvvvvv
0vvvvvvv
0vvvvvvv
0vvvvvvv
0vvvvvvv
Description
Mod Wheel
Breath Controller – when assigned to Pedal/CV
Foot Controller – when assigned to Pedal/CV
Volume – when assigned to Pedal/CV
Brightness – when assigned to Pedal/CV
Expression - when assigned to Pedal/CV
Bank Select – 0 to 3
Damper pedal – sends 0 if off, 0100 0000 when
on
53
System Exclusive Messages
Note that all the System Exclusive messages use the Evolver ID, rather than the Poly
Evolver ID. This maintains compatibility with Evolver, since the Programs are the
same.
Program Parameters
If this message is received while in Combo mode, only the Parts with MIDI enabled will
respond to the change.
Status
1111 0000
0000 0001
0010 0000
0000 0001
0000 0001
0vvv vvvv
0000 vvvv
0000 vvvv
1111 0111
Description
System Exclusive (SysEx)
DSI ID
Evolver ID
File Version
Program Parameter
Parameter Number 0 – 127. Parameters are in the same order as Evolver.
The Parameter data starts on page 66.
Parameter value, LS Nibble
Parameter value, MS Nibble
End of Exclusive (EOX)
Sequencer Parameters
Status
1111 0000
0000 0001
0010 0000
0000 0001
0000 1000
00vv vvvv
0000 vvvv
0000 vvvv
1111 0111
54
Description
System Exclusive (SysEx)
DSI ID
Evolver ID
File Version
Sequence Parameter
Sequence step 0 – 63. 0 – 15 are sequence 1 steps, 16- 31 for sequence 2,
etc.
Step value, LS Nibble
Step value, MS Nibble
End of Exclusive (EOX)
Combo Parameters
This message is ignored if the synth is in Program mode
Status
1111 0000
0000 0001
0010 0000
0000 0001
0010 1010
00vv vvvv
0000 vvvv
0000 vvvv
1111 0111
Description
System Exclusive (SysEx)
DSI ID
Evolver ID
File Version
Combo Parameter
Combo Parameter number 0 – 79. See table on page 64.
Parameter value, LS Nibble
Parameter value, MS Nibble
End of Exclusive (EOX)
Global Parameters
Status
1111 0000
0000 0001
0010 0000
0000 0001
0000 1001
0000 vvvv
0000 vvvv
0000 vvvv
1111 0111
Description
System Exclusive (SysEx)
DSI ID
Evolver ID
File Version
Global Parameter
Global Parameter Number 0 – 17. Global Parameters are listed starting on
page 62. Note that some parameter numbers are not used; this is to
maintain compatibility with Evolvers.
Parameter value, LS Nibble
Parameter value, MS Nibble
End of Exclusive (EOX)
55
Request Program Dump
Status
1111 0000
0000 0001
0010 0000
0000 0001
0000 0101
0000 00vv
0vvv vvvv
1111 0111
Description
System Exclusive (SysEx)
DSI ID
Evolver ID
File Version
Request Program Transmit
Bank Number, 0 - 3
Program Number, 0 - 127
End of Exclusive (EOX)
The Poly Evolver will respond by sending out the Program Data in the format described in
the Program Data Dump on page 58. It also sends a Program Name Dump message (also
on page 58) after the Program dump. This makes it a complete Program dump while
maintaining compatibility with Evolvers.
Request Program Edit Buffer Dump
Status
1111 0000
0000 0001
0010 0000
0000 0001
0000 0110
1111 0111
Description
System Exclusive (SysEx)
DSI ID
Evolver ID
File Version
Request Program Edit Buffer Transmit
End of Exclusive (EOX)
Evolver will respond by sending out the current Program edit buffer in the format described
in the Edit Buffer Dump on page 59
Request Waveshape Dump
Status
1111 0000
0000 0001
0010 0000
0000 0001
0000 1011
0vvv vvvv
1111 0111
Description
System Exclusive (SysEx)
DSI ID
Evolver ID
File Version
Request Waveshape Transmit
Waveshape number, 0 - 127
End of Exclusive (EOX)
Evolver will respond by sending out the requested Waveshape data, in the format
described in the Waveshape Data Dump on page 59.
56
Request Combo Dump
Status
1111 0000
0000 0001
0010 0000
0000 0001
0010 0001
0000 00vv
0vvv vvvv
1111 0111
Description
System Exclusive (SysEx)
DSI ID
Evolver ID
File Version
Request Combo Transmit
Bank Number, 0 - 2
Program Number, 0 - 127
End of Exclusive (EOX)
Evolver will respond by sending out the Combo Data in the format described in the Combo
Data Dump on page 58.
Request Combo Edit Buffer Dump
Status
1111 0000
0000 0001
0010 0000
0000 0001
0011 1000
1111 0111
Description
System Exclusive (SysEx)
DSI ID
Evolver ID
File Version
Request Combo Edit Buffer Transmit
End of Exclusive (EOX)
Evolver will respond by sending out the current edit buffer in the format described in the
Combo Edit Buffer Dump on page 59
Request Global Parameter Dump
Status
1111 0000
0000 0001
0010 0000
0000 0001
0000 1110
1111 0111
Description
System Exclusive (SysEx)
DSI ID
Evolver ID
File Version
Request Global Parameter Transmit
End of Exclusive (EOX)
Evolver will respond by sending out the current edit buffer in the format described in the
Global Parameter Dump on page 58
57
Program Data Dump
Status
1111 0000
0000 0001
0010 0000
0000 0001
0000 0010
0000 00vv
0vvv vvvv
0vvv vvvv
1111 0111
Description
System Exclusive (SysEx)
DSI ID
Evolver ID
File Version
Program Data
Bank Number, 0 - 3
Program Number, 0 - 127
220 bytes in “packed MS bit” format (see page Error! Bookmark not
defined.). Includes 128 bytes of Program parameters and 64 bytes of
Sequence data.
End of Exclusive (EOX)
Program Name Data Dump
Status
1111 0000
0000 0001
0010 0000
0000 0001
0001 0001
0000 00vv
0vvv vvvv
0vvv vvvv
1111 0111
Description
System Exclusive (SysEx)
DSI ID
Evolver ID
File Version
Program Name Data
Bank Number, 0 - 3
Program Number, 0 - 127
16 name data bytes. Note that the Poly Evolver stores the basic 7 bit data.
The assumption is that the data is ACSCII
End of Exclusive (EOX)
Combo Data Dump
Status
1111 0000
0000 0001
0010 0000
0000 0001
0010 0010
0000 00vv
0vvv vvvv
0vvv vvvv
1111 0111
58
Description
System Exclusive (SysEx)
DSI ID
Evolver ID
File Version
Combo Data
Bank Number, 0 - 2
Combo Number, 0 - 127
92 bytes in “packed MS bit” format (see page Error! Bookmark not
defined.) = 80 bytes of Combo data
End of Exclusive (EOX)
Program Edit Buffer Data Dump
Status
1111 0000
0000 0001
0010 0000
0000 0001
0000 0011
0vvv vvvv
1111 0111
Description
System Exclusive (SysEx)
DSI ID
Evolver ID
File Version
Edit Buffer Data
220 bytes in “packed MS bit” format (see page Error! Bookmark not
defined.). Includes 128 bytes of Program parameters and 64 bytes of
Sequence data.
End of Exclusive (EOX)
Combo Edit Buffer Data Dump
Status
1111 0000
0000 0001
0010 0000
0000 0001
0011 0111
0vvv vvvv
1111 0111
Description
System Exclusive (SysEx)
DSI ID
Evolver ID
File Version
Edit Buffer Data
220 bytes in “packed MS bit” format (see page Error! Bookmark not
defined.). Includes 128 bytes of Program parameters and 64 bytes of
Sequence data.
End of Exclusive (EOX)
Global Parameters Data Dump
Status
1111 0000
0000 0001
0010 0000
0000 0001
0000 1111
0vvv vvvv
1111 0111
Description
System Exclusive (SysEx)
DSI ID
Evolver ID
File Version
Main Parameter Data
34 nibbles (LS then MS) for 17 Global parameters. Global Parameters are
listed starting on page 62.
End of Exclusive (EOX)
59
Waveshape Data Dump
Status
1111 0000
0000 0001
0010 0000
0000 0001
0000 1010
0vvv vvvv
0vvv vvvv
1111 0111
Description
System Exclusive (SysEx)
DSI ID
Evolver ID
File Version
Waveshape Data
Waveshape number, 0 – 127, corresponds to Waveshapes 1 – 128. Only
Waveshapes 96 – 127 can be sent to Evolver and saved as user
programmable; others will be ignored.
293 bytes in “packed MS bit” format (see page Error! Bookmark not
defined.). The 293 bytes = 256 data bytes, in the format of LS byte/MS
byte, for the 128 16-bit words that make up a waveshape. The ROM
Waveshapes are 12 bit two’s complement (to match the VS), but the User
Waveshapes (97 – 128) can be a full 16 bits.
End of Exclusive (EOX)
Packed Data Format
Data is packed in 8 byte “packets”, with the MS bit stripped from 7 parameter bytes, and
packed into an eighth byte, which is sent at the start of the 8 byte packet.
Example:
Input Data
1
2
3
4
5
6
7
A7
B7
C7
D7
E7
F7
G7
A6
B6
C6
D6
E6
E6
G6
A5
B5
C5
D5
E5
E5
G5
Packed MIDI data
A4
B4
C4
D4
E4
E4
G4
A3
B3
C3
D3
E3
E3
G3
A2
B2
C2
D2
E2
E2
G2
A1
B1
C1
D1
E1
E1
G1
A0
B0
C0
D0
E0
E0
G0
1
2
3
4
5
6
7
8
00
00
00
00
00
00
00
00
G7
A6
B6
C6
D6
E6
E6
G6
F7
A5
B5
C5
D5
E5
E5
G5
E7
A4
B4
C4
D4
E4
E4
G4
D7
A3
B3
C3
D3
E3
E3
G3
C7
A2
B2
C2
D2
E2
E2
G2
B7
A1
B1
C1
D1
E1
E1
G1
A7
A0
B0
C0
D0
E0
E0
G0
This is why it takes 220 MIDI bytes to transmit 192 Program/Sequence data bytes, and 293
bytes to send 256 Waveshape bytes.
60
Reset Switch
Status
1111 0000
0000 0001
0010 0000
0000 0001
0000 0100
1111 0111
Description
System Exclusive (SysEx)
DSI ID
Evolver ID
File Version
Reset Switch
End of Exclusive (EOX)
Only sent when Poly Chain is on and MIDI clock is set to Out
Select Program Mode
Status
1111 0000
0000 0001
0010 0000
0000 0001
0011 0000
1111 0111
Description
System Exclusive (SysEx)
DSI ID
Evolver ID
File Version
Select Program Mode
End of Exclusive (EOX)
Select Combo Mode
Status
1111 0000
0000 0001
0010 0000
0000 0001
0011 0001
1111 0111
Description
System Exclusive (SysEx)
DSI ID
Evolver ID
File Version
Select Combo Mode
End of Exclusive (EOX)
61
Global Parameter Data
Parameter
Range
Description
0
0 - 127
Program Number 1 - 128
1
0-3
Bank Number 1 - 4
2
0 - 100
Master Volume 0 - 100
3
0 - 72
4
30 - 250
Master Transpose; 0 = -36 semitones (- 3 octaves), 36 = 0 (no
transpose), and 72 = +36 semitones.
BPM
5
0 - 12
6
0-1
7
0-6
8
x
9
0 - 16
10
0-8
11
0 - 100
62
Clock Divide:
0
Half Note
1
Quarter Note
2
Eighth Note
3
Eighth Note half swing
4
Eighth Note full swing
5
Eighth Note triplets
6
Sixteenth Note
7
Sixteenth Note half swing
8
Sixteenth Note full swing
9
Sixteenth Note triplets
10 Thirty-second Notes
11 Thirty-second Notes triplets
12 Sixty-Fourth Notes triplets
Use Program tempo; 0 = Off, 1 = On
MIDI clock select
0
Use Internal clock, don’t send MIDI clock
1
Use Internal clock, send MIDI clock
2
Use MIDI clock In
3
Use MIDI clock In, and retransmit MIDI clock out
4
No change
5
No change
6
Use MIDI clock In, but ignore MIDI Start/Stop
Not used (zero sent in Main Dump)
Poly Chain
0
No Chaining
1
5 voices total
2
6 voices total
.
16 20 voices total
Input Gain
0
No gain
1
+ 3 db
2
+ 6 db
3
+ 9 db
4
+ 12 db
5
+ 15 db
6
+ 18 db
7
+ 21 db
8
+ 24 db
Master Fine Tune; 0 = -50 cents, 50 = 0 (centered), 100 = + 50
cents
12
x
Not used (zero sent in Main Dump)
13
x
Not used (zero sent in Main Dump)
14
0 - 16
15
X
MIDI Channel; if = 0, data received on all MIDI channels.
Otherwise = channel number 1 – 16.
Not used (zero sent in Main Dump)
16
0 – 127
Combo number 1 - 128
17
0–2
Combo Bank 1 to 3
18
0-1
MIDI Program Change enable
19
0-1
MIDI Pressure enable
20
0-1
MIDI Controller enable
21
0-1
MIDI SysEx enable
22
0-5
Pedal/CV 1 destination
23
0-5
Pedal/CV 2 destination
24
0-3
Velocity Curve
25
0-3
Pressure Curve
26
0-1
Local Control Off/On
27
0-1
Damper Polarity; 0 = normally open, 1 = normally closed
Note: Some parameters are not used in order to maintain the closest match with standard
Evolvers.
63
Combo Parameter Data
There are 4 identical parts in a Combo; they are listed below. The name of the combo
follows the other parameters.
64
1
0
2
16
3
32
4
48
Range
0-4
1
2
3
17
18
19
33
34
35
49
50
51
0 - 127
0-3
0-3
4
20
36
52
0 - 16
5
6
7
21
22
23
37
38
39
53
54
55
0-1
30 - 250
0 - 12
8
24
40
56
0 - 13
Description
Mode – number of polyphonic voices
0 Off
1 Poly 4
2 Poly 3
3 Poly 2
4 Unison
Program
Bank
MIDI Mode
0
Off
1
Notes only
2
Controller messages only
3
All – notes and controllers
MIDI Channel; if = 0, data received on all MIDI
channels. Otherwise = channel number 1 – 16.
Sequencer; 0 = Off, 1 = On
Tempo
Clock Divide:
0 Half Note
1 Quarter Note
3
Eighth Note
4
Eighth Note half swing
5
Eighth Note full swing
6
Eighth Note triplets
7
Sixteenth Note
8
Sixteenth Note half swing
9
Sixteenth Note full swing
10 Sixteenth Note triplets
11 Thirty-second Notes
12 Thirty-second Notes triplets
12 Sixty-Fourth Notes triplets
Trigger Select
0
All - The envelopes will be triggered by either
the sequencer or keyboard
1
Seq – The envelopes will be triggered by the
sequencer only.
2
Keyboard - The envelopes will be triggered by
the keyboard only.
3
Keyboard Reset– Same, with sequencer reset
on Note On
4
Combo - Envelopes will only be triggered with
both a keyboard note and the sequencer
running
5
Combo Reset – same, with sequencer reset on
Note On
6
External Input gates the envelopes
7
External Input gates the envelopes and resets
the sequencer
8
External Input gates the sequencer
9
9
25
41
57
0 - 72
10
26
42
58
0 - 100
11
12
13
14
15
27
28
29
30
31
43
44
45
46
47
59
60
61
64
63
0 - 100
0 - 127
0 - 127
0 - 127
0 - 127
Parameters
64 - 79
32 - 127
External Input gates the sequencer and resets
the sequencer
10 Keyboard plays sequence once
11 Keyboard plays sequence once, resetting on
mulitple notes
12 External Trigger – the sequence plays once on
an external signal
13 Keyboard trigger – the sequence plays once
when a key is hit
Transpose; 0 = -36 semitones (- 3 octaves), 36 = 0
(no transpose), and 72 = +36 semitones.
Fine Freq; 0 = -50 cents, 50 = 0 (centered), 100 = +
50 cents
Volume level for this part
Low Key
High Key
Low Velocity
High Velocity
Name characters 1 - 16
65
Program Parameter Data
66
Parameter
0
Range
0 - 120
Description
Oscillator 1 Frequency, 0 – 120 in semitones (10 octave
range)
Oscillator 1 Fine Tune; 0 = -50 cents, 50 = 0 (centered), 100 =
+ 50 cents
Oscillator 1 Shape
0
Sawtooth
1
Triangle
2
Sawtooth/triangle mix
3 – 102 Pulse Wave, Pulse width 0 - 99
Oscillator 1 Level
Oscillator 2 Frequency, 0 – 120 in semitones (10 octave
range)
Oscillator 2 Fine Tune; 0 = -50 cents, 50 = 0 (centered), 100 =
+ 50 cents
Oscillator 2 Shape
0
Sawtooth
1
Triangle
2
Sawtooth/triangle mix
3 – 102 Pulse Wave, Pulse width 0 - 99
Oscillator 2 Level
1
0 - 100
2
0 - 102
3
4
0 - 100
0 - 120
5
0 - 100
6
0 - 102
7
0 - 100
Parameter
8
Range
0 - 120
9
0 - 100
10
11
12
0 - 127
0 - 100
0 - 120
13
0 - 100
14
15
0 - 127
0 - 100
Description
Oscillator 3 Frequency, 0 – 120 in semitones (10 octave
range)
Oscillator 3 Fine Tune; 0 = -50 cents, 50 = 0 (centered), 100 =
+ 50 cents
Oscillator 3 Shape 1 - 128
Oscillator 3 Level
Oscillator 4 Frequency, 0 – 120 in semitones (10 octave
range)
Oscillator 4 Fine Tune; 0 = -50 cents, 50 = 0 (centered), 100 =
+ 50 cents
Oscillator 4 Shape 1 - 128
Oscillator 4 Level
Parameter
16
17
18
19
20
21
22
23
Range
0 - 164
0 - 198
0 - 110
0 - 110
0 - 100
0 - 110
0 - 100
0 - 100
Description
Filter Frequency, steps in semitones
Filter Envelope Amount; -99 to +99
Filter Envelope Attack
Filter Envelope Decay
Filter Envelope Sustain
Filter Envelope Release
Resonance
Filter Keyboard Amount
Parameter
24
25
26
27
28
29
30
Range
0 - 100
0 - 100
0 - 110
0 - 110
0 - 100
0 - 110
0-6
31
0 - 100
Description
VCA Level
VCA Envelope Amount
VCA Envelope Attack
VCA Envelope Decay
VCA Envelope Sustain
VCA Envelope Release
Output Pan
0
Left channel panned fully left, Right fully to the right
1
Left channel panned mostly left, Right mostly to the right
2
Left channel panned somewhat left, Right somewhat to
the right
3
Mono
4
Right channel panned somewhat left, Left somewhat to
the right
5
Right channel panned mostly left, Left mostly to the right
6
Right channel panned fully left, Left fully to the right
Program Volume
Parameter
32
33
34
35
36
37
38
39
Range
0 - 48
0 - 100
0-1
0 - 166
0 - 100
0 - 100
0 - 100
0 - 14
Description
Feedback Frequency – steps in semitones
Feedback Amount
Grunge; 0 = off, 1 = on
Delay 1 Time
Delay 1 Level
Delay sum feedback to Delay input
Delay sum feedback to filter input
Output hack amount
Parameter
40
Range
0 - 160
Description
LFO 1 Frequency; 0 – 150 unsynced frequency
151 Sequence speed divided by 32
152 Sequence speed divided by 16
153 Sequence speed divided by 8
154 Sequence speed divided by 4
155 Sequence speed divided by 2
156 One cycle per step
157 Two cycles per step
158 Four cycles per step
159 Eight cycles per step
160 Sixteen cycles per step
LFO 1 Shape
0
Triangle
1
Reverse Sawtooth
2
Sawtooth
3
Pulse (square)
4
Random
41
0-4
67
42
43
44
45
46
47
0 - 200
0 - 68
0 - 160
0-4
0 - 200
0 - 68
LFO 1 Amount (over 100 repeats with Key sync on)
LFO 1 Destination (see destination table on page 72)
LFO 2 Frequency (same as LFO 1)
LFO 2 Shape (same as LFO 1)
LFO 2 Amount (over 100 repeats with Key sync on)
LFO 2 Destination (see destination table on page 72)
Parameter
48
49
50
51
52
53
54
Range
0 - 198
0 - 68
0 - 110
0 - 110
0 - 100
0 - 110
0 - 13
55
0 - 73
Description
Envelope 3 Amount; -99 to +99
Envelope 3 Destination (see destination table on page 72)
Envelope 3 Envelope Attack
Envelope 3 Envelope Decay
Envelope 3 Envelope Sustain
Envelope 3 Envelope Release
Trigger Select
0
All - The envelopes will be triggered by either the
sequencer or the keyboard
1
Seq – The envelopes will be triggered by the sequencer
only.
2
The envelopes will be triggered by the keyboard only.
3
Same, with sequencer reset on Note On
4
Combo - Envelopes will only be triggered by both the
keyboard and the sequencer is running
5
Combo Reset – same, with sequencer reset on Note On
6
External Input gates the envelopes
7
External Input gates the envelopes and resets the
sequencer
8
External Input gates the sequencer
9
External Input gates the sequencer and resets the
sequencer
10 Keyboard plays sequence once
11 Keyboard plays sequence once, resetting on multiple
notes
12 External Trigger – the sequence plays once on an
external signal
13 The sequence plays once when a key is hit
Key Off / Transpose – 0 = Key pitch ignored. 1 = -36
semitones keyboard transpose, 37 = no transposing, 73 =
+36 semitones
Parameter
56
57
58
59
60
61
62
68
Range
0 - 75
0 - 75
0 - 75
0 - 75
0 - 100
0 - 100
0-2
Description
Sequencer 1 Destination (see destination table on page 72)
Sequencer 2 Destination (see destination table on page 72)
Sequencer 3 Destination (see destination table on page 72)
Sequencer 4 Destination (see destination table on page 72)
Noise Volume
External Input Volume
External Input Mode
0
Stereo
1
Left Input channel goes to both channels
2
Right Input channel goes to both channels
63
0 - 14
Parameter
64
65
66
67
Range
0 - 200
0-1
30 - 250
0 - 12
68
69
70
71
0 - 200
0-5
0 - 12
0 - 23
3
Left channel audio, Right channel control
Input Hack Amount
Description
Glide, Oscillator 1; 101 – 199 = Fingered; 200 = osc midi off
Sync; 0 = off, 1 = on
Program tempo
Program Clock Divide (see Master Clock Divide for
selections)
Glide, Oscillator 2; 101 – 199 = Fingered; 200 = osc midi off
Oscillator Slop
Pitch Bend Range, in semitones
Key Mode
0
Low note priority
1
Low note priority with re-trigger
2
High note priority
3
High note priority with re-trigger
4
Last note hit priority
5
Last note hit priority with re-trigger
Add 0 for Poly, 6 for Mono, 12 for Unison 1, and 18 for Unison
2 to the above
Parameter
72
73
74
75
76
77
78
79
Range
0 - 200
0 - 100
0-4
0 - 100
0 - 200
0 - 100
0-4
0 - 100
Description
Glide, Oscillator 3; 101 – 199 = Fingered; 200 = osc midi off
FM, Oscillator 4 to Oscillator 3
Shape Mod Oscillator 3; 0 = Off, 1 = Sequence 1, etc.
Ring Mod, Oscillator 4 to Oscillator 3
Glide, Oscillator 4; 101 – 199 = Fingered; 200 = osc midi off
FM, Oscillator 3 to Oscillator 4
Shape Mod Oscillator 4; 0 = Off, 1 = Sequence 1, etc
Ring Mod, Oscillator 3 to Oscillator 4
Parameter
80
81
82
83
84
Range
0-1
0 - 100
0 - 100
0 - 100
0 – 199
85
86
87
0 - 24
0 - 198
0 - 68
Description
2/4 Pole Select; 0 = 2 Pole, 1 = 4 Pole
Filter Envelope Velocity
Filter Audio Modulation
Filter Split
Highpass Filter cutoff. 0-99 for filter on output; 100 – 199 for
levels 0-99 with filter on input
Modulation 1 Source (see Source Table on page 74)
Modulation 1 Amount; -99 to +99
Modulation 1 Destination (see destination table on page 72)
69
70
Parameter
88
89
90
91
92
93
94
95
Range
0-1
0 - 100
0 - 24
0 - 198
0 - 68
0 - 24
0 - 198
0 - 68
Description
Linear/Exponential envelopes 0 = Exponential, 1 = Linear
VCA Envelope Velocity
Modulation 2 Source (see Source Table on page 74)
Modulation 2 Amount; -99 to +99
Modulation 2 Destination (see destination table on page 72)
Modulation 3 Source (see Source Table on page 74)
Modulation 3 Amount; -99 to +99
Modulation 3 Destination (see destination table on page 72)
Parameter
96
97
98
99
100
101
102
103
Range
0 - 24
0 - 198
0 - 68
0 - 166
0 - 100
0 - 166
0 - 100
0 - 199
Description
Modulation 4 Source (see Source Table on page 74)
Modulation 4 Amount; -99 to +99
Modulation 4 Destination (see destination table on page 72)
Delay 2 Time
Delay 2 Level
Delay 3 Time
Delay 3 Level
Distortion; 0-99 for distortion on output; 100 – 199 for levels
0-99 with distortion on input
Parameter
104
105
106
107
108
109
110
111
Range
0 - 160
0-4
0 - 200
0 - 68
0 - 160
0-4
0 - 200
0 - 68
Description
LFO 3 Frequency (same as LFO 1)
LFO 3 Shape (same as LFO 1)
LFO 3 Amount (over 100 repeats with Key sync on)
LFO 3 Destination (see destination table on page 72)
LFO 4 Frequency (same as LFO 1)
LFO 4 Shape (same as LFO 1)
LFO 4 Amount (over 100 repeats with Key sync on)
LFO 4 Destination (see destination table on page 72)
Parameter
112
113
114
115
Range
0 - 100
0 - 100
0 - 198
0 - 68
116
117
0 - 198
0 - 68
118
119
0 - 198
0 - 68
Description
Envelope 3 Delay
Envelope 3 Velocity
External Input Peak Amount; -99 to +99
External Input Peak Destination (see destination table on
page 72)
External Input Envelope Follower Amount; -99 to +99
External Input Envelope Follower Destination (see
destination table on page 72)
Velocity Amount; -99 to +99
Velocity Destination (see destination table on page 72)
Parameter
120
121
122
123
124
125
Range
0 - 198
0 - 68
0 - 198
0 - 68
0 - 198
0 - 68
126
127
0 - 198
0 - 68
Description
Mod Wheel Amount; -99 to +99
Mod Wheel Destination (see destination table on page 72)
Pressure Amount; -99 to +99
Pressure Destination (see destination table on page 72)
Breath Controller Amount; -99 to +99
Breath Controller Destination (see destination table on page
72)
Foot Controller Amount; -99 to +99
Foot Controller Destination (see destination table on page
72)
71
Modulation Destinations
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
72
No destination selected
Oscillator 1 Frequency
Oscillator 2 Frequency
Oscillator 3 Frequency
Oscillator 4 Frequency
Oscillator All Frequency – goes to all four
Oscillator 1 Level
Oscillator 2 Level
Oscillator 3 Level
Oscillator 4 Level
Oscillator All Level
Noise Level
External In Level
Oscillator 1 Pulse width
Oscillator 2 Pulse width
Oscillator All Pulse width
Frequency Mod (FM) Amount; Osc 4 -> 3
Frequency Mod (FM) Amount; Osc 3 -> 4
Ring Mod (Amplitude) Amount; Osc 4 -> 3
Ring Mod (Amplitude) Amount; Osc 3 -> 4
Filter frequency
Filter Split –separation between left / right
Resonance
Highpass Frequency
VCA amount
Pan
Feedback frequency
Feedback Amount
Delay Time 1
Delay Time 2
Delay Time 3
Delay Time All
Delay Amount 1
Delay Amount 2
Delay Amount 3
Delay Amount All
Delay Feedback 1
Delay Feedback 2
LFO 1 Frequency
LFO 2 Frequency
LFO 3 Frequency
LFO 4 Frequency
LFO All Frequency
LFO 1 Amount
LFO 2 Amount
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
LFO 3 Amount
LFO 4 Amount
LFO A Amount
Envelope 1 Amount
Envelope 2 Amount
Envelope 3 Amount
Envelope A Amount
Envelope 1 Attack
Envelope 2 Attack
Envelope 3 Attack
Envelope A Attack
Envelope 1 Decay
Envelope 2 Decay
Envelope 3 Decay
Envelope A Decay
Envelope 1 Release
Envelope 2 Release
Envelope 3 Release
Envelope A Release
Filter 1 (left) Cutoff Frequency
Filter 2 (right) Cutoff Frequency
Filter 1 (left) Resonance
Filter 2 (right) Resonance
Distortion
Sequencer only destinations
69
70
71
72
73
74
75
Tempo Clock multiplier
MIDI Note Out
MIDI Velocity Out
MIDI Mod Wheel Out
MIDI Pressure Out
MIDI Breath Controller Out
MIDI Foot Controller Out
73
Modulation Sources
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
74
No Source selected
Sequence 1
Sequence 2
Sequence 3
Sequence 4
LFO 1
LFO 2
LFO 3
LFO 4
Filter Envelope
Amp (VCA) Envelope
Envelope 3
External Audio Input Peak
External Audio Envelope Follower
Pitch Bend
Mod Wheel
Pressure
Midi - Breath Controller
Midi - Foot Controller
Key Velocity
Key Note Number
Midi – Expression
Noise
Oscillator 3
Oscillator 4
1210 Cabrillo Hwy N
Half Moon Bay, CA 94019-1449
USA
www.DaveSmithInstruments.com
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