Steinberg Cubase Studio 4 Plug In Reference Studio Manual

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The included VST Instruments 
						

							42
The included VST Instruments
Introduction
This chapter contains descriptions of the included VST in-
struments and their parameters.
ÖMost of the included instruments are compatible with 
VST3, this is indicated by an icon in front of the name (for 
further information, see the section “About VST 3” in the 
chapter “Audio Effects” in the Operation Manual).
Prologue
Prologue is modelled on subtractive synthesis, the method 
used in classic analog synthesizers. It has the following ba-
sic features:
Multimode filter
Variable slope lowpass and hipass, plus bandpass and notch filter 
modes – see “About the filter types” on page 46.
Three oscillators, each with 4 standard waveforms plus 
an assortment of specialized waveforms. 
See “Selecting Waveforms” on page 42.
Frequency modulation.
See “About frequency modulation” on page 45.
Ring Modulation.
See “Ring modulation” on page 45.
Built-in effects.
See “Effects (EFX) page” on page 51.
Prologue receives MIDI in Omni mode (on all MIDI 
channels).
You don’t need to select a MIDI channel to direct MIDI to the Prologue.
ÖThe signal flow of the Prologue synth is illustrated in 
the section “Diagrams” on page 73.
Sound parameters
Oscillator section
This section contains parameters affecting the 3 oscillators. 
These are located in upper half of the instrument panel. 
Selecting Waveforms
Each oscillator has a number of waveforms which are se-
lectable by clicking on the waveform name in the box lo-
cated in each oscillator section.
Selecting waveforms.
The following waveforms are available:
Waveform Description
Sawtooth This waveform contains all harmonics and produces a 
bright and rich sound.
Parabolic This could be described as a “rounded” sawtooth wave-
form, producing a softer timbre.
Square Square waveforms only contain odd number harmonics, 
which produces a distinct, hollow sound. 
						

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The included VST Instruments
To hear the signal generated by the oscillator(s), the 
corresponding Osc dial in the oscillator sections must be 
turned clockwise to a suitable value.
OSC 1 parameters
Oscillator 1 acts as a master oscillator. It determines the 
base pitch for all three oscillators. Oscillator 1 features the 
following parameters:Triangle The Triangle waveform generates only a few harmonics, 
spaced at odd harmonic numbers, which produces a 
slightly hollow sound.
Sine The sine wave is the simplest possible waveform, with no 
harmonics (overtones). The sine wave produces a neu-
tral, soft timbre.
Formant 1–12 Formant waveforms emphasizes certain frequency 
bands. Like the human voice, musical instruments have a 
fixed set of formants, which give it a unique, recognizable 
tonal color or timbre, regardless of pitch.
Vocal 1–7 These are also formant waveforms, but specifically vocal-
oriented. Vowel sounds (A/E/I/O/U) are among the 
waveforms found in this category.
Partial 1–7 Partials, also called harmonics or overtones, are a series 
of tones which accompany the prime tone (fundamental). 
These waveforms could be described as producing inter-
vals with two or more frequencies heard simultaneously 
with equal strength.
Reso Pulse 
1–12This waveform category begins with a complex waveform 
(Reso Pulse 1), that emphasizes the fundamental fre-
quency (prime). For each consecutive waveform in this 
category, the next harmonic in the harmonic series is em-
phasized.
Slope 1–12 This waveform category begins with a complex waveform 
(Slope 1), with gradually decreasing harmonic complexity 
the higher the number selected. Slope 12 produces a 
sine wave (no harmonics).
Neg Slope 1–9 This category also begins with a complex waveform 
(NegSlope 1), but with gradually decreasing low fre-
quency content the higher the number selected. Waveform Description
Parameter Value Description
Osc 1 0–100 This controls the output level of the oscil-
lator. 
Coarse +/- 48 
semitonesThis determines the base pitch used by 
all oscillators.
Fine +/- 50 cent Fine tunes the oscillator pitch in cent in-
crements (100th of a semitone). This also 
affects all oscillators.
Wave Mod +/- 50 This parameter dial is only active if the 
Wave Mod button is activated beside the 
waveform selection box. Wave modula-
tion works by adding a phase-shifted 
copy of the oscillator output to itself, 
which produces waveform variations. For 
example if a sawtooth waveform is used, 
activating WM will produce a pulse wave-
form. By modulating the WM parameter 
with for example a LFO, classic PWM 
(pulse width modulation) is produced. 
Wave modulation can, however, be ap-
plied to any waveform.
Phase  button On/Off When Phase synchronization is activated, 
all oscillators will restart their waveform 
cycles with every note played. With 
Phase deactivated, the oscillators gener-
ate a waveform cycle continuously, which 
produces slight variations when playing 
as each note will start from a random 
phase in the cycle, adding warmth to the 
sound. But when synthesizing bass 
sounds or drum sounds, it is usually de-
sired that the attack of every note played 
sounds the same, so for these purposes 
you should activate Phase sync. Phase 
sync also affects the noise generator.
Tracking 
buttonOn/Off When Tracking is activated, the oscillator 
pitch will track the notes played on the 
keyboard. If Tracking is deactivated the 
oscillator pitch remains constant, regard-
less of what note is played.
Wave Mod 
buttonOn/Off This switches wave modulation on or off.
Waveform 
pop-upSee “Selecting 
Waveforms” on 
page 42.Sets the basic waveform for the oscillator. 
						

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The included VST Instruments
OSC 2 parameters
Oscillator 2 has the following parameters:
OSC 3 parameters
Oscillator 3 has the following parameters:
Parameter Value Description
Osc 2 0–100 This controls the output level of the oscil-
lator. 
Coarse +/- 48 
semitonesThis determines the coarse pitch for Osc 
2. If FM is enabled, this determines fre-
quency ratio of the oscillator regarding 
Osc 1.
Fine +/- 50 cent Fine tunes the oscillator pitch in cent in-
crements (100th of a semitone). If FM is 
enabled, this determines the frequency 
ratio of the oscillator regarding Osc 1.
Wave Mod +/- 50 This parameter dial is only active if the 
Wave Mod button is activated beside the 
waveform selection box. Wave modula-
tion works by adding a phase-shifted 
copy of the oscillator output to itself, 
which produces waveform variations. For 
example if a sawtooth waveform is used, 
activating WM will produce a pulse wave-
form. By modulating the WM parameter 
with for example a LFO, classic PWM 
(pulse width modulation) is produced. 
Wave modulation can, however, be ap-
plied to any waveform.
Ratio 1–16 This parameter dial (which is only active if 
the Freq Mod button is activated) adjusts 
the amount of frequency modulation ap-
plied to oscillator 2. See “About fre-
quency modulation” on page 45. Is 
normally referred to as FM index.
Sync button On/Off When Sync is activated, Osc 2 is slaved 
to Osc 1. This means that every time Osc 
1 completes its cycle Osc 2 is forced to 
reset (start its cycle from the beginning). 
This produces a characteristic sound, 
suitable for lead playing. Osc 1 deter-
mines the pitch, and varying the pitch of 
Osc 2 produces changes in timbre. For 
classic sync sounds, try modulating the 
pitch of Osc 2 with an envelope or a LFO. 
The Osc 2 pitch should also be set higher 
than the pitch of Osc 1.
Tracking 
buttonOn/Off When Tracking is activated, the oscillator 
pitch will track the notes played on the 
keyboard. If Tracking is deactivated the 
oscillator pitch remains constant, regard-
less of what note is played.
Freq Mod 
buttonOn/Off This switches frequency modulation on or 
off.
Wave Mod 
buttonOn/Off This switches wave modulation on or off.
Waveform 
selector pop-upSee “Selecting 
Waveforms” on 
page 42.Sets the basic waveform for the oscillator.Parameter Value Description
Osc 3 0–100 This controls the output level of the oscil-
lator. 
Coarse +/- 48 
semitonesThis determines the coarse pitch for Osc 
3. If FM is enabled, this determines the 
frequency ratio of the oscillator regarding 
Osc 1/2.
Fine +/- 50 cent Fine tunes the oscillator pitch in cent in-
crements (100th of a semitone). If FM is 
enabled, this determines the frequency 
ratio of the oscillator regarding Osc 1/2.
Ratio 1–16 This parameter dial (which is only active if 
the Freq Mod button is activated) adjusts 
the amount of frequency modulation ap-
plied to oscillator 3. See “About fre-
quency modulation” on page 45. Is 
normally referred to as FM index.
Sync button On/Off When Sync is activated, Osc 3 is slaved 
to Osc 1. This means that every time Osc 
1 completes its cycle, Osc 3 is forced to 
reset (start its cycle from the beginning). 
This produces a characteristic sound, 
suitable for lead playing. Osc 1 deter-
mines the pitch, and varying the pitch of 
Osc 3 produces changes in timbre. For 
classic sync sounds, try modulating the 
pitch of Osc 3 with an envelope or a LFO. 
The Osc 3 pitch should also be set higher 
than the pitch of Osc 1.
Tracking 
buttonOn/Off When Tracking is activated, the oscillator 
pitch will track the notes played on the 
keyboard. If Tracking is deactivated the 
oscillator pitch remains constant, regard-
less of what note is played.
Freq Mod 
buttonOn/Off This switches frequency modulation on or 
off.
Wave Mod 
buttonOn/Off This switches wave modulation on or off.
Waveform 
selector pop-upSee “Selecting 
Waveforms” on 
page 42.Sets the basic waveform for the oscillator. 
						

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The included VST Instruments
About frequency modulation
Frequency modulation or FM means that the frequency of 
one oscillator (called the carrier) is modulated by the fre-
quency of another oscillator (called the modulator).
In Prologue, Osc 1 is the modulator, and Osc 2 and 3 
are carriers.
Osc 2 could be said to be both carrier and modulator as if Freq Mod is 
applied to Osc 2 it is modulated by Osc 3. If Osc 2 also uses frequency 
modulation, Osc 3 will be modulated by both Osc 1 and Osc 2.
The “pure” sound of frequency modulation is output 
through the modulator oscillator(s).
This means that you should turn off the Osc 1 output when using fre-
quency modulation.
The Freq Mod button switches frequency modulation on 
or off.
The Ratio parameter determines the amount of frequency 
modulation.
Portamento
This parameter makes the pitch glide between the notes 
you play. The parameter setting determines the time it 
takes for the pitch to glide from one note to the next. Turn 
the knob clockwise for longer glide time.
The “Mode” switch allows you to apply glide only when 
you play a legato note (when switch is set to Legato). Le-
gato is when you play a note without releasing the previ-
ously played note. Note that Legato mode only works with 
monophonic Parts.
Ring modulation
Ring modulators multiply two audio signals. The ring-mod-
ulated output contains added frequencies generated by 
the sum of, and the difference between, the frequencies of 
the two signals. In Prologue, Osc 1 is multiplied with Osc 
2 to produce sum and difference frequencies. Ring modu-
lation is often used to create bell-like sounds.
To hear the ring modulation, you should turn down the 
output level for Osc 1 and 2, and turn up the “R.Mod” level 
all the way.
If Osc 1 and 2 are tuned to the same frequency, and no 
modulation is applied to the Osc 2 pitch, nothing much 
will happen.
If you change the pitch of Osc 2, however, drastic changes in timbre can 
be heard. If the oscillators are tuned to a harmonic interval such as a fifth 
or octave, the ring modulated output will sound harmonic, other intervals 
will produce inharmonious, complex timbres.
Oscillator Sync should be deactivated when using ring 
modulation.
Noise Generator
A noise generator generates noise (all frequencies at 
equal levels). Applications include simulating drum 
sounds and breath sounds for wind instruments.
To hear only the sound of the noise generator, you 
should turn down the output level for the oscillators, and 
turn up the Noise parameter.
The Noise generator level is routed to Envelope 1 by 
default. 
See “Envelope page” on page 48 for a description of the Envelope 
generators. 
						

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The included VST Instruments
Filter section
The circle in the middle contains the filter parameters. The 
central dial sets the filter cut off parameter and the outer 
ring the filter type:
About the filter types
You select which filter type to use using the buttons 
around the filter cut off knob. The following filter types are 
available (listed clockwise from 9 o’clock):
Master Volume and Pan
The master Volume controls the master volume (ampli-
tude) of the instrument. By default this parameter is con-
trolled by Envelope 1, to generate an amplitude envelope 
for the oscillators.
The Pan dial controls the position in the stereo spectrum 
for the instrument. You can use Pan as a modulation 
destination.
Parameter Description
Filter  type Sets the filter type to either lowpass, highpass, bandpass 
or notch. The filter types are described on “About the fil-
ter types” on page 46.
Cut off This dial controls the filter frequency or “cut off”. If a low-
pass filter is used, it could be said to control the opening 
and closing of the filter, producing the classic “sweep-
ing” synthesizer sound. How this parameter operates is 
governed by the filter type mode (see “About the filter 
types” on page 46).
Emphasis This is the resonance control for the filter. For lowpass 
and highpass filters, raising the Emphasis value will em-
phasize the frequencies around the set cutoff frequency. 
This produces a generally thinner sound, but with a 
sharper, more pronounced cutoff sweep. The higher the 
filter Emphasis value, the more resonant the sound be-
comes until it starts to ring (self-oscillate), generating a 
distinct pitch. For Bandpass or Notch filters, the Empha-
sis setting adjusts the width of the band. When you raise 
the value, the band where frequencies are let through 
(Bandpass), or cut (Notch) will become narrower.
Drive This can be used to adjust the filter input level. Levels 
above 0 dB will gradually introduce a soft distortion of the 
input signal, and a decrease of the filter resonance.
Shift Internally, each filter consists of two or more “subfilters” 
connected in series. This parameter shifts the cutoff fre-
quency of the subfilters. The result depends on the se-
lected filter type: For Lowpass and Highpass filter types it 
changes the filter slope. For Bandpass and Notch filter 
types it changes the bandwidth. The Shift parameter has 
no effect if either the 12 dB LP or 12 dB HP filter type is 
selected.
Tracking If this parameter is set to values over the 12 o’clock posi-
tion, the filter cutoff frequency will increase the further up 
on the keyboard you play. Negative values invert this rela-
tionship. 
If the Track parameter is set fully clockwise, the cutoff fre-
quency will track the keyboard by a semitone per key.
Type Description
12 db LP This lowpass filter has a gentler slope (12 dB/Octave 
above the cutoff frequency), leaving more of the harmon-
ics in the filtered sound.
18 dB  LP This lowpass filter also has a cascade design, attenuating 
frequencies below the cutoff frequency with a 18 dB/Oc-
tave slope, as used in the classic TB 303 synth.
24 dB LP Lowpass filters lets low frequencies pass and cuts out 
the high frequencies. This filter type attenuates frequen-
cies above the cutoff frequency with a 24 dB/Octave 
slope, which produces a warm and fat sound.
24 dB LP II This lowpass filter has a cascade design which attenu-
ates frequencies below the cutoff frequency with a 
24 dB/Octave slope, which produces a warm and dark 
sound.
12 dB Band A bandpass filter cuts both high and low frequencies 
above and below the cutoff frequency with a 12 dB/Oc-
tave slope, producing a nasal and thin sound.
12 dB Notch A notch filter cuts off frequencies near the cutoff fre-
quency by 12 dB/Octave, letting the frequencies below 
and above through. This produces a phaser-like sound.
12 dB HP This highpass filter has a 12 dB/Octave slope, giving a 
bright and thin sound.
24 dB HP A highpass filter is the opposite of a lowpass filter, cut-
ting out the lower frequencies and letting the high fre-
quencies pass. This filter has a 24 dB/Octave slope, 
giving a bright and sharp sound. 
						

							47
The included VST Instruments
Modulation and controllers
The lower half of the control panel displays the various 
modulation and controller assignment pages available as 
well as the effect page. You switch between these pages 
using the buttons below the Filter section.
The following pages are available:
The LFO page has two low frequency oscillators (LFOs) 
for modulating parameters – see below.
The Envelope page contains the four Envelope genera-
tors which can be assigned to control parameters – see 
“The Envelope page.” on page 48.
The Event page contains the common MIDI controllers 
(Mod wheel, Aftertouch etc. and their assignments – see 
“Event page” on page 50.
The Effect page has three separate effect types avail-
able; Distortion, Delay and Modulation – see “Effects 
(EFX) page” on page 51.
LFO page
This is opened by clicking the LFO button at the top of the 
lower half of the control panel. The page contains all pa-
rameters and the modulation and velocity destinations for 
two independent LFOs. Depending on the currently se-
lected Preset, there may already be modulation destina-
tions assigned, in which case these are listed in the “Mod 
Dest” box for each LFO – see “Assigning LFO modulation 
destinations” on page 48. A low frequency oscillator 
(LFO) is used for modulating parameters, for example the 
pitch of an oscillator (to produce vibrato), or for any pa-
rameter where cyclic modulation is desired.The two LFOs have identical parameters:
About the sync modes
The Sync modes determine how the LFO cycle affects the 
notes you play:
About the waveforms
Most standard LFO waveforms are available for LFO modu-
lation. You use Sine and Triangle waveforms for smooth 
modulation cycles, Square and Ramp up/down for different 
types of stepped modulation cycles and Random or Sam-
ple for random modulation. The Sample waveform is differ-
ent. In this mode, one LFO actually samples and holds the 
values of the other LFO at the chosen frequency.
Parameter Description
Speed This governs the rate of the LFO. If MIDI Sync is activated 
(see below), the available rate values are selectable as 
note values, e.g. beat increments of the sequencer tempo 
in Cubase.
Depth This controls the amount of modulation applied by the 
LFO. If set to zero, no modulation is applied.
Waveform This sets the LFO waveform. 
Sync mode 
(Part/MIDI/
Voice/Key)This sets the sync mode for the LFO. See below for a de-
scription.
Parameter Description
Part In this mode, the LFO cycle is free running and will affect 
all the voices in sync. “Free running” means that the LFO 
cycles continuously, and doesn’t reset when a note is 
played.
MIDI In this mode the LFO rate is synced in various beat incre-
ments to MIDI clock.
Voice In this mode each voice in the Part has its own indepen-
dent LFO cycle (the LFO is polyphonic). These cycles are 
also free running – each key down starts anywhere in the 
LFO cycle phase.
Key Same as Voice except that it is not free running – for 
each key down the LFO cycle starts over. 
						

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The included VST Instruments
Assigning LFO modulation destinations
To assign a modulation destination for a LFO, proceed as 
follows:
1.Click in the “Mod Dest” box for one of the LFOs.
A pop-up appears with all possible modulation destinations are shown. 
All Sound parameters as well as most LFO and Envelope parameters are 
available as destinations.
The modulation destination pop-up.
2.Select a destination, e.g. Filter Cut Off.
The selected modulation destination is now shown in the list. Beside the 
destination, a default value (50) has been set. The value represents the 
modulation amount. 
You can set positive and negative modulation values by 
clicking on the value in the list, typing in a new value and 
pressing the Enter key.
To enter negative values type a minus sign followed by the value.
3.Select a suitable LFO Waveform, Speed, Depth and 
Sync mode.
You should now hear the filter cut off being modulated by the LFO. 
4.Using the same basic method, you can add any num-
ber of modulation destinations for the LFO.
They will all be listed in the “Mod Dest” box.
To remove a modulation destination click on its name in 
the list and select “Off” from the pop-up.
Assigning LFO velocity destinations
You can also assign LFO modulation that is velocity con-
trolled (i.e. governed by how hard or soft you strike a key). 
This is done as follows:
1.Click in the “Vel Dest” box for one of the LFOs.
A pop-up appears with all possible velocity destinations are shown. 
2.Select a destination. 
The selected velocity destination is now shown in the list. Beside the 
destination, a default value (50) has been set. The value represents the 
modulation amount. See below for an example of how velocity modula-
tion works.
You can set positive and negative values by clicking on 
the value in the list, typing in a new value and pressing the 
Enter key.
To enter negative values type a minus sign followed by the value.
3.Using the same basic method, you can add any num-
ber of velocity destinations for the LFO.
They will all be listed in the “Vel Dest” box.
To remove a modulation destination click on its name in 
the list and select “Off” from the pop-up.
LFO modulation velocity control – an example:
If you follow the steps above and select the filter cut off 
parameter as a Velocity destination, the following hap-
pens:
The harder you strike the key, the more the filter cut off 
parameter will be modulated by the LFO.
If you should enter a negative value for the velocity mod-
ulation amount, the opposite happens; the harder you 
play, the less the filter cut off is modulated by the LFO.
Envelope page
The Envelope page is opened by clicking the ENV button at 
the top of the lower half of the control panel. The page con-
tains all parameters and the modulation and velocity desti-
nations for the four independent envelope generators. 
Envelope generators govern how a parameter value will 
change when a key is pressed, when a key is held and fi-
nally when a key is released.
The Envelope page.
On the Envelope page, the parameters for one of the four 
envelope generators is shown at a time.
Click here…
…to open the modulation 
destination pop-up. 
						

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The included VST Instruments
You switch between the four envelopes in the section to 
the left.
Clicking on either of the four mini curve displays 1 to 4 will select it and 
display the corresponding envelope parameters to the right. The mini 
curve displays also reflect the envelope settings for each corresponding 
envelope.
Envelope generators have four parameters; Attack, 
Decay, Sustain and Release (ADSR).
See below for a description of these.
You can set envelope parameters in two ways; either by 
using the sliders or by click-dragging the curve in the En-
velope curve display.
You can also do this in the mini curve displays.
By default Envelope 1 is assigned to the master volume, 
and therefore acts as an amplitude envelope. The ampli-
tude envelope is used to adjust how the volume of the 
sound should change from the time you press a key until 
the key is released.
If no amplitude envelope were assigned, there would be no output.
The Envelope parameters are as follows:
Attack
The attack phase is the time it takes from zero to the max-
imum value. How long this should take, depends on the 
Attack setting. If the Attack is set to “0”, the maximum 
value is reached instantly. If this value is raised, it will take 
time before the maximum value is reached. Range is from 
0.0 milliseconds to 91.1 seconds.
Decay
After the maximum value has been reached, the value 
starts to drop. How long this should take is governed by 
the Decay time parameter. The Decay time has no effect if 
the Sustain parameter is set to maximum. Range is from 
0.0 milliseconds to 91.1 seconds.
Sustain
The Sustain parameter determines the level the envelope 
should rest at, after the Decay phase. Note that Sustain 
represents a level, whereas the other envelope parame-
ters represent times. Range is from 0 to 100.
Release
Release determines the time it takes for the value to fall 
back to zero after releasing the key. Range is from 0.0 mil-
liseconds to 91.1 seconds.
Punch
When Punch is activated, the start of the decay phase is 
delayed by a few milliseconds (i.e. the envelope remains at 
the top level for a moment before moving on to the decay 
phase). The result is a punchier attack similar to a com-
pressor effect. This effect is more pronounced with short 
attack and decay times.
Retrigger
When Retrigger is activated, the envelope will re-trigger 
each time you play a new note. However, with certain tex-
tures/pad sounds and a limited number of voices it is rec-
ommended to leave the button deactivated, due to click 
noises that might occur, when the envelope is ended up 
abruptly. This is caused by the incoming re-trigger that 
forces the envelope to start over again.
Assigning Envelope modulation destinations
To assign a modulation destination for an Envelope, pro-
ceed as follows:
1.Click in the “Mod Dest” box for one of the Envelopes.
A pop-up appears with all possible modulation destinations are shown. 
All Sound parameters as well as most LFO and Envelope parameters are 
available as destinations.
2.Select a destination, e.g. Filter Cut Off.
The selected modulation destination is now shown in the list. Beside the 
destination, a default value (50) has been set. The value represents the 
modulation amount. 
You can set positive and negative modulation values by 
clicking on the value in the list, typing in a new value and 
pressing the Enter key.
To enter negative values type a minus sign followed by the value.
3.Select a suitable envelope curve for the modulation.
You should now hear the filter cut off being modulated by the envelope 
as you play. 
4.Using the same basic method, you can add any num-
ber of modulation destinations for the envelope.
They will all be listed in the “Mod Dest” box.
To remove a modulation destination click on its name in 
the list and select “Off” from the pop-up. 
						

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The included VST Instruments
Assigning Envelope velocity destinations
You can also assign Envelope modulation that is velocity 
controlled (i.e. governed by how hard or soft you strike a 
key). This is done as follows:
1.Click in the “Vel Dest” box for one of the envelopes.
A pop-up appears with all possible velocity destinations are shown. 
2.Select a destination. 
The selected velocity destination is now shown in the list. Beside the 
destination, a default value (50) has been set. The value represents the 
modulation amount. See below for an example of how velocity modula-
tion works.
You can set positive and negative values by clicking on 
the value in the list, typing in a new value and pressing the 
Enter key.
To enter negative values type a minus sign followed by the value.
3.Using the same basic method, you can add any num-
ber of velocity destinations for the Envelope.
They will all be listed in the “Vel Dest” box.
To remove a modulation destination click on its name in 
the list and select “Off” from the pop-up.
Envelope modulation velocity control – an example:
If you follow the steps above and select the filter cut off pa-
rameter as a Velocity destination, the following happens:
The harder you strike the key, the more the filter cut-off 
parameter will be modulated by the Envelope.
If you should enter a negative value for the velocity mod-
ulation amount, the opposite happens; the harder you play 
the less the filter cut off is modulated by the Envelope.
Event page
The Event page is opened by clicking the EVENT button 
at the top of the lower half of the control panel. This page 
contains the most common MIDI controllers and their re-
spective assignments.
The Event page.
The following controllers are available:
To assign any of these controllers to one or several pa-
rameters, proceed as follows:
1.Click in the “Mod Dest” box for one of the controllers.
A pop-up appears with all possible modulation destinations are shown. 
All Sound parameters as well as most LFO and Envelope parameters are 
available as destinations.
2.Select a destination.
The selected modulation destination is now shown in the list. Beside the 
destination, a default value (50) has been set. The value represents the 
modulation amount when the controller is at its full range. 
You can set positive and negative modulation values by 
clicking on the value in the list, typing in a new value and 
pressing the Enter key.
To enter negative values type a minus sign followed by the value.
3.Using the same basic method, you can add any num-
ber of modulation destinations for the controllers.
They will all be listed in the “Mod Dest” box for the respective controller.
To remove a modulation destination click on its name in 
the list and select “Off” from the pop-up.
Controller Description
Modulation 
WheelThe modulation wheel on your keyboard can be used to 
modulate parameters.
Velocity Velocity is used to control parameters according to how 
hard or soft you play notes on your keyboard. A common 
application of velocity is to make sounds brighter and 
louder if you strike the key harder.
Aftertouch Aftertouch, or channel pressure, is MIDI data sent when 
pressure is applied to a keyboard after the key has been 
struck, and while it is being held down or sustained. Af-
tertouch is often routed to control filter cutoff, volume, 
and other parameters to add expression. Most (but not 
all) MIDI keyboards send Aftertouch.
Key Pitch 
TrackingThis can change parameter values linearly according to 
where on the keyboard you play.