Clavia Nord Modular & Micro Modular V3 Руководство по эксплуатации онлайн [100/232] 778045

In nord modular in micro modular select a patch with the patch selector buttons a new patch window will be created in the editor containing the patch of the active 26

Module background and select delete from the popup please note that all cable connections made to the module will also be deleted or re routed you can also delete several modules by selecting them as de scribed in the example above then either press the delete key select clear from the edit menu or rightpc ctrlmac click on one of the selected modules and choose delete from the popup 26

On the nord modular front panel 26

Osca1 freq coars e4k 26

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Play on nord modular and turn the 26

Press the 26

Press the left or right 26

Putting parameters in focus is possible only if the patch is active in the synthesizer put a parameter in focus by clicking on it an increment and decrement button appears below the knob slider parameter as you move the cursor over it and the current setting of the parameter displays briefly in a yellow hintbox when you click on the parameter the increment decrement buttons or button selectors are highlighted to edit the parameter value you can click hold the parameter and move the mouse click on the incre ment and decrement buttons to change the value one step at a time you can also use the computer key board and keys to increase and decrease the focused parameter value 26

The patch window gets the same name as the patch in the uploaded 26

To instantly hear what is happening with the sound the editor will echo any adjustments that you make from 26

When saved to disk 26

Will display the same parameter that appears on the computer screen 26

Aaaas ss siiiic cc c ffffu u u un n n nc cc cttttiiiio o o on n n ns ss s 27

B 4 b 4 b 4 27

Basic functions 27

Connections 27

Display boxes and graphs 27

Iiiin n n nttttr rr ro o o od d d du u u uc cc cttttiiiio o o on n n n tttto o o 27

Introduction to nord modular 27

Modules 27

O o o od d d du u u ullllaaaar rr r 27

O o o or rr rd d d 27

Parameters 27

Basic functions nord modular v3 28

H h h heeee ppppaaaattttc cc ch h h h 28

Iiiic cc cr rr ro o o 28

Llllo o o otttts ss 28

N n n no o o ottt 28

O o o od d d du u u ullllaaaar rr 28

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Slots not micro modular 28

The patch 28

Aaaattttc cc ch h h heeees ss s 29

Create a new patch 29

Nord modular v3 4 basic functions 29

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Patches 29

Poly and common voice areas 29

Basic functions nord modular v3 30

Download a patch to the synthesizer 30

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Store a patch 30

Xxx patch name store 30

Add modules to a patch 31

As mentioned above the nord modular internal memory is divided into 9 banks with 99 memory loca tions each however it may not be possible to fit in 891 9x99 patches at the same time in the nord modular memory due to the total size of the patches 31

As shown below 31

D d d dd d d d m m m mo o o od d d du u u ulllleeees ss s tttto o o o aaaa ppppaaaattttc cc ch h h h 31

If you should run out of internal memory when trying to store a patch this will be indicated by the fol lowing message in the 31

Nord modular v3 4 basic functions 31

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Patch name memory full 31

Select a group tab click hold on a module icon and drag it to the patch window when you place the cursor over any of the module buttons a brief description of the module appears together with informa tion of the amount of patch load sound engine power it will use pc version only 31

The dynamic structure of the internal memory makes it suitable to consider it a storage device similar to a computer hard disk with banks representing folders and patches representing files 31

The modules are grouped together in module groups you access these groups by clicking the tabs in the toolbar located above the patch window the various modules in each group are distinguished by icons 31

There is a memory protect function to minimize the risk of accidentally overwriting patches not in mi cro modular read more about the internal memory protection in the section memory protect on page 56 31

To note that the original patch in the selected memory location will be overwritten by your new patch make sure you do not overwrite patches you want to keep 31

When you want to store a patch in a memory locations that don t contain any patches are indicated in the 31

Xxx unused store 31

You will then have to delete one or several patches to make room for new ones this can be done using the patch browser tool see browser on page 77 for more info 31

Another way of adding modules to the patch is by rightpc ctrlmac clicking on the background of the patch window a popup of the module groups appears select desired module by selecting it from the popup the cursor gets a plus sign next to it place the cursor where you want the module to be placed and click to drop the module 32

Basic functions nord modular v3 32

Double clicking on the name of the module lets you rename the module you can also rightpc ctrlmac click on the gray background of the module and select rename 32

Drag the phantom frame of the selected module to the patch window the other modules will move if necessary when you drop a new one the modules will automatically snap to a grid in the patch win dow the patch window will expand when needed and scroll bars will appear at the bottom and to the right if the patch window becomes larger than the available screen space as you add modules to the patch window the patch load indicators on the toolbar will expand indicating the total use of the sound en gines maximum σ patch load is 100 see more in patch and voice allocation on page 211 32

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To delete a module from a patch either click on the module and press delete on the computer keyboard or select clear from the edit menu alternatively rightpc ctrlmac click on a module s background and select delete from the popup note that all cable connections made to the module will also be delet ed you can also delete several modules by selecting them as described in the example above then either press the delete key select clear from the edit menu or rightpc ctrlmac click on one of the selected modules and choose delete from the popup 32

You can move the modules in the patch window by click holding on its gray panel and move the frame that appears any connected cables will extend themselves and other modules will move out of the way automatically you can also move several modules at the same time by placing the cursor on the patch window background and click hold and mark the modules you want to move another way of selecting several modules is to ctrlpc shiftmac click on the desired modules the names of the selected mod ules are highlighted to indicate that they have been selected 32

Aaaattttc cc ch h h h c cc co o o on n n nn n n neeeec cc cttttiiiio o o on n n ns ss s 33

Audio signal connectors red 96 khz sampling frequency 33

Control signal connectors blue 24 khz sampling frequency 33

Drag the cursor to a suitable connection elsewhere in the patch as you drag the cursor away from the source connector a line will appear between the cursor and the connector when you reach the destina tion connector the cursor will change to a cable with a white dot instead of a plug as you release the mouse button a cable will appear between the two connections the color of the output connection will determine the color of the resulting cable you can later change the cable color if you like 33

It is also possible to connect cables between connectors of different colors e g connect an audio signal output to a control signal input etc this depends on the actual application if a connection is not possible to make this will be shown the cursor will not change to a cable with a dot as you reach the illegal destination connector it is not possible to damage the system in any way by connecting wrong feel free to experiment 33

Logic signal connectors yellow 24 khz sampling frequency 33

Nord modular v3 4 basic functions 33

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Patch connections 33

Place the cursor on a module connector and click hold the cursor will change to a plug 33

Slave signal connectors gray 24 khz sampling frequency 33

There are four different types of connectors that are used for different signals these connectors are dis tinguished by different colors 33

There are two types of main connectors on the modules in the nord modular editor inputs and outputs the inputs have circular and the outputs have square connectors 33

You can connect one output to several inputs to make a branch connection 33

Basic functions nord modular v3 34

Ctrlpc altmac click 34

If you place the disconnected plug on another connection instead the cable will be rerouted 34

It is also possible to make a serial connection between several inputs without connecting to an output this won t result in any signal flow but can be useful if you want to choose an output after having con nected all inputs these non functional input to input connections are indicated by white cable color when you connect such a chain to an output the cable color will change to the output s color it is also possible to combine branch and serial connections in several ways for example you could have a serial connection branch off anywhere in the chain 34

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Rightpc ctrlmac click or double click or 34

To make it easy to follow cable connections and signal paths visually in the patch click holding a con nector will highlight any connected cables or cable chains 34

To remove a cable rightpc ctrlmac click on a connection input or output and select disconnect or double click hold or ctrlpc altmac click left mouse button on a connection an extra wire ap pears next to the connector cursor and pull out the connector by dragging the connector symbol away from the input output and release the mouse button 34

You can also make a serial connection from input to input provided that the first input in the chain is connected to an output the result is exactly the same as in a branch connection if a module within a serial cable chain is removed the remains of the cable chain will be re routed 34

D d d diiiitttt ppppaaaar rr raaaam m m meeeetttteeeer rr rs ss s iiiin n n n aaaa ppppaaaattttc cc ch h h h 35

Edit parameters in a patch 35

Nord modular v3 4 basic functions 35

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Definitions 36

Signals in the patch 36

Audio signals red connectors 37

Control signals blue connectors 37

Logic signals yellow connectors 37

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Basic functions nord modular v3 38

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Bandwidth considerations 39

Experiment 39

Nord modular v3 4 basic functions 39

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Slave signals gray connectors 39

Basic functions nord modular v3 40

Mod amount knobs attenuators 40

Modulation 40

Modulation inputs 40

O o o od d d du u u ullllaaaattttiiiio o o on n n n 40

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Iii iii iii iii the mod amount knob affects the incoming signal in an attenuated and amplified linear fashion a set ting of 127 maximum amplifies the incoming signal to twice its original level a setting of 64 leaves the incoming signal unaffected and a setting of 32 attenuates the incoming signal by a factor of 0 leaving half of the level of the incoming signal to modulate a setting of 0 shuts off the modulation completely the frequency mod input on the various filters are the sole examples of type iii attenuation 41

Let us use the pulse width on the oscillatora module as an example in two scenarios 41

Modulation examples 41

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O o o od d d du u u ullllaaaattttiiiio o o on n n n eeeexxxxaaaam m m mpppplllleeees ss s 41

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A signal routed to a pitch input on a module affects the pitch by modulating it linearly in the note scale see figure below the figure shows an a4 note being pitch modulated by a symmetric bipolar signal 42

A5 880 hz a3 220 hz 42

Amplitude 42

Basic functions nord modular v3 42

If you want to modulate the pulse width from the minimum value 1 to the maximum value 99 with a positive envelope that produces a control signal with a peak to peak level swing from 0 units to 64 units set the initial pulse width to 1 and the mod amount to 127 42

If you want to modulate the pulse width from the minimum value 1 to the maximum value 99 with an lfo that produces a bipolar control signal with a peak to peak level swing from 64 units to 64 units set the initial pulse width to 50 and the mod amount to 64 42

Increasing the setting of the mod amount can not push the pulse width beyond the limits 1 99 but it will make the modulation signal reach the maximum minimum pulse width earlier a mod amount setting of 127 would result in maximum pulse width modulation at a control signal of 32 units 42

Note the difference between the total amount of modulation from an envelope unipolar 64 units and from an lfo bipolar 64 to 64 units 128 units this explains why the first scenario has the mod amount set to 127 and the second scenario set to 64 for maximum modulation 42

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Pitch a4 440 hz 42

A signal routed to an fm input on a module affects the pitch by modulating it linearly in the frequency scale see figure below the figure shows an a4 note being pitch modulated by a symmetric bipolar sig nal 43

A waveform of an oscillator with a sync input can be synchronized with a wave of another oscillator the synchronization forces the wave to restart each time the modulating wave raises above 0 this results in a complex waveform that depends both on its own pitch and on the modulator pitch when sync is used the oscillator pitch is locked to the modulator pitch if you change the modulator pitch you will affect 43

Amplitude 43

As you can see fm modulation results in equal pitch shifting in herz on either side of the basic pitch whereas pitch shifting results in equal shifting in the note scale 43

Fm fm fm fm 43

Hz 140 hz 43

Nord modular v3 4 basic functions 43

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Pitch a4 440hz 43

Basic functions nord modular v3 44

Maximum modulation 44

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Assign a knob to a parameter 45

Knobs and controllers 45

N n n no o o ob bb bs ss s aaaan n n nd d d d c cc co o o on n n nttttr rr ro o o olllllllleeeer rr rs ss s 45

Nord modular v3 4 basic functions 45

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Basic functions nord modular v3 46

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The knob floater 46

M m m mid id id idi i i i 47

Midi controllers 47

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Basic functions nord modular v3 48

Morph groups 48

O o o or rr rpppph h h h g g g gr rr ro o o ou u u upppps ss s 48

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Bar to select it the blue frame moves to the selected morph group then double click on the mod ule parameter you wish to assign to the selected morph group 49

Every parameter assigned to a morph group should also be given a morph range click and hold the ctrlpc altmac key on the computer keyboard and place the cursor on the knob that you assigned to the morph group click drag the cursor as if you were turning the knob a colored sector will appear indicating the morph range the range will also appear in a yellow hintbox above the parameter you can also double click hold on a parameter that is assigned to a morph group to set the range 49

If you assign a selector switch button to a morph group the morph range will be set by holding down the ctrlpc altmac key and clicking on the button in the selector that should be the last end limit to be controlled by the morph 49

Nord modular v3 4 basic functions 49

On the front panel a pedal not micro modular an external midi controller or as an exclusive feature of the morph group knobs to midi note values or keyboard velocity you will find these two options at the bottom of the midi controller popup to deassign a parameter from a morph group rightpc ctrlmac click on it and select disable in the morph popup 49

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The morph range will always start at the current position of a knob slider or selector the relationship between the setting of the parameter and the morph range will be fixed even if you move the setting of the parameter after a morph range has been set 49

Turning the morph group knob in the toolbar will now control the morphed parameter within the selected range 49

You can assign each morph group knob to e g a 49

Voices mono and polyphonic patches 50

Nord modular v3 4 basic functions 51

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Poly and common voice patch sections 51

A patch in the poly voice area set to 1 requested voice would give the same result as having the patch only in the common voice area instead 52

Basic functions nord modular v3 52

H h h heee 52

If you change a patch with 1 requested voice in the poly voice area to be polyphonic there are a few things that you need to be aware of all modules in the poly voice area are independent from each other performing their functions on a voice level this provides you with a big advantage in comparison to almost any other polyphonic synthesizer if a traditional polyphonic synth had e g 4 voices it has been common practice to provide the user with only one lfo for all voices together this is not the case with nord modular an lfo used in the poly voice area is unique for each single voice in the patch 52

If you want modules in the poly voice area of a polyphonic patch e g one lfo per voice in a 4 voice patch to be synchronized and behave like one single lfo this can be done with the mono parameter 52

Jack of the synthesizer 52

O o o on n n no o o o ppppaaaar rr raaaam m m meeeetttteeeer rr r 52

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The 1output1 module in the poly voice area is set to route the signal to cva l the left output of the polyareain1 module in the common voice area the sum of all voices from the poly voice area is sent to the common voice area to be processed in the stereochorus1 module and output at 52

The mono parameter 52

This example shows a patch where both the poly and common voice areas are used 52

H h h heee 53

Kbt kbt kbt kbt 53

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Ppppaaaar rr raaaam m m meeeetttteeeer rr r 53

The kbt parameter 53

Aaaan n n neeeellll r rr reeeeffffeeeer rr reeeen n n nc cc ceeee 54

Knobs and buttons of nord modular 54

Master volume 54

P 5 p 5 p 5 54

Panel reference 54

Panel split 54

Find panic 55

Led led led led 55

Midi midi midi midi 55

Midi trig led rack version only 55

Nord modular v3 5 panel reference 55

Oct shift keyboard version only 55

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H h h hiiiifffftttt 56

Llllo o o otttt b bb bu u u utttttttto o o on n n ns ss s 56

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Panel reference nord modular v3 56

Slot buttons 56

Aaaavvvviiiig g g gaaaatttto o o or rr r b bb bu u u utttttttto o o on n n ns ss s 57

Assign morph 57

Iiiiaaaallll 57

Navigator buttons 57

Nord modular v3 5 panel reference 57

O o o or rr rpppph h h h 57

O o o ottttaaaar rr ryyy 57

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Rotary dial 57

S ss ss ss siiiig g g gn n n 57

Memory protected 58

Page 50 58

Panel reference nord modular v3 58

Tttto o o or rr reeee 58

Xxx patch name store 58

Aaaavvvveee 59

Eeeettttttttiiiin n n ng g g gs ss s 59

Nord modular v3 5 panel reference 59

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Patch name memory full 59

Save synth settings 59

System button 59

Yyyyn n n ntttth h h 59

Yyyys ss stttteeeem m m m b bb bu u u utttttttto o o on n n n 59

Master tune s 0 cent 60

Midi clock s ext 120 bpm 60

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Panel reference nord modular v3 60

Synth settings in the system menu 60

Global sync s 4 quarter notes 61

Local s on 61

Nord modular v3 5 panel reference 61

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Here you choose how the nord modular keyboard should control the 62

Here you set how nord modular should react to changes of the 18 assignable 62

Hook means that the parameter value will not change until you have turned the knob past the current parameter value 62

Immediate means that the value of the assigned parameter will change immediately as you turn the 62

In this sub menu you select how nord modular should handle program change and bank change con troller 32 midi messages choose between off send only receive only and send and receive 62

Keyboard mode s active slot 62

Knob mode s immediate 62

Layered on the nord modular keyboard on the nord modular rack model this function works only when playing from the keyboard floater in the editor to play several 62

Layered on the rack model from a master keyboard the slots have to be set to the same midi channel 62

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Panel reference nord modular v3 62

Pedal polarity s normal 62

Program change s send and receive 62

Some sustain pedals uses inverted polarity to activate the sustain switch in this menu you can select be tween the different sustain pedal polarities 62

With active slot selected the keyboard will control only the patch of the active slot and with selected slots activated all selected slots are controlled use the last function to play several selected 62

A d the set channels will be used for receiving and transmitting midi data 63

And change the cursor position with the left right 63

Buttons 63

Here you can name your synth this is especially useful if you use several nord modulars micro modu lars with the editor the editor supports up to four modular synthesizers simultaneously 63

If you select the slot will not receive or transmit any midi data at all 63

Leds active s yes 63

M m m midi idi idi idi 63

Midi channels s 1 2 3 4 63

Midi midi midi midi 63

Midi vel scale s 0 127 63

Nord modular v3 5 panel reference 63

Page 55 63

Select characters with the 63

Set the midi channel for each 63

Synth name s c eline 63

The number to the left is the minimum value and the number to the right is the maximum value if your master keyboard transmits maximum velocity as 112 set the maximum value to 112 this ensures that the velocity response from nord modular will properly reflect the velocity transmission of the master key board 63

This function is used to rescale the velocity data received at the midi 63

When a patch gets complex the leds of modules like the lfos or sequencers could become inaccurate in the editor patch window a lot of blinking leds could also slow down the computer select no to disengage the leds in the patch window 63

Aaaattttc cc ch h h h s ss seeeettttttttiiiin n n ng g g gs ss s iiiin n n n tttth h h heeee s ss syyyys ss stttteeeem m m m m m m meeeen n n nu u u u 64

Buttons and within the sub men us with the left right 64

Buttons enter data with the 64

In any of the sub menus if you wish 64

In this menu you can choose to send a snapshot of the current values of all assigned midi controllers in the active patch this is very useful if you are recording in a sequencer program and want to make sure 64

Led lit or flashing see patch and voice allocation on page 211 for more info 64

Memory protect s off 64

Navigate between the sub menus with the up down 64

Nord modular will always try to assign as many voices as you request the current actual number of voic es assigned is displayed to the bottom right in the 64

Note that voices will only be assigned to the selected 64

Of nord modular select a patch to edit by loading it into a 64

Or save note that it is possible to jump between the four 64

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Panel reference nord modular v3 64

Patch settings in the system menu 64

Select memory protection on or off for the entire internal patch memory 64

Set the requested polyphony of the selected patch 64

The changes you make in a patch will be stored saved in nord modular or in the computer together with each patch after having selected 64

These functions affect the individual patches loaded into the 64

To alert you that you are editing patch settings a p is always shown in the upper right corner of the 64

Voices p 12 current 8 64

And change the cursor position with the left right 65

Bend range p 1 65

Button to send the controllers the snapshot is sent on the midi 65

Buttons the memory locations in nord modular are identified by the location number not the patch name you can name all your patches mybestsound if you like as long as you don t ask us to sort them out for you later 65

Ctrl snap shot p send 65

Here you can select if you want nord modular to retrig notes when playing a monophonic patch in prac tice this means that if you hold down two keys and release one of them the other key will automatically retrig you can select retrig for the poly and common voice areas of the patch individually 65

Here you set the range of the incoming pitch bend data in semitones 65

Nord modular v3 5 panel reference 65

Of the synthesizer not on the pc 65

Page 57 65

Patch name p m ybestsound 65

Select characters with the 65

The pitch bend data will be added to the control signals from the note outputs on the keyboard modules and to the kbt keyboard tracking function the range is from 0 to 24 semitones if kbt is set to 1 oscillators lfos and filters using the kbt parameter will be affected by incoming pitch bend data 65

The sound sounds exactly as you want press the right 65

Voice retrig p poly n comm y 65

With this function you can name a patch 65

And the low key for the other one 66

Keyb range p 0 127 66

Make sure that the keyboard mode is set to selected slots and set the actual split point with the high key for one of the 66

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Panel reference nord modular v3 66

Portamento can also be achieved using the portamento modules described on page 169 using the mod ules the portamento can be polyphonic as well 66

Portamento is an effect where the notes slide from one note to the next when you play consecutive notes on the keyboard with the time parameter you set the time it will take to reach the new note 66

Portamento p time 0 norm 66

Set the lowest and highest velocity values the patch will only sound when it receives velocity within this range if you want to use nord modular to switch between two or more patches that are set to receive on the same midi channel velocity switching select two 66

Set them to the same midi channel make sure that the keyboard mode is set to selected slots and set the velocity range individually for the patches 66

The patch will only receive keyboard information when you play within this range if you want to use nord modular in a keyboard split situation select two 66

The portamento has two modes normal and auto in the normal mode the portamento is always active in the auto mode you activate the portamento by playing legato this portamento function is available only if a patch is set to 1 voice i e monophonic the portamento function is always active on any key board tracking oscillators used in the common voice area since this is a monophonic area a portamen to time setting of 0 is the same as portamento off 66

This function is used to define a keyboard range for a patch set the lowest and the highest note to re spond to note information 66

Vel range p 0 127 66

With this function you define a velocity range for a patch 66

Aaaattttc cc ch h h 67

D d d diiiitttt 67

Nord modular v3 5 panel reference 67

O o o oaaaad d d d 67

Page 59 67

Patch load 67

Pedal mode p sustain 67

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Panel reference nord modular v3 68

Patch name 4 68

Xxx patch name load 68

Knobs and buttons of micro modular 69

Master tune 69

Midi channel 69

Volume 69

4 4 4 4 70

Display 70

P 3 p 3 p 3 70

Page 62 70

Panel reference nord modular v3 70

Patch decrement 4 70

Patch increment note trig 70

Patch select 70

Nord modular v3 5 panel reference 71

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E 6 e 6 e 6 72

Editor reference 72

Close all 73

Save all 73

Save as 73

D d d diiiitttt 74

Editor reference nord modular v3 74

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Aaaattttc cc ch h h h 75

Nord modular v3 6 editor reference 75

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Patch settings 75

Editor reference nord modular v3 76

Here you can view information about how much sound engine resources the patch is using the first figure corresponds to the poly voice area and the second to the common voice area in most cases the cycles information is the most interesting since this is the type of resource often used up first the pva 76

Here you select portamento mode and time portamento is an effect where the notes slide from one note to the next when you play consecutive notes on the keyboard the portamento has two modes normal and auto in the normal mode the portamento is always active in the auto mode you activate the por tamento by playing legato 76

Here you select the octave setting of the patch this information is saved with the rest of the patch data in the patch note that this setting is active only if you play the patch from a nord modular keyboard version 76

Here you set the range of the incoming pitch bend data in semitones the pitch bend data will be added to the control signals from the note outputs on the keyboard modules and to the kbt keyboard track ing parameter the range is from 0 to 24 semitones oscillators lfos and filters that are using the kbt parameter will be affected by the incoming pitch bend data bend range can also be set directly in the editor toolbar see bend r on page 84 76

Input on the rear panel of nord modular should act as a sustain pedal or as an on off switch note if you use it as an on off switch you have to assign the switch to a module parameter in a patch 76

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Place a check in the voice retrig boxes if you want nord modular to retrig notes when playing a mono phonic patch in practice this means that if you hold down two keys and release one of them the other key will retrig the retrig function is available only if a patch is set to 1 requested voice i e monophonic you can select retrig for the poly and common voice areas of the patch individually 76

Portamento can also be achieved using the portamento modules described on page 169 using these mod ules the portamento can be polyphonic as well 76

Select if a footswitch connected to the 76

This function is used to define a keyboard range for a patch set the lowest and the highest key the patch will only recognize keyboard information when you play within this range 76

With the time parameter you set the time it should take to reach the new note a portamento time set ting of 0 is the same as portamento off the portamento function is available only if a patch is set to 1 voice i e monophonic the portamento function is always active on any keyboard tracking oscillators used in the common voice area since this is a monophonic area portamento can also be set directly in the editor toolbar see porta on page 84 76

With this function you define a velocity range for a patch set the lowest and highest velocity values the patch will only sound when it receives velocity values within this range 76

Download to slot 77

Nord modular v3 6 editor reference 77

Page 69 77

Save in synth 77

Synth settings 77

Yyyyn n n ntttth h h h 77

Editor reference nord modular v3 78

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Choose how nord modular should react to changes of the 18 assignable 79

Here you choose how the nord modular keyboard should control the 79

Hook means that the parameter value will not change until you have turned the 79

Layered on the nord modular rack model this function works only when playing from the keyboard floater in the ed itor to play several 79

Layered on the rack model from a master keyboard the slots have to be set to the same midi channel the keyboard mode function is not supported in micro modular since it s not multitimbral 79

Led led led le 79

Midi midi midi midi 79

Nord modular v3 6 editor reference 79

On micro modular immediate means that the value of the assigned parameter will change immediately as you turn the 79

Page 71 79

Past the current parameter value 79

Port in the local off mode the keyboard and pedal actions are transmitted only via midi and do not control nord modular itself local off should be used with external sequencers as the midi 79

Port of nord modular is routed back via the external sequencer to the midi 79

Port otherwise double notes will occur when playing the keyboard the local off function is not supported in micro modular 79

Port set the maximum and minimum values if your external master keyboard transmits maximum velocity as 112 set the maximum value to 112 this ensures that the velocity response from nord modular will properly reflect the velocity transmission of the master keyboard 79

Select how nord modular should handle bank change midi controller 32 and program change midi messages choose between off no boxes checked send receive or send and receive both boxes checked 79

Some sustain pedals uses inverted polarity to activate the sustain switch in this box you can select be tween normal and inverted sustain pedal polarity this function is not supported in micro modular 79

This function is used to rescale the velocity data received at the midi 79

Turn the midi local control on or off select local on no check in the box to be able to control nord modular from the internal keyboard and the pedals midi data is also transmitted via the midi 79

Use this to tune the nord modular to other instruments the range is 100 to 100 cents 100 cents is one semitone only the tuning of the master oscillators is affected by this function a slave oscillator that is not connected to a master will remain unaffected to the right is shown the master tune frequency in hz 79

When a patch gets complex the leds of modules like the lfos or sequencers could become inaccurate in the editor patch window a lot of blinking leds could also slow down the computer uncheck the box to disengage the module leds in the patch window 79

With active slot selected the keyboard will control only the patch of the active slot and with selected slots activated all selected slots are controlled use the last function to simultaneously play several selected 79

Bank upload from modular 80

Editor reference nord modular v3 80

Page 72 80

Send controller snapshot 80

Upload active slot 80

Bank download to modular 81

Nord modular v3 6 editor reference 81

Page 73 81

Editor reference nord modular v3 82

Eeeettttu u u upppp 82

Options 82

Page 74 82

Knob floater 83

Midi midi midi midi 83

Nord modular v3 6 editor reference 83

O o o oo o o olllls ss s 83

Page 75 83

Editor reference nord modular v3 84

Eeeeyyyyb bb bo o o oaaaar rr rd d d 84

Keyboard floater 84

Llllo o o oaaaatttteeeer rr r 84

Page 76 84

Browser 85

Nord modular v3 6 editor reference 85

Notes floater 85

Page 77 85

Editor reference nord modular v3 86

Page 78 86

Nord modular v3 6 editor reference 87

Page 79 87

Cascade 88

Windows 88

Contents pc only 89

Currently open patches 89

Eeeellllpppp 89

Nord modular v3 6 editor reference 89

Page 81 89

Pc pc pc pc 89

Tile horizontally 89

Tile vertically 89

Using help pc only 89

Editor reference nord modular v3 90

O o o oo o o ollllb bb baaaar rr r 90

Page 82 90

Patch name 90

Toolbar 90

Voices 90

Module group tabs 91

Nord modular v3 6 editor reference 91

Page 83 91

Shake cables 91

Visible cables 91

Bend r 92

Editor reference nord modular v3 92

Morph group knobs 92

Page 84 92

Connection indicators 93

D d d diiiitttto o o or rr r 93

No slot focused 4 2 2 93

Nord modular v3 6 editor reference 93

Page 85 93

Patch window split bar 93

S ss seeeeffffu u u ullll ffffu u u un n n nc cc cttttiiiio o o on n n ns ss s iiiin n n n tttth h h heee 93

Useful functions in the editor 93

Editor reference nord modular v3 94

Module popup 94

Page 86 94

Patch window popup 94

Aaaar rr raaaam m m meeeetttteeeer rr r ppppo o o oppppu u u upppp 95

Allows you to assign one of the 18 95

Allows you to assign one of the available midi controllers to the parameter a midi controller will al ways affect the entire range of a parameter selecting disable resets an assignment neither velocity nor pitch bend are midi controllers velocity must be routed to a patch from the vel output on the key board voice module or from the latest vel on output of the keyboard patch module with one excep tion you can use velocity to affect the knobs of the morph groups 95

Allows you to assign the parameter to one of the four available morph groups selecting disable resets an assignment 95

Brings up the help text file for the selected parameter note that this is available only in the windows version of the editor 95

Input is assigned as an on off switch in the patch settings selecting disable resets an assignment 95

Midi midi midi midi 95

Nord modular v3 6 editor reference 95

Page 87 95

Parameter popup 95

Pitch bend will be added to the note signal value and the kbt function on modules that have this acti vated the range of the incoming pitch bend is determined by the bend range parameter 95

Resets any morph range that you have set for the parameter 95

Resets the parameter to the fixed parameter default value 95

Rightpc ctrlmac clicking on a module parameter brings up the parameter popup 95

The control pedal input aftertouch received via midi or the on off switch to the parameter the on off switch requires that the 95

Aaaab bb blllleeee ppppo o o oppppu u u upppp 96

Cable popup 96

Editor reference nord modular v3 96

Page 88 96

C cc cu u u utttts ss s 97

Computer keyboard short cuts 97

Nord modular v3 6 editor reference 97

O o o om m m mppppu u u utttteeeer rr r k kk keeeeyyyyb bb bo o o oaaaar rr rd d d d s ss sh h h ho o o or rr rttt 97

Page 89 97

Special functions keys 97

Editor reference nord modular v3 98

Page 90 98

The function keys 98

Nord modular v3 6 editor reference 99

Page 91 99

In out group 101

Keyboard 101

M 7 m 7 m 7 101

Module reference 101

O o o od d d du u u ulllleeee r rr reeeeffffeeeer rr reeeen n n nc cc ceeee 101

U u u utttt g g g gr rr ro o o ou u u upppp 101

Aaaattttc cc ch h h h 102

Eeeeyyyyb bb bo o o oaaaar rr rd d d 102

Keyboardpatch 102

Module reference in out group nord modular v3 102

Page 94 102

Llllo o o ob bb baaaallll 103

M m m midig idig idig idi 103

Midiglobal 103

Nord modular v3 7 module reference in out group 103

Page 95 103

A a a a 104

A word about the output modules 104

Audioin 104

Module reference in out group nord modular v3 104

Page 96 104

Polyareain 104

Nord modular v3 7 module reference in out group 105

O o o ou u u uttttppppu u u utttt 105

O o o ou u u uttttppppu u u utttts ss s 105

Output 105

Outputs 105

Page 97 105

A logic high signal will be transmitted together with a velocity control signal when the selected key is de tected the logic signal will switch to zero and a release velocity control signal will be sent when the selected key is released the note detect module is global and affects all voices assigned in a patch the behavior is similar to the keyboard patch module described earlier in this chapter 106

Eeeetttteeeec cc ctttt 106

Eeeeyyyyb bb 106

Gate signal logic v velocity signal unipolar r release velocity signal unipolar 106

Here you set the lower and upper limit of the keyboard range the notes are displayed in the respective display boxes only notes played within the set limits will pass through to the output s ranges c 1 to g9 106

Jack of the synthesizer 106

Keyboard split gives you the possibility to create split sounds using only one patch it functions as a key filter in which you set the limits for the key range that should pass through 106

Keybsplit 106

Module reference in out group nord modular v3 106

Notedetect 106

O o o otttteee 106

O o o ou u u uttttppppu u u utttts ss s 106

Outputs 106

Page 98 106

Pppplllliiiitttt 106

Select the note to be detected range c 1 to g9 106

The audio inputs to the respective mix bus and physical 106

The note detect module is not affected by the polyphony of the patch it will detect notes even if you run out of polyphony 106

The total audio level to the mix buses can be attenuated with the level knob 106

This module can detect a note either from the nord modular keyboard or from the midi 106

This module routes four separate signals to one mix bus each 106

Masterosc 107

Nord modular v3 7 module reference oscillator group 107

Osc osc osc osc 107

Oscillator group 107

Page 99 107

S ss sc cc ciiiillllllllaaaatttto o o or rr r g g g gr rr ro o o ou u u upppp 107

Click on the display box switch between hz and notes range c 1 to g9 7 4 hz to 12910 hz 108

Ii ii ii ii there are two blue modulation inputs for modulating the oscillator pitch on this module the modula tion amount is attenuated with the rotary knob next to each input see pitch modulation on page 34 for more info 108

Kbt kbt kbt kbt kbt is the hardwired connection between the oscillator and the keyboard and the midi input if kbt is activated the oscillator will track the keyboard at the rate of one semitone for each key if kbt is not activated the keyboard will not affect the oscillator frequency 108

Kbt kbt kbt kbt this is the hardwired connection between the oscillator and the keyboard at the key value the oscillator will track the keyboard at the rate of one semitone for each key turning the kbt control to the maxi mum clockwise position 2 will produce a two octave span from one octave on the keyboard a value of 0 0 will produce a one octave span from two octaves played on the keyboard off removes the key board tracking completely click on the triangle above the knob to reset the kbt setting to key which is the preset value 108

Module reference oscillator group nord modular v3 108

Page 100 108

S ss sc cc 108

Sets the coarse tuning of the oscillator range c 1 to g9 8 8 hz to 12540 hz 108

Sets the fine tuning of the oscillator the range is half a semitone divided into 128 steps click on the triangle above the control to reset the fine tuning to 0 which is the preset value 108

This control fine tunes the oscillator the range is half a semitone divided into 128 increments click on the triangle above the control to reset the fine tuning to 0 which is the preset value 108

This is a gray control output for controlling the pitch of a slave oscillator patch this output to a mst input on a slave module if you control a slave lfo with this signal the pitch of the lfo will be 5 octaves below the pitch of the master oscillator 108

This oscillator can produce one of four waveforms square pulse sawtooth triangle or sine the oscil lator has two pitch modulation inputs one frequency modulation fma input a sync input and an in put to modulate the width of the pulse wave 108

Fma fma fma fma 109

I i i i this is a red input for controlling the width of a pulse waveform with a modulator starting at the initial width you have set with the pulse width control the modulation amount is determined by the rotary knob next to the input see page 33 for modulation examples 109

Ii ii ii ii a red modulation input where a signal will affect the frequency of the oscillator the fm amount is at tenuated with the rotary knob next to the input see frequency modulation fm on page 35 for more info 109

Ii ii ii ii there are two red modulation inputs for modulating the oscillator pitch on this module the modulation amount is attenuated with the rotary knob next to each input see pitch modulation on page 34 for more info 109

M m m m click on this button to mute the audio output of the oscillator 109

Nord modular v3 7 module reference oscillator group 109

Page 101 109

Pw pw pw p 109

Selects one of the four available waveforms 109

Sets the initial width of the two sections of a pulse waveform period the range is from 1 to 99 click on the triangle above the knob to reset the initial pulse width to 50 which is the preset value 109

Signal bipolar 109

The pitch of the controlling oscillator will interact with the controlled oscillator pitch for a traditional synthesizer sync sound start with the two oscillators to the same pitch and connect only the sync con trolled oscillator to an output turning the tuning knob or modulating the pitch of the sync controlled oscillator will produce radical changes in the timbre see sync on page 35 for more information 109

This red input is used for synchronizing the oscillator to a control source which could be another oscil lator an lfo or the keyboard synchronization forces the oscillator to restart its waveform cycle in sync with the waveform cycle of the controlling device the oscillator will restart whenever a signal present at the sync input increases from 0 units to anything above 0 units 109

B bb b 110

Click on the display box switch between hz and notes range c 1 to g9 7 4 hz to 12910 hz 110

Fma fma fma fma 110

Ii ii ii ii a red modulation input where a signal will affect the frequency of the oscillator the fm amount is at tenuated with the rotary knob next to the input see frequency modulation fm on page 35 for more info 110

Ii ii ii ii there are two blue modulation inputs for modulating the oscillator pitch on this module the modula tion amount is attenuated with the rotary knob next to each input see pitch modulation on page 34 for more info 110

Kbt kbt kbt kbt this is the hardwired connection between the oscillator and the keyboard and the midi input at the key value the oscillator will track the keyboard at the rate of one semitone for each key turning the kbt control to the maximum clockwise position 2 will produce a two octave span from one octave on the keyboard a value of 0 0 will produce a one octave span from two octaves played on the keyboard off removes the keyboard tracking completely click on the triangle above the knob to reset the kbt setting to key which is the preset value 110

Module reference oscillator group nord modular v3 110

Page 102 110

S ss sc cc 110

Sets the coarse tuning of the oscillator range c 1 to g9 8 8 hz to 12540 hz 110

This control fine tunes the oscillator the range is half a semitone divided in 128 increments click on the triangle above the control to reset the fine tuning to 0 which is the preset value 110

This is a gray control output for controlling the pitch of a slave oscillator patch this output to a mst input on a slave module if you control a slave lfo with this signal the pitch of the lfo will be 5 octaves below the pitch of the master oscillator 110

This oscillator can produce one of four waveforms square pulse sawtooth triangle or sine the oscil lator has two pitch modulation inputs one frequency modulation fma input and a pulse width mod ulation input 110

Am am am am 111

C cc c 111

Click on the display box switch between hz and notes range c 1 to g9 7 4 hz to 12910 hz 111

I i i i this is a blue input for modulating the width of the pulse waveform starting at the initial width of 50 the modulation amount is determined by the rotary knob next to the input see page 33 for modulation examples 111

Ii ii ii ii there is one red modulation input for modulating the oscillator pitch on this module the modulation amount is attenuated with the rotary knob next to the input see pitch modulation on page 34 for more info 111

M m m m click on this button to mute the audio output of the oscillator 111

Nord modular v3 7 module reference oscillator group 111

Page 103 111

Pw pw pw p 111

S ss sc cc 111

Selects one of the four available waveforms clicking on a selected button will mute the audio output of the oscillator 111

Sets the coarse tuning of the oscillator range c 1 to g9 8 8 hz to 12540 hz 111

Signal bipolar 111

This control fine tunes the oscillator the range is half a semitone divided in 128 increments click on the triangle above the control to reset the fine tuning to 0 which is the preset value 111

This is a gray control output for controlling the pitch of a slave oscillator patch this output to a mst input on a slave module if you control a slave lfo with this signal the pitch of the lfo will be 5 octaves below the pitch of the master oscillator 111

This oscillator produces a sine wave it has one pitch modulation input one amplitude modulation input and one fma modulation input 111

This red input allows you to modulate the amplitude of the oscillator wave the amount of this modu lation is fixed at a ratio of 1 1 111

Click on the display box switch between hz and notes range c 1 to g9 7 4 hz to 12910 hz 112

Fma fma fma fma 112

Ii ii ii ii a red modulation input where a signal will affect the pitch of the oscillator in a linear way the fm amount is attenuated with the rotary knob next to the input see frequency modulation fm on page 35 for more info 112

Ii ii ii ii there are two blue modulation inputs for modulating the oscillator pitch on this module the modula tion amount is attenuated with the rotary knob next to each input see pitch modulation on page 34 for more info 112

Kbt kbt kbt kbt this is the hardwired connection between the oscillator and the keyboard and the midi input when this function is activated the oscillator will track the keyboard at the rate of one semitone for each key 112

M m m m click on this button to mute the audio output of the oscillator 112

Module reference oscillator group nord modular v3 112

Osc osc osc osc 112

Page 104 112

Ppppeeeec cc cttttr rr raaaalll 112

Sets the coarse tuning of the oscillator range c 1 to g9 8 8 hz to 12540 hz 112

Sets the fine tuning of the oscillator the range is half a semitone divided into 128 steps click on the triangle above the control to reset the fine tuning to 0 which is the preset value 112

Signal bipolar 112

Spectralosc 112

The spectral shape oscillator is an oscillator with a built in overtone generator the waveforms are gen erated by synched noise the oscillator generates a signal that contains either odd and even partials or only odd partials it is possible to control the amount of overtones generated 112

This is a gray slave output for controlling slave oscillators patch this output to a mst input of a slave module if you control a slave lfo with this signal the rate of the lfo will be five octaves below the pitch of the master oscillator 112

By pressing one of the buttons all or odd you determine whether you want the wave to contain either odd and even partials or only odd partials 113

Click on the display box switch between hz and notes range c 1 to g9 7 4 hz to 12910 hz 113

Fma fma fma fma 113

Formantosc 113

Ii ii ii ii a red modulation input where a signal will affect the frequency of the oscillator the fm amount is at tenuated with the rotary knob next to the input see frequency modulation fm on page 35 for more info 113

Ii ii ii ii there are two blue modulation inputs for modulating the oscillator pitch on this module the modula tion amount is attenuated with the rotary knob next to each input see pitch modulation on page 34 for more info 113

Kbt kbt kbt kbt kbt is the hardwired connection between the oscillator and the keyboard and the midi input if kbt is activated the oscillator will track the keyboard at the rate of one semitone for each key if kbt is not activated the keyboard will not affect the oscillator frequency 113

M m m m click on this button to mute the audio output of the oscillator 113

Nord modular v3 7 module reference oscillator group 113

O o o or rr rm m m maaaan n n nttt 113

Osc osc osc osc 113

Page 105 113

Sets the coarse tuning of the oscillator range c 1 to g9 8 8 hz to 12540 hz 113

Sets the fine tuning of the oscillator the range is half a semitone divided into 128 steps click on the triangle above the control to reset the fine tuning to 0 which is the preset value 113

Signal bipolar 113

The formant oscillator is used for generating vocal sounding waveforms it generates a new type of non transposed spectrum with strong body resonance character 128 127 rnd timbre variations can be selected the timbre can also be modulated 113

With the spectral shape function you select the amount of overtones of the waveform use the rotary knob to set the amount there is also a blue modulation input for controlling the overtone amount from an external source the rotary knob next to it attenuates the modulation amount 113

A a a a 114

A word about slave oscillators 114

Llllvvv 114

Module reference oscillator group nord modular v3 114

Oscslva 114

Page 106 114

S ss sc cc 114

W w w wo o o or rr rd d d d aaaab bb bo o o ou u u utttt s ss sllllaaaavvvveeee o o o os ss sc cc ciiiillllllllaaaatttto o o or rr rs ss s 114

Am am am am 115

Click on the info window to switch between semitones hz and ratio range c 1 to g9 7 4 hz to 12910 hz or x 0 241 to x 39 52 115

Fine tunes the slave oscillator the range is half a semitone divided in 128 increments click on the triangle above the control to reset the fine tuning to 0 which is the preset value 115

Fma fma fma fma 115

Ii ii ii ii a red modulation input where a signal will affect the pitch of the oscillator in a linear way the fm amount is attenuated with the rotary knob next to the input see frequency modulation fm on page 35 for more info 115

M m m m click on this button to mute the audio output of the oscillator 115

Nord modular v3 7 module reference oscillator group 115

Page 107 115

Select a preset transposition value of the slave oscillator the transposition ratio will be displayed as mul tiples of the frequency of the master oscillator range 1 32 to 32 1 115

Select one of the available waveforms 115

Set the detune of the slave oscillator in semitone steps the tuning will relate to the tuning of the master oscillator connected to the mst input the preset value is 0 1 1 if you select the semitone display a second number inside a parenthesis will indicate a musical interval a fifth a seventh etc 115

Signal bipolar 115

The gray control input from a master oscillator connect this input to a slv output from a master module if you connect a master lfo to this input the slave oscillator will track the lfo five octaves above the pitch of the lfo 115

This red input allows you to modulate the amplitude of the slave oscillator the amount of this modula tion is fixed at a ratio of 1 1 115

B bb b 116

Click on the info window to switch between semitones hz and ratio range c 1 to g9 7 4 hz to 12910 hz or x 0 241 to x 39 52 116

Fine tunes the slave oscillator the range is half a semitone divided in 128 increments click on the triangle above the control to reset the fine tuning to 0 which is the preset value 116

I i i i this is a red input for modulating the width of the pulse waveform starting at the initial width set with the pw control the modulation amount is determined by the rotary knob next to the input see page 33 for modulation examples 116

Llllvvv 116

M m m m click on this button to mute the audio output of the oscillator 116

Module reference oscillator group nord modular v3 116

Oscslvb 116

Page 108 116

Pw m pw m pw m pw 116

Pw pw pw pw sets the initial width of the two periods of a pulse waveform the range is from 1 to 99 click on the triangle above the knob to reset the initial pulse width to 50 which is the preset value 116

S ss sc cc 116

Select a preset transposition value of the slave oscillator the transposition ratio will be displayed as mul tiples of the frequency of the master oscillator range 1 32 to 32 1 116

Set the detune of the slave oscillator in semitone steps the tuning will relate to the tuning of the master oscillator connected to the mst input the preset value is 0 1 1 if you select the semitone display a second number inside a parenthesis will indicate a musical interval a fifth a seventh etc 116

Signal bipolar 116

The gray control input from a master oscillator if you connect a master lfo to this input the slave os cillator will track the lfo five octaves above the pitch of the lfo 116

This slave oscillator produces a square pulse waveform the pulse width can be modulated 116

C cc c 117

Click on the info window to switch between semitones hz and ratio range c 1 to g9 7 4 hz to 12910 hz or x 0 241 to x 39 52 117

Fine tunes the slave oscillator the range is half a semitone divided in 128 increments click on the triangle above the control to reset the fine tuning to 0 which is the preset value 117

Fma fma fma fma 117

Ii ii ii ii a red modulation input where a signal will affect the pitch of the oscillator in a linear way the fm amount is attenuated with the rotary knob next to the input see frequency modulation fm on page 35 for more info 117

Llllvvv 117

M m m m click on this button to mute the audio output of the oscillator 117

Nord modular v3 7 module reference oscillator group 117

Oscslvc 117

Page 109 117

S ss sc cc 117

Select a preset transposition value of the slave oscillator the transposition ratio will be displayed as mul tiples of the frequency of the master oscillator range 1 32 to 32 1 117

Set the detune of the slave oscillator in semitone steps the tuning will relate to the tuning of the master oscillator connected to the mst input the preset value is 0 1 1 if you select the semitone display a second number inside a parenthesis will indicate a musical interval a fifth a seventh etc 117

Signal bipolar 117

The gray control input from a master oscillator if you connect a master lfo to this input the slave os cillator will track the lfo five octaves above the pitch of the lfo 117

This slave oscillator produces a sawtooth wave it has a fma modulation input 117

Click on the info window to switch between semitones hz and ratio range c 1 to g9 7 4 hz to 12910 hz or x 0 241 to x 39 52 118

D d d d 118

Fine tunes the slave oscillator the range is half a semitone divided in 128 increments click on the triangle above the control to reset the fine tuning to 0 which is the preset value 118

Fma fma fma fma 118

Ii ii ii ii a red modulation input where a signal will affect the pitch of the oscillator in a linear way the fm amount is attenuated with the rotary knob next to the input see frequency modulation fm on page 35 for more info 118

Llllvvv 118

M m m m click on this button to mute the audio output of the oscillator 118

Module reference oscillator group nord modular v3 118

Oscslvd 118

Page 110 118

S ss sc cc 118

Select a preset transposition value of the slave oscillator the transposition ratio will be displayed as mul tiples of the frequency of the master oscillator range 1 32 to 32 1 118

Set the detune of the slave oscillator in semitone steps the tuning will relate to the tuning of the master oscillator connected to the mst input the preset value is 0 1 1 if you select the semitone display a second number inside a parenthesis will indicate a musical interval a fifth a seventh etc 118

Signal bipolar 118

The gray control input from a master oscillator if you connect a master lfo to this input the slave os cillator will track the lfo five octaves above the pitch of the lfo 118

This slave oscillator produces a triangle wave it has an fma modulation input 118

Am am am am 119

Click on the info window to switch between semitones hz and ratio range c 1 to g9 7 4 hz to 12910 hz or x 0 241 to x 39 52 119

Fine tunes the slave oscillator the range is half a semitone divided in 128 increments click on the triangle above the control to reset the fine tuning to 0 which is the preset value 119

Fma fma fma fma 119

Ii ii ii ii a red modulation input where a signal will affect the frequency of the oscillator the fm amount is at tenuated with the rotary knob next to the input see frequency modulation fm on page 35 for more info 119

Llllvvv 119

M m m m click on this button to mute the audio output of the oscillator 119

Nord modular v3 7 module reference oscillator group 119

Oscslve 119

Page 111 119

S ss sc cc 119

Select a preset transposition value of the slave oscillator the transposition ratio will be displayed as mul tiples of the frequency of the master oscillator range 1 32 to 32 1 119

Set the detune of the slave oscillator in semitone steps the tuning will relate to the tuning of the master oscillator connected to the mst input the preset value is 0 1 1 if you select the semitone display a second number inside a parenthesis will indicate a musical interval a fifth a seventh etc 119

Signal bipolar 119

The gray control input from a master oscillator if you connect a master lfo to this input the slave os cillator will track the lfo five octaves above the pitch of the lfo 119

This red input allows you to modulate the amplitude of the slave oscillator the amount of this modula tion is fixed at a ratio of 1 1 119

This slave oscillator produces a sine wave it has an fma and an amplitude modulation input 119

Aaaan n n nk kk k 120

Am am am am 120

Click on the up or down button to select a partial number based on the frequency of the master oscillator connected to the module see mst input below the partial number selection ranges from 1 32 to 32 1 times the master oscillator frequency 120

Iiiin n n neee 120

M m m m click on these buttons to mute the audio output of each oscillator 120

Module reference oscillator group nord modular v3 120

Oscsinebank 120

Page 112 120

S ss sc cc 120

The display boxes display the transposition ratio for each of the six sine wave oscillators range 0 241 to 39 52 times the master oscillator pitch 120

The sine slave oscillator bank oscillator features six sine wave oscillators these can be tuned and am modulated independently it is also possible to sync all the waves from an external source 120

These rotary knobs are used for controlling each oscillator s output level 120

This audio input allows you to modulate the amplitude of the slave oscillator the amount of this mod ulation is fixed at a ratio of 1 1 120

This audio input is used for synchronizing the oscillators to a control source which could be another os cillator an lfo or the keyboard synchronization forces the oscillators to restart their waveform cycles in sync with the waveform cycle of the controlling device the oscillators will restart whenever a signal present at the sync input increases from 0 units to anything above 0 units 120

This gray master input is used to connect the module to a master oscillator if you connect a master lfo to this input the slave oscillator will track the lfo five octaves above the pitch of the lfo 120

With the tune rotary knob you can select partials in steps of one semitone with the fine tune rotary knob below you can change the pitch in steps of 1 128 of a semitone clicking on the green triangle above the knob resets the fine tune to 0 120

Click on the info window to switch between semitones hz and ratio range c 1 to g9 7 4 hz to 12910 hz or x 0 241 to x 39 52 121

Fine tunes the slave oscillator the range is half a semitone divided in 128 increments click on the triangle above the control to reset the fine tuning to 0 which is the preset value 121

Fm fm fm fm 121

Llllvvv 121

Nord modular v3 7 module reference oscillator group 121

Oscslvfm 121

Page 113 121

S ss sc cc 121

Select a preset transposition value of the slave oscillator the transposition ratio will be displayed as mul tiples of the frequency of the master oscillator range 1 32 to 32 1 121

Set the detune of the slave oscillator in semitone steps the tuning will relate to the tuning of the master oscillator connected to the mst input the preset value is 0 1 1 if you select the semitone display a second number inside a parenthesis will indicate a musical interval a fifth a seventh etc 121

Signal bipolar 121

The gray control input from a master oscillator if you connect a master lfo to this input the slave os cillator will track the lfo five octaves above the pitch of the lfo 121

The pitch of the controlling oscillator will interact with the controlled oscillator pitch for a traditional synthesizer sync sound start with the two oscillators to the same pitch and connect only the sync con 121

The pitch of the controlling oscillator will interact with the controlled oscillator pitches turning the tune knobs of the sync controlled sine wave oscillators will produce radical changes in the timbre see sync on page 35 for more information 121

This red input is used for synchronizing the oscillator to a control source which could be another oscil lator an lfo or the keyboard synchronization forces the oscillator to restart its waveform cycle in sync with the waveform cycle of the controlling device the oscillator will restart whenever a signal present at the sync input increases from 0 units to anything above 0 units 121

This slave oscillator produces a sine wave it has a sync and a special fmb modulation input this oscil lator is especially suitable for creating classic fm sounds 121

Use this audio input to mix in another audio signal the input signal will be mixed with the sine wave oscillator signals and sent to the output 121

3 o 3 o 3 o 3 122

Fmb fmb fmb fmb 122

Ii ii ii ii a red modulation input where a signal will affect the oscillator pitch creating classic fm type sounds the fm amount is attenuated with the rotary knob next to the input see frequency modulation fm on page 35 for more info 122

M m m m click on this button to mute the audio output of the oscillator 122

Module reference oscillator group nord modular v3 122

O o o oiiiis ss seeee 122

Page 114 122

Set the color of the noise with the control knob colored noise contains less high frequency energy than white noise 122

Signal bipolar 122

This sound source generates noise selectable from white to colored 122

Transposes the coarse pitch of the oscillator to three octaves below the master oscillator 122

Trolled oscillator to an output turning the detune knob of the sync controlled oscillator will produce radical changes in the timbre see sync on page 35 for more information 122

A signal at this audio input modulates the amplitude of the sound the attenuation is fixed at a 1 1 ratio 123

Changes the characteristics of the sound and adds a more distinct attack 123

Click on the display box to switch between notes and hz range c 1 to g9 7 4 hz to 12910 hz 123

Eeeer rr rc cc 123

Ii ii ii ii there is a blue modulation input for modulating the oscillator pitch on this module the modulation amount is attenuated with the rotary knob next to the input see pitch modulation on page 34 for more info 123

M m m m click on this button to mute the audio output of the oscillator 123

Nord modular v3 7 module reference oscillator group 123

Page 115 123

Percosc 123

S ss sc cc c 123

Sets the coarse pitch of the oscillator range c 1 to g9 8 8 hz to 12540 hz 123

Sets the decay time of the sound 123

Sets the fine tuning of the oscillator the range is half a semitone divided into 128 steps click on the triangle above the control to reset the fine tuning to 0 which is the preset value 123

Signal bipolar 123

This is an oscillator that generates percussive sounds the amplitude and pitch of the sound can be mod ulated from external sources 123

Use this input to trig the sound any signal that increases from 0 units or less to anything above 0 units will trig the sound the red color of the input indicates that it also accepts full audio frequency signals 123

With the click knob you can add a clicking sound to the attack of the sound 123

Drumsynth 124

Here you can filter and affect the noise component of the drum synth module freq with the freq knob you set the cutoff frequency of the noise range 10 hz to 15 khz 124

Module reference oscillator group nord modular v3 124

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R rr ru u u um m m 124

The drum synth module is designed to generate classic analog drum sounds it consists of a master and a slave oscillator in combination with a noise source and a multimode noise filter the global parameters include a bend function and a click and noise mixer see voice definition on page 210 for an example on how to build a multi drum synth patch using only one single voice in nord modular 124

The master display box shows the master pitch in hz and the slave display box the pitch ratio related to the master pitch range master 20 hz to 784 hz slave 1 1 to 6 6 124

The yellow trig input trigs the drum synth module each time it receives a signal that changes from 0 units or below to anything above 0 units this signal could come from a gate output of a keyboard or sequencer module for example a green led indicates when a trig signal is received 124

These are the parameters of the two oscillators that generate the basic drum waveform tune the tune of the master can be set between 20 and 784 hz the slave ranges from 1 to 6 6 times the master frequency dcy decay determines the decay time for each oscillator range 0 ms to 45 s lvl with the level knobs you set the respective volume of the two oscillators 124

This blue control input is used to receive pitch data from an external module such as a keyboard or se quencer module for example 124

This blue control input is used to receive velocity information from an external source the input velocity signal will affect master and slave oscillator level noise filter sweep bend amount click level and noise level maximum input velocity will force the parameters to reach their current settings 124

Yyyyn n n ntttth h h h 124

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G g g gr rr ro o o ou u u upppp 126

Lfo group 126

Lfo lfo lfo lfo 126

Lfoa lfoa lfoa lfoa 126

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Kbt kbt kbt kbt this is the keyboard tracking function if this is set to key the lfo will track the keyboard with a dou bling of the lfo frequency for each octave turning clockwise from the center position will increase the tracking turning counter clockwise will decrease it off disconnects the keyboard tracking completely click on the triangle above the control to set the keyboard tracking to key the preset value is off 127

Lfob lfob lfob lfob 127

M m m m click on this button to mute the control signal output of the module 127

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Selects one of the five available waveforms 127

Selects one of three ranges of the lfo rate high low or sub the hi range is from 0 6 hz to 392 hz the lo range is from 0 2 hz to 24 hz and the sub range is from one cycle completed in 699 seconds to one cycle completed in 5 6 seconds 127

Sets the starting point of the lfo cycle range 180 to 177 degrees the set degree is shown in the display box to the left of the knob 127

The graph illustrates one cycle and its phase 127

The led above the output shows an approximation of the current lfo rate signal bipolar 127

The yellow rst input forces the lfo to restart each time it receives a signal that changes from 0 units or below to anything above 0 units this signal could come from a gate output of a keyboard or sequencer module for example 127

This is a gray output for controlling the rate of a slave lfo patch this output to a mst input on a slave module if you control a slave oscillator it will track the lfo five octaves above the lfo rate 127

This lfo produces a square pulse wave the width of the pulse can be controlled and modulated the rate of the lfo can be modulated by a modulation source and the keyboard the wave cycle can be forced to restart and the phase of the waveform can be controlled 127

I i i i this is a blue input for modulating the width of the pulse wave starting at the initial width set with the pw control the modulation amount is determined by the rotary knob next to the input 128

Ii ii ii ii input for a modulation source to control the rate of the lfo the modulation amount is attenuated by the rotary knob next to the input 128

Kbt kbt kbt kbt this is the keyboard tracking function if this is set to key the lfo will track the keyboard with a dou bling of the lfo frequency for each octave turning clockwise from the center position will increase the tracking turning counter clockwise will decrease it off disconnects the keyboard tracking completely click on the triangle above the control to set the keyboard tracking to key the preset value is off 128

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Pw pw pw pw 128

Pw pw pw pw sets the initial width of the waveform the range is from 1 to 99 click on the triangle above the knob to reset the initial pulse width to 50 this is the preset value 128

Selects one of three ranges of the lfo rate high low or sub the hi range is from 0 6 hz to 392 hz the lo range is from 0 2 hz to 24 hz and the sub range is from one cycle completed in 699 seconds to one cycle completed in 5 6 seconds 128

Set the frequency of the lfo the rate with the knob the output led will show you an approximation of the rate while the display box will indicate the exact frequency in hertz or in seconds if the range is set to low or sub 128

Sets the starting point of the lfo cycle range 180 to 177 degrees the set degree is shown in the display box to the left of the knob 128

Synchronizes modules in polyphonic patches to each other this means that if you play a chord the mod ule will control all voices in sync see the mono parameter on page 44 for details the preset setting of this parameter is off 128

The graph illustrates one cycle and its phase 128

The led above the output shows an approximation of the current lfo rate signal bipolar 128

The rate display box shows the lfo rate either in seconds cycle or in hz depending on current rate range 699 seconds cycle to 392 hz 128

Ii ii ii ii a blue input for a modulation source to control the rate of the lfo the modulation amount is set by the rotary knob next to the input 129

Lfoc lfoc lfoc lfoc 129

M m m m click on this button to mute the control signal output of the module 129

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Selects one of the four available waveforms 129

Selects one of three ranges of the lfo rate high low or sub the hi range is from 0 6 hz to 392 hz the lo range is from 0 2 hz to 24 hz and the sub range is from one cycle completed in 699 seconds to one cycle completed in 5 6 seconds 129

Set the frequency of the lfo the rate with the knob the output led will show you an approximation of the rate while the display box will indicate the exact frequency in hertz or in seconds if the range is set to low or sub 129

Synchronizes modules in polyphonic patches to each other this means that if you play a chord the mod ule will control all voices in sync see the mono parameter on page 44 for details the preset setting of this parameter is off 129

The display box shows the lfo rate either in seconds cycle or in hz depending on current rate range 699 seconds cycle to 392 hz 129

The led above the output shows an approximation of the current lfo rate signal bipolar 129

This is a gray control output for controlling the rate of a slave lfo patch this output to a mst input on a slave module if you control a slave oscillator it will track the lfo five octaves above the lfo rate 129

This lfo produces one of four selectable waveforms the rate of the lfo can be modulated 129

A a a a 130

A gray control input for the frequency of the slave lfo to be controlled by a master module patch this input to a slv output on a master module if you connect a master oscillator to this input the slave lfo will track the oscillator five octaves below the pitch of the oscillator 130

A word about slave lfos 130

Displays either the lfo ratio related to the master rate or the rate in hz or seconds click to switch unit 130

Lfo lfo lfo lf 130

Lfos lfos lfos lfo 130

Lfoslva 130

Llllvvv 130

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S ss s 130

Selects one of the five available waveforms 130

Sets the frequency of the lfo the frequency will be displayed as a ratio in relation to the master module connected to the mst input the rate led above the output will show you an approximation of the fre quency range 0 25 to 38 5 times the master rate or 62 seconds cycle to 24 hz 130

Sets the starting point of the lfo cycle range 180 to 177 degrees the set degree is shown in the display box to the left of the knob 130

Synchronizes modules in polyphonic patches to each other this means that if you play a chord the mod ule will control all voices in sync see the mono parameter on page 44 for details the preset setting of this parameter is off 130

The graph illustrates one cycle and its phase 130

The rate of slave lfos can be controlled by a master lfo the gray slv output of a master module should be connected to the gray mst input of the slave module if you refrain from connecting a master lfo to a slave it will produce a waveform at the rate set with the rate knob 130

The yellow rst input forces the lfo to restart each time it receives a signal that changes from 0 units or below to anything above 0 units this signal could come from a gate output of a keyboard or sequencer module for example 130

This slave lfo produces one of five selectable waveforms the rate can be controlled from a master lfo the cycle can be forced to restart and the phase of the waveform can be controlled 130

W w w wo o o or rr rd d d d aaaab bb bo o o ou u u utttt s ss sllllaaaavvvveee 130

A gray control input for the frequency of the slave lfo to be controlled by a master module patch this input to a slv output on a master module if you connect a master oscillator to this input the lfo will track the oscillator five octaves below the pitch of the oscillator 131

B bb b 131

C cc c 131

Displays either the lfo ratio related to the master rate or the rate in hz or seconds click to switch unit 131

Lfos lfos lfos lfo 131

Lfoslvb 131

Lfoslvc 131

Llllvvv 131

M m m m click on this button to mute the control signal output of the module 131

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Sets the frequency of the lfo the frequency will be displayed as a ratio in relation to the master module connected to the mst input the rate led above the output will show you an approximation of the fre quency range 0 25 to 38 5 times the master rate or 62 seconds cycle to 24 hz 131

The led above the output shows an approximation of the current lfo rate signal bipolar 131

This slave lfo produces a sawtooth waveform 131

This slave lfo produces a sine wave 131

A gray control input for the frequency of the slave lfo to be controlled by a master module patch this input to a slv output on a master module if you connect a master oscillator to this input the lfo will track the oscillator five octaves below the pitch of the oscillator 132

D d d d 132

Displays either the lfo ratio related to the master rate or the rate in hz or seconds click to switch unit 132

Lfos lfos lfos lfo 132

Lfoslvd 132

Lfoslve 132

Llllvvv 132

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Sets the frequency of the lfo the frequency will be displayed as a ratio in relation to the master module connected to the mst input the rate led above the output will show you an approximation of the fre quency range 0 25 to 38 5 times the master rate or 62 seconds cycle to 24 hz 132

The led above the output shows an approximation of the current lfo rate signal bipolar 132

This slave lfo produces a square wave 132

This slave lfo produces a triangle wave 132

24 24 24 133

A gray slave signal output for controlling the rate of slave lfos if the ratio of the slave lfo is set to 1 1 1 bpm on the clock generator module corresponds to 1 hz on the slave lfo patch this output to a mst input on a slave lfo 133

Clkgen 133

Displays the rate in beats per minute bpm range 24 to 214 bpm 133

Eeeen n n n 133

Llllk kk 133

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Set the desired rate in beats per minute with the knob range 24 to 214 bpm 133

Starts and stops the generation of clock pulses 133

The clock generator module generates a stream of logic signals the module can also act as a master to slave lfos the clock generator is not dependant on any midi clock signals but acts on its own if you want to sync to midi clock you must instead use the clock output of the midi global module described on page 95 133

The yellow reset input forces the clock generator to restart each time it receives a signal that changes from 0 units or below to anything above 0 units this signal could come from a gate output of a keyboard or sequencer module for example when the clock generator is reset it transmits a high logic signal on the sync output 133

This yellow output transmits 24 clock pulses for each quarter note signal logic 133

This yellow output transmits 4 clock pulses for each quarter note signal logic 133

This yellow output transmits a high logic signal when the generator is reset or started signal logic 133

A gray control input for the generator to be controlled by a master module patch this input to a slv output on a master module if you connect a master oscillator to this input the random step generator will track the oscillator five octaves below the pitch of the oscillator 134

A logic signal or a periodic control signal from e g a clock generator or an lfo can be used to clock the output of the module 134

Clkrndgen 134

Displays either the lfo ratio related to the master rate or the rate in hz or seconds click to alter 134

Eeeen n n n 134

Llllk kk 134

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Rndstepgen 134

Sets the frequency of the lfo the frequency will be displayed as a ratio in relation to the master module connected to the mst input the rate led above the output will show you an approximation of the fre quency range 0 25 to 38 5 times the master rate or 62 seconds cycle to 24 hz 134

Signal bipolar 134

Synchronizes modules in polyphonic patches to each other this means that if you play a chord the mod ule will control all voices in sync see the mono parameter on page 44 for details the preset setting of this parameter is off 134

The clocked random step generator module generates a random control signal the module transmits a new random value for each logic signal received at the clk input 134

The led above the output shows an approximation of the current rate signal bipolar 134

The random step generator module generates a random control signal the control signal is colored this means the effect is more gentle than a true random signal it contains less radical differences be tween adjacent values 134

This sets the color of the random control signal the colored setting is more gentle and contains less radical differences between adjacent values the white setting is completely random 134

Tttteeeeppp 134

Aaaan n n nd d d do o o om m m 135

Eeeen n n n 135

N n n nd d d 135

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Randomgen 135

Rndpulsgen 135

U u u ulllls ss 135

Aaaatttttttteeeer rr rn n n 136

Click on the up and down arrow to select number of steps in the pattern 1 128 136

Click to select high or low high delta value produces great difference in output level between steps and low delta produces low difference the default setting is high 136

Displays selected pattern and bank number 136

Displays the selected number of steps in the pattern s 136

Eeeen n n n 136

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Patterngen 136

Signal unipolar 136

Synchronizes modules in polyphonic patches to each other this means that if you play a chord the mod ule will control all voices in sync see the mono parameter on page 44 for details 136

The clocked pattern generator generates 16384 different patterns 128 banks with 128 patterns each with selectable length 136

The yellow logic clk input can be connected to a clk output of an external module such as the clock generator at each clock pulse the pattern generator advances one step 136

The yellow logic rst input is used to restart the selected pattern when receiving a logic restart signal the pattern generator restarts at step one the restart isn t performed until the next the clock pulse is received at the clk input this guarantees perfect timing 136

With the rotary buttons you select pattern 0 127 and bank 0 127 pattern and bank selection can also be controlled externally using the blue control signal input to the left of the knobs 136

Adsr env 137

Envelope group 137

A blue control signal input used for controlling the overall amplitude of the envelope 138

Aaaa sets the attack time when the envelope receives a high logic signal at the gate input the output control signal from the envelope rises up to the maximum output 64 units the time to get from 0 to 64 units is the attack time if the logic gate signal drops to zero before the envelope has completed the attack stage it will skip the decay and sustain stages and immediately proceed with the release stage the attack time is displayed in milliseconds or seconds in the corresponding display box range 0 ms to 45 s note a very short attack time can produce a click in the beginning of the sound this is only normal according to physics theory to eliminate any click just increase the attack time slightly 138

D d d d sets the decay time after the envelope has completed the attack part it will drop down to the sustain level with the decay time the decay is exponential if the sustain level is 64 the decay stage will not be needed there is simply nothing to decay down to if the logic gate signal drops to zero before the enve lope has completed the decay stage it will immediately proceed with the release stage the decay time is displayed in milliseconds or seconds in the corresponding display box range 0 ms to 45 s 138

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R rr r sets the release time when the logic gate signal drops to zero the envelope will decrease from the sustain level to zero with the release time the release is exponential the release time is displayed in milliseconds or seconds in the corresponding display box range 0 ms to 45 s 138

S ss s sets the sustain level this level will be held sustained for as long as the logic gate signal is high when the logic gate signal drops to zero the envelope will proceed with the release stage the sustain level is displayed in units in the corresponding display box range 0 to 64 units 138

Set the characteristics of the attack part of the envelope with one of the three buttons logarithmic linear or exponential this selector can not be assigned to a morph group 138

The blue control signal output from the envelope generator signal unipolar 138

The envelope can be restarted by a high logic signal connected to the yellow retrig input the envelope gate input must be receive a gate signal to make the envelope retrig 138

The info graph shows an approximation of the envelope gain curve the yellow line represents the sustain level which is not defined in time since it depends on the gate signal time 138

The red audio signal input here you patch a signal to the envelope controlled amplifter 138

This inverts the control signal of the envelope 138

A blue control signal input used for controlling the overall amplitude of the envelope 139

A high logic signal at this yellow input will start the envelope the led lights up while the envelope is receiving a high logic signal 139

Ad e ad e ad e ad 139

Ad env 139

N n n nvvvv 139

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Sets the attack time when the envelope receives a high logic signal at the gate trig input the output control signal from the envelope rises up to the maximum output 64 units the time to get from 0 to 64 units is the attack time the attack is linear if the logic gate signal drops to zero before the envelope has completed the attack stage it will immediately proceed with the decay stage if the logic input is set to trig the entire attack phase will be completed the attack time is displayed in milliseconds or seconds in the display box range 0 ms to 45 s note a very short attack time can produce a click in the be ginning of the sound this is only normal according to physics theory to eliminate any click just in crease the attack time slightly 139

Sets the decay time after the envelope has completed the attack part it will drop down to 0 units with the decay time the decay is exponential if the logic gate trig signal drops to zero before the envelope has completed the decay stage it will still continue through the whole decay stage the decay time is dis played in milliseconds or seconds in the display box range 0 ms to 45 s 139

The info graph shows an approximation of the envelope gain curve 139

The red audio signal input here you patch a signal to the envelope controlled amplifter 139

The red output from the envelope controlled amplifter signal bipolar 139

This determines whether the envelope should behave like a gated envelope or like an unconditional en velope the gated gate mode envelope needs a high logic signal for at least a short period of the attack stage the unconditional trig mode envelope only needs a short high logic signal to start when the envelope has started after a trig signal it will proceed to the very end of the cycle even if the trig signal drops to zero please note the arrow that appears next to the yellow input when trig mode is selected 139

This is a smaller envelope with two stages attack and decay if the envelope finishes the attack stage while still receiving a high gate signal the envelope proceeds with the decay stage if the logic gate signal drops to zero during the attack stage the envelope starts the decay stage with the set decay time 139

A blue control signal input used for controlling the overall amplitude of the envelope 140

A logic control signal input that is used to start and hold the envelope for as long as the logic signal is high a green led indicates when a gate signal is received 140

Aaaa sets the attack time when the envelope receives a high logic signal at the gate input the output control signal from the envelope rises up to the maximum output 64 units the time to get from 0 to 64 units is the attack time if the logic gate signal drops to zero before the envelope has completed the attack stage it will skip the decay and sustain stages and immediately proceed with the release stage the attack time is displayed in milliseconds or seconds in the corresponding display box range 0 ms to 45 s note a very short attack time can produce a click in the beginning of the sound this is only normal according to physics theory to eliminate any click just increase the attack time slightly 140

D d d d sets the decay time after the envelope has completed the attack part it will drop down to the sustain level with the decay time the decay is exponential if the sustain level is 64 the decay stage will not be needed there is simply nothing to decay down to if the logic gate signal drops to zero before the enve lope has completed the decay stage it will immediately proceed with the release stage the decay time is displayed in milliseconds or seconds in the corresponding display box range 0 ms to 45 s 140

Mod env 140

Module reference envelope group nord modular v3 140

N n n nvvvv 140

O o o od d d 140

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The blue control signal output from the envelope generator signal unipolar 140

The envelope can be restarted with a logic signal at this input note that the envelope must receive a gate signal at the gate input to be able to retrig 140

The mod envelope is an adsr envelope with inputs to control attack decay sustain and release from external sources 140

The red output from the envelope controlled amplifter signal bipolar 140

A d s r a d s r a d s r a d s r 141

A logic control signal input that is used to start the envelope note that this is a trig input and not a gate input this means the envelope will always complete all the envelope stages a green led indicates when a trig signal is received 141

Ahd e ahd e ahd e ahd 141

Ahd env 141

I i i i each of the attack decay sustain and release values can be controlled externally by using the correspond ing control signal input below the a d s and r knobs you can adjust the level of each control signal by turning the corresponding rotary knob note that the a d and r control inputs handles bipolar con trol signals positive control signals shortens the times and negative control signals increase the times 141

N n n nvvvv 141

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R rr r sets the release time when the logic gate signal drops to zero the envelope will decrease from the sustain level to zero with the release time the release is exponential the release time is displayed in milliseconds or seconds in the corresponding display box range 0 ms to 45 s 141

S ss s sets the sustain level this level will be held sustained for as long as the logic gate signal is high when the logic gate signal drops to zero the envelope will proceed with the release stage the sustain level is displayed in units in the corresponding display box range 0 to 64 units 141

The attack hold decay envelope is an envelope with inputs to control attack hold and release times 141

The blue control signal output from the envelope generator signal unipolar 141

The info graph shows an approximation of the envelope gain curve the yellow line represents the sustain level which is not defined in time since it depends on the gate signal hold time 141

The red audio signal input here you patch a signal to the envelope controlled amplifter 141

The red output from the envelope controlled amplifter signal bipolar 141

This inverts the control signal of the envelope 141

A blue control signal input used for controlling the overall amplitude of the envelope 142

A h d a h d a h d a h d 142

Aaaa sets the attack time when the envelope receives a high logic signal at the trig input the output control signal from the envelope rises up to the maximum output 64 units the time to get from 0 to 64 units is the attack time the attack is linear the attack time is displayed in milliseconds or seconds in the cor responding display box range 0 ms to 45 s note a very short attack time can produce a click in the beginning of the sound this is only normal according to physics theory to eliminate any click just increase the attack time slightly 142

D d d d sets the decay time after the envelope has completed the hold stage it will drop down to 0 units with the decay time the decay is exponential the decay time is displayed in milliseconds or seconds in the corresponding display box range 0 ms to 45 s 142

H h h h sets the time the envelope should remain at 64 units the hold time is displayed in milliseconds or sec onds in the corresponding display box range 0 ms to 45 s 142

I i i i each of the attack hold and decay times can be controlled externally by using the corresponding control signal input below the a h and d knobs you can attenuate the level of each control signal by turning the corresponding rotary knob note that the a h and d control inputs handles bipolar control signals positive control signals on the a and d control inputs shortens the times and negative control signals increase the times with the h parameter it is the other way around 142

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The blue control signal output from the envelope generator signal unipolar 142

The info graph shows an approximation of the envelope gain curve 142

The red audio signal input here you patch a signal to the envelope controlled amplifter 142

The red output from the envelope controlled amplifter signal bipolar 142

A blue control signal input used for controlling the overall amplitude of the envelope 143

A logic control signal is used to start and hold the envelope for as long as the logic signal is high a green led indicates when a gate signal is received 143

By clicking on the up and down arrow buttons you define the sustain segment this segment can be any of the four level segments or if you wish none at all the sustain segment works like in an ordinary adsr envelope i e this is the level that sustains as you hold down the key s after releasing the key s the envelope will continue till the end of t5 range none and l1 to l4 143

Click on the buttons to switch between bipolar with linear time segments characteristics unipolar with exponential attack time segment s characteristics or unipolar with linear attack time segment s char acteristics note that it is only the attack segments of the unipolar envelopes that can be selected to be linear or exponential the decay segments of the unipolar envelopes are always exponential an attack segment is defined as a level shift from a low value to a higher value and a decay segment is defined as a level shift from a high value to a lower value 143

L1 l4 l1 l4 l1 l4 l1 l4 by turning the rotary knobs l1 to l4 you can set the amplitude of each of the four level segments in the envelope the levels can be either unipolar or bipolar as described above the levels are displayed in units in the corresponding display box ranges 0 to 64 units unipolar or 64 to 64 units bipolar 143

Multi env 143

N n n nvvvv 143

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T1 t5 t1 t5 t1 t5 t1 t5 here you set the times between the four levels plus a fifth release time from l4 to zero the times are displayed in milliseconds or seconds in the corresponding display box ranges 0 ms to 45 s note very short times can produce clicks in the sound this is only normal according to physics theory to elim inate any click just increase the times slightly 143

The info graph shows an approximation of the envelope gain curve the yellow line represents the sustain level which is not defined in time since it depends on the gate signal hold time if bipolar is selected a horizontal broken line represents the 0 units output level 143

The multi stage envelope is a 5 segment time and level envelope with selectable sustain segment 143

U u u ullllttttiii 143

Envfollower 144

Module reference envelope group nord modular v3 144

N n n nvvv 144

O o o ollllllllo o o ow w w weeeer rr r 144

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Sets the time it should take for the envelope follower to track decreasing amplitude of the input signal range 40 ms to 3 6 s the set value is shown in the corresponding display box 144

Sets the time it should take for the envelope follower to track increasing amplitude of the input signal range fast 0 ms to 767 ms the set value is shown in the corresponding display box 144

The blue control signal output of the envelope signal unipolar or bipolar 144

The output of the generated envelope signal signal unipolar 144

The red audio signal input here you patch a signal to the envelope controlled amplifter 144

The red audio signal input patch this input to an output of the audio in module for example to track the amplitude of an external audio signal 144

The red output from the envelope controlled amplifter signal bipolar 144

This module will extract an envelope from a signal i e follow the amplitude envelope of an incoming sig nal when a signal at the input of this module increases in amplitude this module follows the ampli tude with the time set as attack time when a signal decreases it follows the amplitude with the time set as release time 144

B bb b 145

Filter group 145

Filtera 145

Filterb 145

Iiiilllltttteeeer rr r g g g gr rr ro o o ou u u upppp 145

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C cc c 146

Displays the cut off frequency in hz or notes range e 1 to b9 or 10 hz to 15 khz click in the dis play box to change unit 146

Displays the resonance in units range 0 to 127 units 146

Filterc 146

Gc gc gc gc this is the gain compensation parameter when activated it will lower the gain of the signal inside the filter if the resonance is increased something that otherwise will boost the level within the filter if several sound sources are processed in a filter and the resonance control is raised clipping of the signal might occur inside the filter activating the gc parameter will reduce the levels to reduce the risk of any un wanted clipping 146

Iiiilllltttteeeer rr 146

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Sets the cut off frequency of the filter range e 1 to b9 or 10 hz to 15 khz 146

The red audio input of the filter module 146

This is a function that emphasizes the frequencies that is at or close to the set cut off frequency if set to 127 the filter starts to self oscillate and produces a sine wave range 0 to 127 units 146

This is a static multimode filter with a slope of 12 db octave and resonance control it is a multi mode filter with three outputs one highpass one lowpass and one bandpass 146

Three filter characteristics are available at these red outputs you can use all three at the same time if you like hp is a highpass filter bp is a bandpass filter and lp is a lowpass filter signals bipolar 146

D d d d 147

Displays the cut off frequency in hz or notes range e 1 to b9 or 10 hz to 15 khz click in the dis play box to change unit 147

Displays the resonance in units range 0 to 127 units 147

Filterd 147

Iii iii iii iii the blue input for modulating the cut off frequency from a control source the modulation amount is determined by the rotary knob next to the input read more about the modulation types in modulation inputs on page 32 147

Iiiilllltttteeeer rr 147

Kbt kbt kbt kbt this is a hardwired connection between the cut off frequency and the keyboard at the preset value key the keyboard will control the cut off frequency at a rate of one semitone for each key turning clockwise from the center position will increase the tracking turning counter clockwise will decrease it off disconnects the keyboard tracking completely click on the triangle above the control to reset the keyboard tracking to key 147

Nord modular v3 7 module reference filter group 147

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Sets the initial cut off frequency of the filter the cut off frequency is indicated in the display box range e 1 to b9 or 10 hz to 15 khz 147

The red audio input 147

This is a dynamic multimode filter with a slope of 12 db octave and resonance control it is a multi mode filter with three outputs one highpass one lowpass and one bandpass the cut off frequency can be mod ulated from an external source 147

This is a function that emphasizes the frequencies that is at or close to the set cut off frequency if set to 127 the filter starts to self oscillate and produces a sine wave range 0 to 127 units 147

Three filter characteristics are available at these red outputs you can use all three at the same time if you like hp is a highpass filter bp is a bandpass filter and lp is a lowpass filter signal bipolar 147

Displays the cut off or center in br mode frequency in hz or notes range e 1 to b9 or 10 hz to 15 khz click in the display box to change unit 148

Displays the resonance in units range 0 to 127 units 148

Filtere 148

Gc gc gc gc this is the gain compensation parameter when activated it will lower the gain of the signal inside the filter if the resonance is increased something that otherwise will boost the level within the filter if several sound sources are processed in a filter and the resonance control is raised clipping of the signal might occur inside the filter activating the gc parameter will reduce the levels to reduce the risk of any un wanted clipping 148

Iii iii iii iii the two red inputs for connecting cut off frequency modulators the modulation amount is determined by the rotary knobs next to each input read more about the modulation types in modulation inputs on page 32 148

Iiiilllltttteeeer rr 148

Kbt kbt kbt kbt the connection between the filter cut off frequency and the keyboard at the preset value key the key board will control the cut off frequency at a rate of one semitone for each key turning clockwise from the center position will increase the tracking turning counter clockwise will decrease it off disconnects the keyboard tracking completely click on the triangle above the control to reset the keyboard tracking to key 148

Module reference filter group nord modular v3 148

Page 140 148

Select the filter type with the buttons this selector cannot be assigned to a morph group hp is a high pass filter bp is a bandpass filter and lp is a lowpass filter br is a band reject filter when this filter is selected the resonance knob will control the width of the frequency band to be rejected 148

Sets the initial cut off or center in br mode frequency of the filter range e 1 to b9 or 10 hz to 15 khz 148

This is a dynamic synthesizer filter with a slope of either 12 or 24 db octave it is a multi mode filter providing a highpass a lowpass a bandpass or a bandreject filter the cut off frequency and the resonance can be modulated from external sources 148

B bb b click to bypass the input signal and leave it unaffected 149

B o b o b o b 149

Displays a schematic graph of the selected filter characteristics the y axis represents level and the x axis the frequency the horizontal line represents the 0 db level 149

Displays the cut off frequency in hz or notes range e 1 to b9 or 10 hz to 15 khz click in the dis play box to change unit 149

Filterf 149

I i i i the red input for modulating the resonance from a control source the modulation amount is deter mined by the rotary knob next to the input 149

Iii iii iii iii two blue inputs for modulating the cut off frequency with a control source the modulation amount is determined by the rotary knobs next to the inputs read more about the modulation types in modula tion inputs on page 32 149

Iiiilllltttteeeer rr 149

Nord modular v3 7 module reference filter group 149

Page 141 149

Select the roll off slope of the filter 12 or 24 decibels for each octave 149

Sets the initial cut off frequency of the filter range e 1 to b9 or 10 hz to 15 khz 149

Signal bipolar 149

The red audio input of the filter 149

This is a function that emphasizes the frequencies that is at or close to the set cut off frequency in lp hp and bp mode if set to 127 the filter starts to self oscillate and produces a sine wave in br mode this controls the width of the frequency band to be rejected range 0 to 127 units 149

This is a lowpass filter which simulates classic analog synthesizer filters the slope is selectable between 12 18 or 24 db octave the cut off frequency can be modulated from two external sources 149

B bb b click to bypass the input signal and leave it unaffected 150

B o b o b o b 150

Displays a schematic graph of the selected filter characteristics the y axis represents level and the x axis the frequency the horizontal line represents the 0 db level 150

Displays the resonance in units range 0 to 127 units 150

Iiiilllltttteeeer rr r 150

Kbt kbt kbt kbt the connection between the filter cut off frequency and the keyboard at the preset value key the key board will control the cut off frequency at a rate of one semitone for each key turning clockwise from the center position will increase the tracking turning counter clockwise will decrease it off disconnects the keyboard tracking completely click on the triangle above the control to reset the keyboard tracking to key 150

Module reference filter group nord modular v3 150

O o o oc cc caaaalll 150

Page 142 150

Select the roll off slope of the filter 12 18 or 24 decibels for each octave 150

Sets the initial center frequency offsets of the vowels the practical result of turning this knob would be like pitch shifting a sampled voice click on the green triangle above the rotary knob to reset to a medium value 150

Signal bipolar 150

The red audio input of the filter 150

The vocal filter module is designed to simulate the vocal tract you can select between a number of preset vowels and change and modulate them to generate really amazing effects waveforms with a lot of over tones such as sawtooth or pulse waves are best suited to be used with the vocal filter 150

This function emphasizes the frequency peaks of the vowels the more resonance the more clearly the vowels appear click on the green triangle above the rotary knob to reset to a medium value 150

This is a function that emphasizes the frequencies that is at or close to the cut off frequency if you set the control to 127 the filter will start to self oscillate and produce a sine wave range 0 to 127 units 150

Vocalfilter 150

Displays the three different selected vowels presets a e i o u y aa ae oe 151

I i i i the input for modulating the navigation between the selected vowels the knob next to the input is used for attenuating the input level 151

Ii ii ii ii the input for modulating the center frequency offset from a control source the modulation amount is determined by the rotary knob next to the inputs 151

Navigates between the vowels you selected with the vowel selectors note that this is a transformation function not a mix function 151

Nord modular v3 7 module reference filter group 151

O o o oc cc co o o od d d deeeer rr r 151

Of course you can use any kind of sound in the analysis bank to shape the synthesizer sound some like to use drum sounds to get percussive synth sounds for example feel free to experiment 151

Page 143 151

Selects the vowels to be used you can select up to three vowels and navigate between these with the nav igator knob see below presets a e i o u y aa ae oe 151

Signal bipolar 151

The audio input of the filter module the knob next to it is used for attenuating the input level 151

The vocoder module is a 16 band vocoder with the ability to reroute the analysis bands the basic prin ciple of a vocoder is to filter a synthesizer sound with the help of another sound a human voice for ex ample the result when filtering a synth sound with a voice would be a singing synthesizer the actual notes that come out of the vocoder are the notes played on the synthesizer to reach this effect the analysis frequency spectrum is divided into separate frequency bands in this case 16 these 16 frequency bands work like 16 bandpass filters each controlling a defined frequency band of the synthesizer bank an en velope follower for each band determines the amplitude changes of the modulated sound 151

Vocoder 151

With this vocoder module it is possible to reroute the analysis bands to any of the frequency bands of the synthesis bank creating really interesting frequency combinations 151

Aaaan n n nk kk k 152

Click on the button below the analysis bank input to emphasize the high frequencies of the analysis sig nal this is a very useful function to get a more even frequency response in the modulated sound 152

Click on the preset buttons to reroute all synthesis bands the number of steps indicated on the buttons the inv button inverts the band routing i e routes the analysis band 1 to synthesis band 16 and so on the rnd button reroutes all bands completely randomly great for experiments 152

Click on the up and down buttons to reroute each of the synthesizer signal s frequency bands to any of the frequency bands of the analysis bank 152

Click on this button to bypass the modulator ctrl signal to the output 152

Filter bank 152

Iiiilllltttteeeer rr 152

Jacks and route the signals via the audio in module to the filter bank and filter out kick and snare hits and have them trig different modules in the patch 152

Module reference filter group nord modular v3 152

Page 144 152

Patch the signal you want to use as modulator to the red audio signal input on the upper left of the module 152

Signal bipolar 152

The filter bank is a 14 band static filter with attenuation controls for each frequency band the filter bank is very suitable for simulating different kinds of body resonance formants it can also be used to filter out a specific frequency range of an external audio signal for example you could connect a cd player or similar to the 152

The red audio signal input to the lower right is where you patch the synthesizer audio signal 152

This graph shows the routing between the analysis and synthesis bands 152

Use this knob to adjust the level of the modulated synthesizer signal range 0 5 to 4 times the input level click on the green triangle to leave the signal level unaffected 152

Attenuate each filter band with the sliders or by clicking the up and down arrow buttons that appear when you focus a slider above each slider the center frequency of each band is shown in hz or khz 153

B bb b click on the b button to bypass the input signal and leave it unaffected 153

Bw bw bw bw 153

Click on min to get minimum output level maximum attenuation of all bands and on max to get max imum output level minimum attenuation 153

Displays a schematic graph of the equalization characteristics the y axis represents level and the x axis the frequency the horizontal line in the middle represents the 0 db level 153

Displays the bandwidth in octaves range 2 to 0 2 octaves 153

Displays the center frequency in hz range 20 hz to 16 khz 153

Displays the gain in db range 18 to 18 db 153

Eqmid offers parametric equalization with center frequency gain and bandwidth controls 153

Iiiid d d d 153

Nord modular v3 7 module reference filter group 153

Page 145 153

Signal bipolar 153

The red audio input 153

Use the bw rotary knob to set the bandwidth around the center frequency range 2 to 0 2 octaves 153

With the big rotary knob you change the center frequency range 20 hz to 16 khz 153

With the gain rotary knob you change the gain at the center frequency range 18 to 18 db 153

B bb b press the b button to bypass the equalization and leave the signal unaffected 154

Displays a schematic graph of the equalization characteristics the y axis represents level and the x axis the frequency the horizontal line in the middle represents the 0 db level 154

Displays the cut off frequency in hz range 20 hz to 16 khz 154

Displays the gain in db range 18 to 18 db 154

Eqshelving 154

H h h heeeellllvvvviiiin n n ng g g g 154

Module reference filter group nord modular v3 154

Page 146 154

Press the bypass button to disable the equalization effect 154

Select if you want the gain control to affect the lower or upper frequency band 154

The hi and lo shelving eq is a treble and bass equalizer with cutoff frequency gain and hi low selec tor 154

The multi color led above the output indicates the output level and have the following meaning green normal signal level yellow signal reaching headroom red overload signal bipolar 154

This is the red audio input of the equalizer with the rotary button to the left you can attenuate the input signal attenuator type i 154

This is the red audio input of the equalizer with the rotary knob to the left of the input you can attenuate the input signal attenuator type i 154

With the big rotary knob you change the cut off frequency range 20 hz to 16 khz 154

With the gain rotary knob you change the gain at the cut off frequency range 18 to 18 db 154

Iiiixxxxeeeer rr r g g g gr rr ro o o ou u u upppp 155

Inputs mixer 155

Mixer group 155

Nord modular v3 7 module reference mixer group 155

Page 147 155

Aaaaiiiin n n 156

Connect a modulator to this red input a signal with a level of 0 units will close the gain control function a signal with a level of 64 units will open the gain control function completely a signal with a level of 64 units will invert the polarity of the modulated signal 156

Connect the signal to be modulated the carrier to this red input 156

Gaincontrol 156

Module reference mixer group nord modular v3 156

O o o on n n nttttr rr ro o o ollll 156

Page 148 156

The left picture shows a bipolar control signal and by clicking the unipolar button the signal becomes positive unipolar the right picture 156

The output of the gain control module signal bipolar 156

The unipolar function changes a bipolar signal at the control input to a unipolar signal by dividing the signal at the control input by 2 and adding a bias of 32 units see pictures below 156

This module perform the same functions as a traditional vca a voltage controlled amplifier in a analog system would do it provides you with modulation control over the amplitude of an incoming signal it can also function as a ring and amplitude modulator see example below see also the ringmod module on page 164 156

2 1 2 1 2 1 2 157

2 1 2 1 2 1 2 the red audio inputs 157

Aaaad d d deeee 157

I i i i the red modulation input of the x fade module connect a modulator here the amount of modulation is controlled with the knob 157

Iiiin n n ng g g 157

M m m mpppplllliiiittttu u u ud d d deeee m m m mo o o od d d du u u ullllaaaatttto o o or rr r ppppaaaattttc cc ch h h h eeeexxxxaaaam m m mpppplllleeee 157

Nord modular v3 7 module reference mixer group 157

Osca is the modulator and oscb the carrier in this example with the unipolar button on the gaincontrol module not depressed the setup functions as a ring modulator with the unipolar button depressed the setup works as an amplitude modulator 157

Page 149 157

Ring amplitude modulator patch example 157

Sets the initial mix of the two signals if you set the knob towards 1 the initial mix will have more of the signal connected to the number 1 input if you set it towards 2 the initial mix will have more of the signal connected to the number 2 input clicking on the triangle will set the mix to an equal amount of both signals 157

Signal bipolar 157

This mixer can be modulated by a control signal to produce a crossfade between two incoming signals 157

X f x f x f x 157

X fade 157

X x x x 157

You can easily create a ring or amplitude modulator by using two oscillators and the gaincontrol mod ule described above connect the modules according to the figure below see also the module ringmod on page 164 157

2 2 2 signal bipolar 158

Aaaad d d deeee 158

Aaaan n n n 158

F 1f 1f 1 158

F 2f 2f 2 158

I i i i the red modulation input of the pan module connect a modulator to modulate the position of the sig nal in the two outputs the amount of modulation is controlled with the knob 158

L r l r l r l r 158

Module reference mixer group nord modular v3 158

Page 150 158

Sets the initial pan position click on the triangle to reset the initial position to an equal amount of the incoming signal at both the outputs 158

Signal bipolar 158

T 1t 1t 1 158

T 2t 2t 2 158

The red audio input 158

This is a fader with one input and two outputs and a fader rotary knob to fade the input signal between the two outputs 158

This is a fader with two inputs and one output and a fader rotary knob to fade between the two input signals 158

This is the red audio input 158

This module takes a signal and places it somewhere in a stereo panorama 158

To1fade 158

To2fade 158

With the fade rotary knob you fade the input signal between the two outputs in the 12 o clock position both outputs are silent 158

2 2 2 the two red audio inputs 159

D d d dd d d d 159

Displays the gain value range 127 to 127 units or 0 to 127 units if unipolar is selected 159

Displays the offset value range 64 to 64 units or 0 to 64 units if unipolar is selected 159

Eeeevvv 159

Levadd 159

Levmult 159

Nord modular v3 7 module reference mixer group 159

Page 151 159

Select if the control signal should be unipolar or bipolar 159

Set the gain control signal value with the rotary button range 127 to 127 units or 0 to 127 units if unipolar is selected a setting of 127 leaves the input signal unaffected a negative value in the bipolar mode results in a 180 degree phase shift of the output signal 159

Set the offset value with the rotary button range 64 to 64 units or 0 to 64 units if unipolar is select ed 159

Signal bipolar 159

The adjustable gain control module is a signal attenuator 159

The adjustable offset module can is used to add or subtract an offset bias to a signal 159

The red audio input 159

This is the red audio signal output signal bipolar 159

U u u ulllltttt 159

With the fade rotary knob you fade the between the two input signals in the 12 o clock position the output is silent 159

1s 4 1s 4 1s 4 1 160

1switch 160

Ffffffff 160

M m m m mutes the output of the module 160

Module reference mixer group nord modular v3 160

Page 152 160

Routes one of the inputs to the output 160

Selects whether the incoming signal should pass through to the output or not if no signal is patched to the input off button not depressed outputs 0 units and on button depressed 64 units 160

Signal bipolar 160

Signal bipolar unipolar or logic depending on the input signal 160

The red audio input 160

The red audio inputs you can attenuate the incoming signal with the knobs next to the corresponding input attenuator type i 160

This is a one input one output module with an on off switch if no signal is patched to the input the output produces a signal with the value 0 units when the switch is set to off and a signal with the value 64 units when switched on 160

This module allows you to route an incoming signal from one of the four inputs to the output 160

W w w wiiiittttc cc ch h h h 160

4s 1 4s 1 4s 1 4 161

4switch 161

Amplifier 161

Displays the attenuation or amplification range x0 5 to x4 161

M m m m mutes the outputs of the module 161

M m m mpppplllliiiiffffiiiieeeer rr r 161

Nord modular v3 7 module reference mixer group 161

Page 153 161

Routes the input to one of the four outputs 161

Select the desired amplification attenuation with the slider any value above 1 amplifies the signal any value below attenuates it range 0 5 to 4 times the input level 161

Signal bipolar 161

The red audio input 161

The red audio input with attenuation control attenuator type i 161

This module allows you to route an incoming signal to one of the four outputs 161

This module can amplify or attenuate a signal 161

W w w wiiiittttc cc ch h h h 161

Audio modifier group 162

Module reference audio modifier group nord modular v3 162

O o o od d d diiiiffffiiiieeeer rr r g g g gr rr ro o o ou u u upppp 162

Overdrive 162

Page 154 162

U u u ud d d diiiio o o 162

Aaaavvvveee 163

Displays the initial overdrive amount graphically the y axis represents the output signal values and the x axis the input signal values 163

Displays the initial wrap amount graphically the y axis represents the output signal values and the x axis the input signal values 163

I i i i connect a modulator to this red input the amount of modulation is attenuated with the knob 163

Nord modular v3 7 module reference audio modifier group 163

Page 155 163

R rr raaaappppppppeeeer rr r 163

Sets the initial wrap amount 163

Signal bipolar 163

The red audio input 163

This module amplifies a signal until it hits the headroom instead of clipping the signal it folds down wraps around the waveform of the signal will be heavily transformed with a lot of new overtones which gives it distortion or fm like characteristics 163

Wavewrapper 163

2 5 2 5 2 5 164

Displays the initially set delay time range 0 to 2 5 ms 164

Displays the selected bit resolution range off 12 to 1 bits 164

Eeeellllaaaayyyy 164

I i i i you can modulate the delay time with a modulation source connect to this blue input the amount of modulation is attenuated with the knob 164

Module reference audio modifier group nord modular v3 164

Page 156 164

Quantizer 164

Select a bit resolution value with the buttons range off 12 to 1 bits off leaves the signal unmodified 164

Set the delay time with the slider or by clicking on the arrow buttons on either side range 0 to 2 5 ms 164

Signal bipolar 164

The delay module can delay an audio signal the delay time can be modulated from an external source this allows you to do e g flanger and phaser effects 164

The fixed delay time output of the delay module with the maximum possible delay time 2 5 ms signal bipolar 164

The quantizer module modifies an incoming signal by changing its bit resolution to a selected value this module can e g transform a smooth envelope to a jagged curve or quantize a clean audio signal down to a dirty 7 bit signal 164

The red audio input 164

The variable delay time output signal bipolar 164

U u u uaaaan n n nttttiiiizzzzeeeer rr r 164

Aaaam m m mpppplllleee 165

Connect the signal to activate the sampling process to this yellow input 165

Iiiio o o od d d deeee 165

Nord modular v3 7 module reference audio modifier group 165

O o o olllld d d d 165

Page 157 165

Sample hold 165

Sets the operation of the module the leftmost position leaves the signal unchanged bypass the middle half position discards of any negative input signal levels and the right full position transforms mir rors any negative signal levels to positive levels 165

Signal bipolar 165

Signal bipolar or unipolar 165

The diode processing module can change a bipolar signal to a unipolar signal you can choose whether you want to discard of any negative input levels or if you want to transform these to positive levels 165

The red audio input 165

This module takes samples of the values of an incoming signal the sampling occurs every time a signal shifting from 0 units or below to anything above 0 units appears at the yellow logic input inbetween these trig signals the module transmits the value of the latest sample to the output 165

To create the traditional sample hold or random lfo synthesizer effect connect the output of a white noise generator module to the input of the sample hold module and trig the sample hold module with an lfo connect the output of the sample hold module to a pitch modulation input of an os cillator according to the figure below 165

Adjusts the balance between the dry signal and the wet chorused signal 166

B bb b click to bypass the signal and leave it unaffected 166

Displays the internal lfo rate in hz or seconds range 62 s to 24 hz 166

H h h haaaas ss seeeer rr r 166

H h h ho o o or rr ru u u us ss s 166

L r l r l r l r 166

Lfo lfo lfo lfo below the depth knob is the lfo on off button use it to switch on and off the lfo 166

Module reference audio modifier group nord modular v3 166

Page 158 166

Phaser 166

Sets the detune depth of the chorus effect 166

Signal bipolar 166

Stereochorus 166

The red audio input 166

This is a 14 pole phaser with peak spread control and adjustable feedback it features six allpass filters which displace the phase 180 degrees each it is possible to select the number of allpass filters 1 6 to be used giving from one to six peak resonance frequencies 166

This module simulates the effect of multiple stereo voices 166

Tttteeeer rr reeeeo o o 166

With the depth rotary knob you set the lfo depth a high depth amount results in greater changes of the phaser effect 166

With the rate knob you set the rate of the built in lfo range 62 s cycle to 24 hz 166

B bb b click to bypass the signal and leave it unaffected 167

By clicking on the up and down arrow buttons you select the number of resonance peaks allpass filters 1 to 6 peaks can be selected 167

Displays the selected phaser characteristics graphically the y axis represents level and the x axis the fre quency 167

Displays the set center frequency in hz range 100 hz to 16 khz 167

I i i i the center frequency can be controlled externally using the blue control signal input and the attenuator 167

I i i i the peak distance can be modulated from an external source using the blue control signal input and the level attenuator below the spread knob 167

Nord modular v3 7 module reference audio modifier group 167

Page 159 167

The audio signal output the led above indicates the output level and have the following meaning green normal signal level yellow signal reaching headroom red overload signal bipolar 167

To the bottom right of the module is the red audio input together with an input level attenuator atten uator type i 167

With the big center freq rotary knob you set the center frequency range 100 hz to 16 khz 167

With the feedback rotary knob you set the phaser feedback i e the feedback to the allpass filters you can have a negative or positive feedback at the 12 o clock position feedback is zero click on the green tri angle above the knob to set the feedback to 0 167

With the spread rotary knob you set the distance between the peaks 167

Click the bipolar button the leftmost if you want to keep the incoming signal bipolar use this button in combination with the inv button to just change polarity of the signal 168

Click the inv button to change polarity of the incoming signal this button can be used in combination with any of the other three buttons to the right 168

Eeeevvv 168

H h h haaaappppeeeer rr r 168

H h h hiiiifffftttt 168

Invlevshift 168

Module reference audio modifier group nord modular v3 168

N n n nvvv 168

Page 160 168

Press this button in the middle to change the incoming signal from bipolar to a negative unipolar signal this function divides the signal by 2 and subtracts a bias of 32 units if inv is pressed the polarity will be inverted but the signal will still be negative unipolar 168

Press this button the rightmost to change the incoming signal from bipolar to a positive unipolar signal this function divides the signal by 2 and adds a bias of 32 units if inv is pressed the polarity will be inverted but the signal will still be positive unipolar 168

Set the desired transformation characteristics with the selectors log2 log1 linear exp1 or exp2 168

Shaper 168

Signal bipolar 168

Signal bipolar or unipolar negative or positive 168

The red audio input 168

This is a combined level shifter and inverter module you can use it either to change polarity of the in coming signal or change it from a bipolar to a unipolar signal positive or negative or both 168

This module transforms a signal using one of five different amplification attenuation characteristics the curves on the buttons describes the transformation functions i e the amplification attenuation of each value of the input signal the middle button can be considered as a bypass function i e the amplifica tion attenuation is 1 1 on all input signal values 168

As mentioned the shaper affects each single value of an incoming signal not the total level to show this more clearly take a look at the figures below the x axis in the diagram represents the incoming signal values and the y axis the output values 169

If a sine wave is sent to the input of the shaper and the log2 curve is selected the resulting wave on the output would be more like a square wave 169

If the exp2 curve is selected a sine wave on the input would result in a triangle like wave on the output 169

Nord modular v3 7 module reference audio modifier group 169

Page 161 169

Compressor 170

L r l r l r l r the red stereo audio inputs 170

Module reference audio modifier group nord modular v3 170

O o o om m m mppppr rr reeees ss ss ss so o o or rr r 170

Page 162 170

Shows the selected compression characteristics graphically the y axis represents the output values and the x axis the input values the diagonal line represents 1 1 amplification the cross hair indicates the set reference level se explanation below 170

The compressor module is a combined stereo compressor and limiter the theory behind a compressor is to compress decrease the dynamic range of a signal with high dynamic range the compressor decreas es strong signals and increases weak signals according to the module settings the practical result of a compressed signal is that the volume is more even 170

The side chain input is used for an external audio signal to control the compressor the side chain sig nal will not be mixed with the other input signals it will just be used to control the compressor activate the side chain function by pressing the act button if you want to listen to the side chain signal alone press the mon button 170

This led indicator shows the gain reduction of the sum of the left and right channels in db 170

This led is lit when the limiter is active 170

With the attack rotary knob you set the response time of the compressor i e the time between input sig nal above the threshold level and compressor activation range fast 0 ms to 767 ms 170

With the release rotary knob you set the release time i e the time it takes for the compressor to return to the original input level range 125 ms to 10 s 170

With the threshold rotary knob you set the threshold above which compression is activated i e the min imum input value to activate the compression range 30 to 11 db and off 170

B bb b press this button to deactivate the compressor effect 171

Expander 171

L r l r l r l r signal bipolar 171

L r l r l r l r the red stereo audio inputs 171

Nord modular v3 7 module reference audio modifier group 171

Page 163 171

Shows the selected expansion characteristics graphically the y axis represents the output values and the x axis the input values the broken diagonal line represents 1 1 amplification 171

The expander module is a combined stereo expander and gate the theory behind an expander is to in crease the dynamic range of a signal with low dynamic range the expander does not affect strong signals but decreases weak signals according to the settings expanders are often used for noise reduction 171

The side chain input is used for an external audio signal to control the expander the side chain signal will not be mixed with the other input signals it will just be used to control the expander activate the side chain function by pressing the act button if you want to listen to the side chain signal press the mon button 171

This led chain shows the gain reduction of the sum of the left and right channels in db 171

With the limiter rotary knob you can set a maximum output level if set lower than the ref level it will decrease the output level to the limiter value range 30 to 11 db and off 171

With the ratio rotary knob you set the compression ratio above the set threshold level 1 1 means no compression and 80 1 maximum compression range 1 1 to 80 1 171

With the ref level rotary knob you set the compression reference level this is the level that the signals will be compressed towards the higher the ref level the stronger the output signal s range 30 to 12 db 171

Xxxxppppaaaan n n nd d d deeeer rr r 171

Iiiin n n ng g g 172

Module reference audio modifier group nord modular v3 172

O o o od d d d 172

Page 164 172

Ringmod 172

Fig 1 am carrier wave 173

Fig 2 am modulator wave 173

Fig 3 amplitude modulation 173

Nord modular v3 7 module reference audio modifier group 173

Page 165 173

Patch the carrier oscillator or other sound generator to this input 173

Patch the modulator oscillator or other sound generator to this input 173

Signal bipolar 173

To illustrate what ring and amplitude modulation actually does to a sound we have created an exam ple with three sine waves one carrier and two different modulators ring and amplitude the graphs to the left show the amplitude as a function of time and to the right the amplitude as a function of the frequency 173

As you can see in the figures above the main practical difference between amplitude and ring modula tion is the sideband amplitudes and the appearance of the carrier wave in the frequency spectrum an other difference is that the resulting ring modulation wave phase shifts 180 degrees every half modulator period 174

Fig 4 rm carrier wave 174

Fig 5 rm modulator wave 174

Fig 6 ring modulation 174

If more complex waveforms are used for amplitude or ring modulation sidebands will be generated for each partial of the wave 174

Module reference audio modifier group nord modular v3 174

Page 166 174

Clicking this button disables the sample rate conversion and leaves the signal at full audio bandwidth 175

Clicking this button leaves the signal quantization unmodified 175

Digitizer 175

Displays selected initial sample rate in hz range 32 0 hz to 50 8 khz 175

Displays the bit resolution range 1 to 12 bits 175

I i i i you can modulate the sample rate from a modulation source patched to this input attenuate the input signal with the knob 175

Iiiig g g giiiittttiiiizzzzeeeer rr r 175

Nord modular v3 7 module reference audio modifier group 175

Page 167 175

Select the bit resolution with the arrow buttons range 1 to 12 bits 175

Set desired sample rate in hz range 32 0 hz to 50 8 khz 175

Signal bipolar 175

The digitizer module continuously samples an incoming signal at a selectable sample rate and bit reso lution the module can e g sample a clean audio signal and transform it down to a dirty 8 bit 5 khz signal great for low fi effects with lots of aliasing 175

The red audio input 175

Constant 176

Control modifier group 176

Module reference control modifier group nord modular v3 176

O o o od d d diiiiffffiiiieeeer rr r g g g gr rr ro o o ou u u upppp 176

O o o on n n nttttr rr ro o o olll 176

Page 168 176

Smooth 176

B bb b 177

Nord modular v3 7 module reference control modifier group 177

O o o or rr rttttaaaam m m meeeen n n ntttto o o 177

Page 169 177

Portamentoa 177

Portamentob 177

C cc caaaalllleeeer rr r 178

Displays the note range limits useful musical intervals will be indicated in the parenthesis octaves fifths etc range 0 to 64 semitones note that for the display box to show the correct limits it is assumed that the input signal uses the full range 64 to 64 semitones 178

Displays the note range range 0 to 64 semitones note that for the display box to show the correct limits it is assumed that the input signal uses the full range 64 to 64 semitones 178

Displays the selected quantization grid interval in semitones range off 1 127 178

Module reference control modifier group nord modular v3 178

Notequant 178

Notescaler 178

O o o otttteee 178

Page 170 178

Set the desired quantization grid interval in semitones with the buttons range off and 1 to 127 sem itones 178

Set the semitone range with the slider range 0 to 64 semitones 178

Set the signal range with the knob 178

Signal bipolar 178

The blue control signal input 178

This module will quantize the values of a continuous control signal to produce discrete semitone steps the total range of the incoming signal can be attenuated at the input 178

This module works like a control signal attenuator you set the output peak to peak limits in semitones this could be useful if you want to tune the output from a controller the note scaler works with ei ther uni or bipolar signals 178

U u u uaaaan n n ntttt 178

Click this button to force the module to split up the key quantization grid in equally big sections per octave this makes it easier to output the selected notes at a steady rate when using a linear control signal 179

Displays the set key range for the display to show the correct note value it is assumed that the input signal uses its whole dynamic range 64 units 179

Eeeeyyy 179

Keyquant 179

Nord modular v3 7 module reference control modifier group 179

Page 171 179

Set the desired key by clicking the notes you want to quantize to the note interval for the shown octave is automatically duplicated across the whole key range 179

Set the key range in semitones range 64 semitones 179

Signal bipolar 179

The range control signal input 179

This module quantizes the values of a continuous control signal and generates note values according to a user defined key it is great for arpeggio like effects 179

U u u uaaaan n n ntttt 179

Aaaar rr rttttiiiiaaaalll 180

Displays the control signal range set with the attenuator knob for the display to show the correct range it is assumed that the input signal uses its whole dynamic range 64 units values exceeding 32 partials are shown with an asterisk indicating that the practical output limit is exceeded 180

Eeeen n n n 180

Lfo a is set to generate a triangle wave since this signal has linear symmetrical ramps this guarantees even change of control values over time we have pressed four note buttons and selected a range of 32 semitones on the keyquant module the output signal from the keyquant module is routed to one of the pitch inputs of the osc a module the pitch mod attenuator of the osc a module is set to 127 to ensure correct semitone intervals 180

Module reference control modifier group nord modular v3 180

Page 172 180

Partialgen 180

Set the control signal range range 64 units 180

Signal bipolar 180

The blue control signal input 180

The example below shows the principle for creating a simple arpeggiator 180

This module generates a control signal that will transpose an osc to one of its harmonic partials the range of the partial generator is 0 to 64 partials in steps of 0 partials note that the practical limit of nord modular is 32 partials if the range is set above 32 partials the oscillator will remain on its 32nd partial until the control signal amplitude has decreased below 32 partials 180

C cc caaaallll 181

Controlmixer 181

Eeeelll 181

I i i i with this rotary knob you set how much the input velocity should affect the output value if set to min 0 the velocity output component is always 64 units if set to max 127 the output can vary between 0 and 85 units if set to max 127 a velocity input of 48 units results in an output value of 64 181

Iiiixxxxeeeer rr r 181

Inverts the polarity of the incoming control signal 181

L g l g l g l 181

Nord modular v3 7 module reference control modifier group 181

Notevelscal 181

O o o on n n nttttr rr ro o o olll 181

O o o otttteee 181

Page 173 181

Patch signals to these two blue inputs you can attenuate the signal with the corresponding knob 181

Patch this input to e g the note output of any of the input modules keyboard voice or keyboard patch 181

Patch this input to e g the velocity output of any of the input modules keyboard voice or keyboard patch 181

Set the amplification attenuation slope for the lower key section with the knob the value is displayed in the corresponding display box range 24 db per octave 181

Signal bipolar 181

Switch between linear type i and exponential type ii characteristics for the two attenuators see mod amount knobs attenuators on page 32 for more info 181

This is a mixer for control signals you can select between linear and exponential attenuator characteristics to better suit your modulation needs it can also invert the polarity of an incoming signal 181

This is a note and velocity scaler for control signals you can use it to produce control signals based on input note and velocity values you can set a break point key and different amplification attenuation slopes for the two key sections this module is very suitable for controlling the amplitude in modules featuring amplitude modulation input s 181

Displays the two gain slopes and the break point graphically the y axis represents the output level log arithmic and the x axis the entire note range c 1 to g9 the horizontal line represents the 64 units 0 db output level see figure below for further explanation 182

Figure 1 velocity sensitivity is set to zero which means that note values affect the output accord ing to the set gains beginning at the offset 64 units 0 db at the break point 182

Figure 2 velocity sensitivity is increased which means that note values affect the output accord ing to the gains but the offset has now become a velocity range the velocity range is controlled with the vel sens knob 182

Module reference control modifier group nord modular v3 182

Page 174 182

R g r g r g r 182

Set the amplification attenuation slope for the upper key section with the knob the value is displayed in the corresponding display box range 24 db per octave 182

Set the break point key the value is displayed in the corresponding display box range c 1 to g9 182

The figures below illustrate the output signals for different gain and velocity sensitivity settings 182

The output value is the combined result of the note and velocity input values signal bipolar 182

Logic group 183

Negedgedelay 183

Nord modular v3 7 module reference logic group 183

O o o og g g giiiic cc c g g g gr rr ro o o ou u u upppp 183

Page 175 183

Posedgedelay 183

Displays selected pulse delay time range 1 ms to 18 s 184

Displays selected pulse time range 1 ms to 18 s 184

Eeeellllaaaayyyy 184

Logicdelay 184

Module reference logic group nord modular v3 184

O o o og g g giiiic cc 184

Page 176 184

Set the duration of the produced high logic signal with the knob if the module receives another level change from 0 units to anything greater than 0 units during the duration of the produced high signal it will extend the duration with the value set with the knob range 1 ms to 18 s 184

Set the pulse delay time with the knob range 1 ms to 18 s 184

Signal logic 184

The yellow input of the module any signal changing from 0 units or below to anything above 0 units will generate a high logic output pulse 184

The yellow input of the module any signal changing from 0 units or below to anything above 0 units will generate a high logic output signal after the set delay time when the input signal switches back to 0 units the output generates a low logic signal after the set delay time 184

This module can use a signal that increases from 0 units to anything greater than 0 units to produce a high logic signal you set the duration of the generated high logic signal with the slider 184

This module delays a signal that increases from 0 units to anything greater than 0 units and produces a high logic output signal the cycle length of the input signal is unaffected 184

U u u ulllls ss seeee 184

And produces a high logic signal when the two incoming signals each with a level greater than 0 units is present at the two inputs at the same time 185

Logicinv 185

Logicproc 185

N n n nvvvv 185

Nord modular v3 7 module reference logic group 185

O o o og g g giiiic cc 185

Or produces a high logic signal if at least one signal with a level greater than 0 units appears at the in put s 185

Page 177 185

R rr ro o o oc cc c 185

Signal logic 185

The logic inverter module produces a logic low or high signal depending on the input value when an incoming signal is between 1 and 64 units the module transmits a low logic signal when an incoming signal is between 0 and 64 units it transmits a logic high signal 185

The two yellow inputs of the logic processor module 185

This logic processor module transmits a high logic signal whenever any incoming signals meet a condi tion set by you the input signals are considered high at any value equal to or above 1 unit the transmitted logic signal will be high for as long as the incoming signals meet the condition 185

When an incoming signal is between 1 and 64 units the module transmits a low logic signal on the output when an incoming signal is between 0 and 64 units it transmits a logic high signal 185

Xor produces a high logic signal when only one signal with a level greater than 0 units appears at one of the inputs 185

Ab ab ab ab 186

Compareab 186

Comparelev 186

Eeeevvvv 186

Module reference logic group nord modular v3 186

O o o om m m mppppaaaar rr reee 186

Page 178 186

Clkdiv 187

Clkdivfix 187

Iiiivvv 187

Iiiivvvv 187

Iiiixxxx 187

Llllk kk 187

Nord modular v3 7 module reference logic group 187

Page 179 187

Eeeeq q q qu u u ueeeen n n nc cc ceeeer rr r g g g gr rr ro o o ou u u upppp 188

Eventseq 188

Module reference sequencer group nord modular v3 188

Page 180 188

Sequencer group 188

Click on the buttons to make the sequencer send a pulse each time it passes the step note that the two trigger button rows work parallel on the two different outputs 189

Ctrlseq 189

Eeeeq q q q 189

G g g g 189

If the loop mode is on the control sequencer will automatically restart from step 1 after the last step if the loop mode is off the sequencer will stop at the last step 189

Nord modular v3 7 module reference sequencer group 189

Page 181 189

Pressing this button will reset all control values to 0 189

Signal logic 189

This is a control sequencer which sends one control signal value for each step 189

This is a yellow input where a high logic signal will reset the sequencer force it to step 1 again the restart isn t performed until the next the clock pulse is received at the clk input this guarantees perfect timing 189

This is the yellow input for the clock pulses these pulses will advance the sequencer one step for each pulse 189

This sets the last step in the sequence the sequencer will return to step 1 if loop mode is on or stop if loop mode is off set the last step with the buttons range 1 to 128 steps 189

This yellow output transmits a high logic signal whenever a sequence starts from step 1 signal logic 189

Toggle between the trigger and the gate mode with these buttons in the trigger mode every step trans mits its own logic signal at a 50 duration cycle in the gate mode two or more adjacent activated steps will mix into a longer logic signal 189

Ttttr rr rlll 189

Eeeeq q q 190

Module reference sequencer group nord modular v3 190

Noteseqa 190

O o o otttteee 190

Page 182 190

Nord modular v3 7 module reference sequencer group 191

Page 183 191

Activating the record function enables you to use the keyboard or incoming midi messages to program the steps in the sequence pressing a key will advance the edit point to the next step the control signal from the keyboard will be present at the sequencer output when the sequencer reaches step 16 the 192

B bb b 192

Eeeeq q q 192

If the loop mode is on the note sequencer will automatically restart from step 1 after the last step if the loop mode is off the sequencer will stop at the last step 192

Module reference sequencer group nord modular v3 192

Noteseqb 192

O o o otttteee 192

Page 184 192

Pressing this button will reset all the note values to 0 192

This is a note sequencer with one bipolar control value for each step and a grid pattern for easy note editing it also sends a logic gate signal for each step on a separate output if you move the cursor over the grid it becomes a magnifying glass with a sign next to it clicking in the grid will zoom in and ctrlpc altmac clicking will zoom out choose an overview from 1 to 6 octaves 192

This is a yellow input where a high logic signal will reset the sequencer to step 1 the restart isn t per formed until the next the clock pulse is received at the clk input this guarantees perfect timing 192

This is the yellow input for the clock pulses these pulses will advance the sequencer one step for each pulse 192

This output transmits a high logic signal whenever a sequence starts from step 1 signal logic 192

This sets the last step in the sequence the sequencer will return to step 1 if loop mode is on or stop if loop mode is off set the last step with the buttons range 1 to 128 steps 192

This will produce a random set of control signal values for each of the 16 steps the values generated will be inside the boundaries of the visible grid 192

Activating stop stops the sequencer module even if it is receiving a clock pulse at the clk input if you activate the record function when the sequencer is stopped it may be programmed in a step mode fash ion activating go will put the sequencer back under the influence of a clock connected to the clk input 193

Nord modular v3 7 module reference sequencer group 193

Page 185 193

Record function will be deactivated and the sequencer will return to step 1 the sequencer may be se quencing while you program the steps if the stop selector is in the go position 193

Signal bipolar 193

This output transmits a high logic signal when the sequencer moves from one step to another if the se quencer is stopped and you scroll manually through the steps the gclk will transmit one logic signal for each step even if you scroll backwards it will also transmit a logic signal when you are recording with the keyboard if the stop selector is in the stop position signal logic 193

This yellow output transmits a high logic signal whenever the note sequencer goes beyond step number 16 this is used for linking several note sequencers in series see more about linking at the end of this chapter signal logic 193

Use these buttons to scroll through the steps 193

With the scroll bar to the right you move the grid up or down in the window you can also use the up and down arrow buttons to move the grid the guide lines in the grid indicates the e notes of a six octave range if you move the cursor over the grid it becomes a magnifying glass clicking in the grid will zoom in and ctrlpc altmac clicking will zoom out choose an overview from 1 to 6 octaves 193

You can move the edit point back and forth by using the arrow keys beneath the stop button the edit point can also be selected by clicking on a step led 193

You set the control signal value for each step in the sequence with the arrow buttons below each step if you move the cursor over the grid it becomes a magnifying glass clicking in the grid will zoom in and ctrlpc altmac clicking will zoom out choose an overview from 1 to 6 octaves 193

Eeeeq q q qu u u ueeeen n n nc cc ciiiin n n ng g g g eeeexxxxaaaam m m mpppplllleeees ss s 194

Module reference sequencer group nord modular v3 194

Page 186 194

Sequencing examples 194

Connect the sequencer modules to the same clock source if you want to make sure that the sequencers are aligned to each other connect the global sync signal to the rst inputs this signal will reset the sequencers to the first step the snc output will transmit a logic signal when a sequencer module starts the 1 step 195

In this example the rst signal to the sequencers is taken from the midi global module to the note se quencer then transmitted from the snc output to the event sequencer the event sequencer in this ex ample has the loop mode turned on this doesn t matter in this setup since the rst signal received from the note sequencer snc output will reset it to step 1 after each loop of the note sequencer 195

Nord modular v3 7 module reference sequencer group 195

Note that in this example you must make sure the global sync parameter is set to 8 beats if set to the default 4 beats the first sequencer will automatically restart after 16 steps even though you set it to 32 steps see page 53 and midi clock on page 70 for info about global sync setting 195

Page 187 195

The last step setting of the first sequencer must be set to the total number of steps that you want in a serial connection if the loop mode is on the link output from the first sequencer will send a high logic signal when it has completed step 16 this output should be connected to the next sequencers rst input 195

The loop mode of the second sequencer in this example is off when the signal from the first sequencer s link output resets the second sequencer the second sequencer will start sequencing its 16 steps the first sequencer which was set to 32 steps will be inactive during these 16 steps when the second sequencer has performed its 16 steps the first sequencer restarts again 195

By combining the settings of the loop mode the last step and the signals at the rst inputs and the snc and link outputs on various sequencer modules you may assemble quite advanced sequencer perform ances 196

In this example the clock is taken from the midi global module at 24 pulses for each quarter note it is divided with the fixed divider module with two different division ratios 16 and t8 the divider mod ule is reset by the logic signal from the sync output on the midi global module this reset signal is also used on the two sequencer modules the global sync function which is found in the synth setting menu determines the rate of the pulse at the sync output 196

Module reference sequencer group nord modular v3 196

Page 188 196

The loop mode in both of the modules could be on or off they will reset to step 1 when they receive the rst signal from the sync output in any case 196

The upper module is set to a 16th note performance with 16 as the last step it receives the clock pulse from the 16 output of the clock divider module which in this example divides the system clock to 4 pulses for every quarter note the lower module is set to a 8 note triplet performance the last step is set to 12 and it receives its clock from the t8 output 3 pulses for each quarter note the lower module will sequence 12 steps during the same time as the upper module sequences 16 196

You may mix different divisions of the clock pulses the beauty of having 24 pulses for each quarter note is that 24 is divisible with 3 and 4 196

In this example slot a is loaded with a patch performing triplets and the patch in slot b is playing quarter notes please observe the connections of the clock sources and the rst signals 197

It is absolutely necessary that the sequencers in a patch use the system clock as the clock source if the patch is to be synchronized to another patch in another slot they should also use the sync output from the midi global module as the rst source to ensure proper alignment to the first beat in the bar 197

Nord modular v3 7 module reference sequencer group 197

Page 189 197

Modules the building blocks 198

S 8 s 8 s 8 198

Subtractive synthesis 198

Synthesis basics 198

U u u ub bb bttttr rr raaaac cc cttttiiiivvvveeee s ss syyyyn n n ntttth h h heeees ss siiiis ss s 198

Yyyyn n n ntttth h h heeees ss siiiis ss s b bb baaaas ss siiiic cc cs ss s 198

Connecting modules 199

Nord modular v3 8 synthesis basics subtractive synthesis 199

Page 191 199

The oscillators and waveforms 199

Page 192 200

Synthesis basics subtractive synthesis nord modular v3 200

Amplitude 201

Nord modular v3 8 synthesis basics subtractive synthesis 201

Page 193 201

Pulse wave the pulse wave is slightly more complicated because it is not one waveform it is many different ones a pulse wave is a waveform that during one period jumps once between full positive amplitude and full neg ative and then back the thing that can be varied is where within the period you jump from maximum to minimum amplitude let s look at three examples 201

Sawtooth the sawtooth wave has a simple spectrum all harmonics are present in the wave in proportional values as you can see the high harmonics have a fairly high amplitude which makes this waveform sound bright 201

Triangle the triangle wave does not have very strong harmonics furthermore they only appear at odd harmonic numbers the first fact makes the tone pure a bit like a flute and the second fact gives the sound a slightly hollow character 201

Above we have only discussed spectra where the overtones appear at perfect harmonics while this is true for the basic waveforms discussed above it is definitely not true for all sounds if you for example use the various frequency modulation fm or ring modulation capabilities in the nord modular with two os cillators set to an unusual interval not octaves or fifths for example you will get a spectrum where 202

In the first example the jump happens 5 in from the beginning of the period this is referred to as a pulse wave with a 5 pulse width sometimes called duty cycle the second wave has a pulse width of 10 the third wave has a pulse width of 50 the third wave is a special case of the pulse wave called a square wave and this has one peculiarity it only contains odd number harmonics which gives it a hol low quality 202

On many synthesizers including the nord modular the pulse width can be adjusted to set the timbre of the pulse wave the more narrow the pulse width the thinner the sound will be 202

Page 194 202

Synthesis basics subtractive synthesis nord modular v3 202

You can also have the pulse width vary continuously for example from an lfo or envelope this is re ferred to as pulse width modulation pwm modulating pulse widths from an lfo creates a rich chorus like effect often used in string sounds 202

Nord modular v3 8 synthesis basics subtractive synthesis 203

Page 195 203

H h h heee 204

Iiiilllltttteeeer rr r 204

Page 196 204

Synthesis basics subtractive synthesis nord modular v3 204

The filter 204

Nord modular v3 8 synthesis basics subtractive synthesis 205

Page 197 205

Page 198 206

Synthesis basics subtractive synthesis nord modular v3 206

Changing the cutoff frequency is often referred to as sweeping the filter this is probably one of the most important ways of shaping the timbre of a synthesizer sound by using an envelope you can for ex ample have a high cutoff at the beginning of a sound which is then gradually lowered the filter closes as the sound decays this would emulate the way most plucked string sound piano guitar etc behave the amplitude of the harmonics decreases as the sound decays 207

In nord modular some of the filter modules can be switched between 12db and 24db modes for sounds with high resonance see below similar to those in the roland tb 303 the 12db setting of the lowpass filter is useful 207

Kbt kbt kbt kbt when you play different pitches the oscillators produce different frequencies this means that the over tones in the waveform appear at different frequencies the cutoff frequency of the filter however is fixed this means that different overtones will be cut off at different pitches to be more precise the further up the keyboard you play the muddier the sound will be 207

Nord modular v3 8 synthesis basics subtractive synthesis 207

Page 199 207

The most important parameter for a filter is its cutoff frequency which is the setting that determines where in the frequency material it should start cutting if the cutoff frequency in a low pass filter is set to a very low value only the lowest harmonics the bass will pass through if you raise the cutoff all the way up all frequencies will be let through as the figure below illustrates 207

Page 200 208

Synthesis basics subtractive synthesis nord modular v3 208

Envelopes 209

H h h heee 209

M m m mpppplllliiiiffffiiiieeeer rr r 209

N n n nvvvveeeellllo o o oppppeeees ss s 209

Nord modular v3 8 synthesis basics subtractive synthesis 209

Page 201 209

The amplifier 209

Page 202 210

Synthesis basics subtractive synthesis nord modular v3 210

As described above the envelope stays at the sustain level until the key is released it then falls back to zero level the time it should take for this to happen is set with the release parameter which works just as the decay only it is not applied until you lift your finger off the key s 211

If you set sustain to full level the decay setting is of no importance since the volume of the sound is never lowered 211

Nord modular v3 8 synthesis basics subtractive synthesis 211

On the other hand for a piano sound you would want a sustain level of 0 since a piano sound decays to silence if you hold the key long enough 211

Page 203 211

Please note that the sustain parameter represents a level but all other envelope parameters represent times 211

Lfo lfo lfo lfo 212

Page 204 212

Synthesis basics subtractive synthesis nord modular v3 212

Nord modular v3 8 synthesis basics subtractive synthesis 213

Page 205 213

Additive synthesis 214

Creating a waveform 214

D d d dd d d diiiittttiiiivvvveeee s ss syyyyn n n ntttth h h heeees ss siiiis ss s 214

Page 206 214

Synthesis basics additive synthesis nord modular v3 214

Am synthesis 215

Fm synthesis 215

Other synthesis and modulation methods 215

Fig 1 rm carrier wave 216

Fig 2 rm modulator wave 216

Fig 3 amplitude modulation 216

Page 208 216

Ring modulation 216

Synthesis basics other synthesis and modulation methods nord modular v3 216

As you can see in the figures above the main practical difference between amplitude and ring modula tion is the sideband amplitudes and the appearance of the carrier wave another difference is that the re sulting ring modulation wave phase shifts 180 degrees every half modulator period 217

Fig 3 ring modulation 217

If more complex waveforms are used for amplitude or ring modulation sidebands will be generated for each partial of the signal 217

Nord modular v3 8 synthesis basics other synthesis and modulation methods 217

Page 209 217

A 9 a 9 a 9 218

Appendix 218

O o o oiiiic cc ceeee d d d deeeeffffiiiin n n niiiittttiiiio o o on n n n 218

Ppppppppeeeen n n nd d d diiiixxxx 218

Voice definition 218

Nord modular v3 9 appendix sound engine 219

O o o ou u u un n n nd d d d eeeen n n ng g g giiiin n n neeee 219

Page 211 219

Patch and voice allocation 219

Sound engine 219

Appendix sound engine nord modular v3 220

Page 212 220

Nord modular v3 9 appendix sound engine 221

Page 213 221

Appendix sound engine nord modular v3 222

Page 214 222

Headroom 223

Appendix troubleshooting nord modular v3 224

Editor and synthesizer communication problems 224

Midi midi midi midi 224

Page 216 224

R rr ro o o ou u u ub bb blllleeees ss sh h h ho o o oo o o ottttiiiin n n ng g g g 224

Running the editor and other midi applications 224

Troubleshooting 224

If you want to run one or several midi applications at the same time with the editor make sure you have selected midi in background in the oms setup 225

Nord modular v3 9 appendix troubleshooting 225

Page 217 225

Appendix midi implementation chart nord modular v3 226

Iiiim m m mpppplllleeeem m m meeeen n n nttttaaaattttiiiio o o on n n n c cc ch h h haaaar rr rtttt 226

Midi implementation chart 226

Midi midi midi midi 226

Mode 1 omni on poly mode 2 omni on mono o yes mode 3 omni off poly mode 4 omni off mono x no 226

Page 218 226

Index index index index 227

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