Modulation Matrix Parameters

Modulation Sources

LFO 1/2

The LFOs 1 and 2 produce cyclic modulation signals.

These LFOs are polyphonic, that is, a new LFO signal is created with each new note.

Amp Envelope

The amplifier envelope. This modulation source is unipolar. The shape of the envelope determines the modulation signal.

Filter Envelope

The filter envelope. This modulation source is unipolar. The shape of the envelope determines the modulation signal.

Pitch Envelope

The pitch envelope. This modulation source is bipolar. The shape of the envelope determines the modulation signal.

User Envelope

The user envelope. This modulation source is bipolar. The shape of the envelope determines the modulation signal.

Step Modulator

The step modulator of the zone. This modulation source is bipolar. It produces cyclic, rhythmically stepped modulation signals.

Glide

The glide signal of the source. This modulation source is unipolar.

Key Follow

This produces an exponential modulation signal derived from the MIDI note number. Exponential means this source works with destinations such as Pitch or Cutoff. This modulation source is bipolar.

Note-on Velocity

Note-on velocity can be used as modulation signal. This modulation source is unipolar.

Note-on Vel Squared

The squared version of Note-on Velocity. The harder you press the key, the higher the modulation values.

Note-on Vel Normalized

The note-on velocity is normalized according to the velocity range of the corresponding sample zone. At the lowest velocity of the zone, the modulation is 0, at the highest velocity, the modulation is 1.

Note-off Velocity

Note-off velocity can be used as modulation signal. This modulation source is unipolar. Most MIDI keyboards cannot send note-off velocity messages. However, most sequencer software is able to produce such messages.

Pitchbend

The position of the pitchbend wheel can be used as modulation signal. This modulation source is bipolar.

Modulation Wheel

The position of the modulation wheel can be used as modulation signal. This modulation source is unipolar.

Aftertouch

Aftertouch can be used as modulation signal. This modulation source is unipolar. Some MIDI keyboards cannot send aftertouch messages. However, most sequencer software is able to produce such messages.

MIDI Controller

Any of the 127 available MIDI controllers can be used as modulation signal. You can select the MIDI controller from the corresponding submenu.

In addition, you can select the eight global MIDI controllers Contr. A-Contr. H that can be used as placeholders in the modulation matrix. These controllers allow you to remap specific MIDI controllers to the placeholder controllers, for example, using the CC Mapper. This way, you can use the global controllers in several places, and set up the assignment only once.

Quick Control

The quick controls of the program or layer to which the zone belongs can be used as modulation signal. You can select the quick control from the corresponding submenu.

Note Expression

This submenu lists the eight Note Expression parameters that can be used as modulation signals.

MIDI Modules

This submenu lists the available MIDI modules that can be used as modulation signals. A zone can use the MIDI modules that are higher up in the Program Tree hierarchy than the zone. Which parameters are available depends on the selected module.

Noise

Produces a random modulation signal. This modulation source is bipolar.

Output

The audio output of the zone can be used as modulation signal. This modulation source is unipolar.

Bus 1–16

Modulations that are sent to one of the 16 busses can be reused as sources. This way, you can combine several modulations to produce more complex signals.

Modulation Modifiers

All modulation sources can also be used as modifiers. A modifier is used to scale the output of the modulation source. A typical example is an LFO as a source and the modulation wheel as the modifier. This allows you to control the intensity of the LFO modulation using the wheel.

The Sample & Hold modifier is only available on the Source 2 pop-up menu. It takes a sample of the modulation source whenever it receives a trigger signal. It holds the sampled value until it receives a new trigger. This way, you can quantize a continuous modulation signal.

The following Sample & Hold options are available:

Trigger on Note-on

Triggers the Sample & Hold modifier manually each time that you hit a key.

Trigger on LFO 1

Triggers the Sample & Hold modifier each time that the waveform of LFO 1 crosses the zero line from below.

Trigger on LFO 2

Triggers the Sample & Hold modifier each time that the waveform of LFO 2 crosses the zero line from below.

Trigger on Modulation Wheel

Triggers the Sample & Hold modifier each time that the modulation wheel passes the center position.

Trigger on Sustain

Triggers the Sample & Hold modifier each time that you press the sustain pedal.

Sample until Release

Triggers the Sample & Hold modifier each time that you release a key.

Unipolar vs. Bipolar Sources

The polarity of a modulation source specifies the value range that it produces. Unipolar sources modulate between 0 and +1. Bipolar sources modulate between -1 and +1.

• To change the polarity of a modulation source, click its Polarity button.

Modulation Depth

The horizontal fader below the destination adjusts the modulation depth.

Bypass Modulation

Click the Bypass button on the left of the Modulation Depth fader to bypass the modulation.

Modulation Destinations

Depending on the selected type of zone, the available modulation destinations vary.

Pitch

Modulates the pitch. For example, assign one of the LFOs to create a vibrato effect. If Pitch is selected, the modulation depth is set in semitones (-60 to +60).

Cutoff

Modulates the filter cutoff.

For example, to create rhythmic patterns in the spectral timbre, assign the Step Modulator.

Resonance

Modulates the filter resonance. Resonance changes the character of the filter.

For example, to accent the filter the harder you hit a key, assign Velocity to Resonance.

Distortion

Modulates the filter distortion.

This has no effect on the Classic, HALion 3, and Waldorf filters.

Morph X

Modulates the x-axis of the filter in Morph XY mode. Use this to morph between the filter shapes AD and BC.

Morph Y

Modulates the y-axis of the filter in Morph 2, Morph 4, or Morph XY mode. Use this to morph between the filter shapes AB and DC, for example.

Cutoff Offset

Modulates the cutoff offset of the second filter in Dual Filter Serial or Dual Filter Parallel mode. For example, to lower or raise the cutoff of the second filter while you play, assign the modulation wheel.

Resonance Offset

Modulates the resonance offset of the second filter in Dual Filter Serial or Dual Filter Parallel mode. For example, to lower or raise the resonance of the second filter while you play, assign the modulation wheel.

Level

This modulation adds to the level setting. It can be used to create level offsets using the mod wheel, for example.

Volume 1

Modulates the gain. This modulation multiplies with the level.

It is ideal for crossfades between zones.

Volume 2

As Volume 1. Volume 1 is multiplied with Volume 2. This way, you can build more complex modulations.

Pan

Modulates the position of the zone in the panorama.

Sample Start

Modulates the start position of the sample playback. For example, assign Note-on Velocity to play back more of the attack of a sample the harder you hit a key. This modulation destination cannot be modulated continuously. The parameter is updated only when you hit a key.

Speed Factor

Modulates the speed factor of the sample.

Formant Shift

Modulates the formant shifting.

Grain Position

Modulates the playback position. The modulation is not continuous, but it is updated at the start of each grain.

Grain Direction

Modulates the Direction parameter. For the effect to be heard, the Speed parameter must be set to a value above 0 %.

Grain Duration

Modulates the grain duration, that is, the frequency at which the grains repeat. The maximum modulation range at a modulation depth of 100 % is -5 to +5 octaves.

Grain Length

Modulates the grain length.

Grain Pitch

Modulates the pitch of a grain. The modulation is not continuous, but it is updated at the start of a new grain. For continuous pitch modulation, use Pitch instead of Grain Pitch as destination and make sure that Follow Zone Pitch is activated in the grain oscillator.

Grain Formant

Modulates the pitch of the source sample independently from the grain duration. This results in formant shifting for short durations.

Grain Level

Modulates the grain level. The modulation is not continuous, but it is updated at the start of each new grain. For continuous level modulation, use the destinations Volume 1, Volume 2, or Level.

Osc 1/2/3 Pitch

Modulates the pitch of the corresponding oscillator.

For example, to detune an oscillator cyclically, assign one of the LFOs.

Osc 1/2/3 Level

Modulates the level of the corresponding oscillator.

For example, to fade an oscillator in and out while you play, assign the modulation wheel.

Osc 1/2/3 Waveform

Modulates the shape and character of the corresponding oscillator.

For example, to change the character of an oscillator over time, assign one of the envelopes.

Osc 1/2/3 Multi Detune

Modulates the Detune parameter of the individual oscillator voices that are produced by multi-oscillator mode.

Osc 1/2/3 Multi Pan

Modulates the pan position of the individual oscillator voices that are produced by multi-oscillator mode.

Osc 1/2/3 Multi Voices

Modulates the number of oscillator voices that are produced by multi-oscillator mode.

Sub Osc Level

Modulates the level of the sub oscillator. For example, to fade in the oscillator while you play, assign the modulation wheel.

Ring Mod Level

Modulates the level of the ring modulation effect. For example, to fade in the ring modulation while you play, assign the modulation wheel.

Noise Level

Modulates the level of the noise generator. For example, to fade in the noise generator while you play, assign the modulation wheel.

Audio Input

Modulates the level of the audio input that is received via the side-chain input of the plug-in.

LFO 1/2 Frequency

Modulates the speed of the corresponding LFO.

For example, to control the speed of a vibrato effect while you play, assign Aftertouch.

LFO 1/2 Shape

Modulates the waveform of the corresponding LFO.

For example, to vary the waveform with the playing position on the keyboard, assign Key Follow.

Step Mod Frequency

Modulates the speed of the step modulator. For example, assign an LFO to increase or decrease the speed cyclically.

Step Mod Slope

Modulates the shape of the edges of the step modulator if the Slope parameter is active. For example, assign the modulation wheel to blend from hard to smooth edges.

Amp Env Attack Time

Modulates the attack time of the amplitude envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

Amp Env Decay Time

Modulates the decay time of the amplitude envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

Amp Env Sustain Level

Modulates the sustain level of the amplitude envelope. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts.

Amp Env Release Time

Modulates the release time of the amplitude envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

Filter Env Attack Time

Modulates the attack time of the filter envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

Filter Env Decay Time

Modulates the decay time of the filter envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

Filter Env Sustain Level

Modulates the sustain level of the filter envelope. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts.

Filter Env Release Time

Modulates the release time of the filter envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

Pitch Env Start Level

Modulates the level of the first pitch envelope node. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts.

Pitch Env Attack Time

Modulates the attack time of the pitch envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

Pitch Env Attack Level

Modulates the level of the second pitch envelope node. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts.

Pitch Env Decay Time

Modulates the decay time of the pitch envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

Pitch Env Sustain Level

Modulates the sustain level of the pitch envelope. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts.

Pitch Env Release Time

Modulates the release time of the pitch envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

Pitch Env Release Level

Modulates the level of the last pitch envelope node. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts.

User Env Start Level

Modulates the level of the first user envelope node. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts.

User Env Attack Time

Modulates the attack time of the user envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

User Env Attack Level

Modulates the level of the second user envelope node. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts.

User Env Decay Time

Modulates the decay time of the user envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

User Env Sustain Level

Modulates the sustain level of the user envelope. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts.

User Env Release Time

Modulates the release time of the user envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

User Env Release Level

Modulates the level of the last user envelope node. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts.

Bus 1-16

You can send any modulation to one of the 16 busses, for example, to produce more complex modulation signals. Select the bus that you want to send the signals to as a destination. To use the modulation that was sent to a bus, assign the corresponding bus as a modulation source.

Curve and Range Editor

You can set up a curve and range for each modulation source.

• The curve editor allows you to change the characteristics of a modulation. The displayed curve is superimposed on the modulation source.

  This way, you can change the modulation from linear to exponential or logarithmic, for example.

• By setting the minimum and maximum values, you limit the modulation to a specific range only. In addition, you can specify an offset and a range for the modulation.

  For example, with an offset and range of +50 %, only the second half of the displayed curve is superimposed on the modulation.

• If a MIDI or Note Expression controller is selected as modulation source, the Smoothing parameter is available. This allows for parameter changes to occur more gradually. Set this to Default to use the global Smoothing parameter set up in the Options Editor or enter a value in the value field.

The curve editor offers different presets that you can select by clicking the corresponding button on the right of the curve editor. To set up your own curve, click CustomCurve .

You can edit the custom curve in the following way:

• To insert a new node, double-click in the editor.

• To delete a node, double-click it.

• To adjust the basic shape of the curve, drag the nodes to new positions.

• To change the curvature, drag the lines between the nodes up or down.