MIN Owner’s Manual OUTPUT R L/MONO SU
Special Thanks DESIGN & DIRECTION • Glen Darcey PRODUCT MANAGER • Dominic Au ENGINEERING • Chen Jiejun (engine) • Xie Yingchen (software) • Zhang Huaihe (electronic) • Bob Liao (engine) • Banner Xu (software) • Chen Si (electronic) • Luo Liangsheng (electronic) • Li Qiang (VST) INDUSTRIAL DESIGN • Gao Chao • Long Ping TESTING • Zheng Wei Cheng • Boele Gerkes • Randy Lee • Ken “Flux” Pierce • Ed Ten Eyck • Ben Scheffler • Maria Zhang SOUND DESIGN • Drew Anderson • Glen Darcey • Boele Gerkes
Important Safety Instructions Save Your Ears! The product and its software, when used in combination with an amplifier, headphones or speakers, may be able to produce sound levels that could cause permanent hearing loss. DO NOT operate for long periods of time at a high level or at a level that is uncomfortable. If you encounter any hearing loss or ringing in the ears, please consult an audiologist. Precautions Include, but Are Not Limited to, the Following: 2.
Contents Important Safety Instructions . . 3 Welcome to Hydrasynth! . . . . . . . . . . 8 Main Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 User interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Patch features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Sound engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Hardware . . . . . . . . . .
Amp module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 FX group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Other Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Voice module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Ribbon (keyboard only) . . . . . . . . . . . . . . . . . . . 31 Module Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . 31 Create Mod routes . . . . . . . . . . . . . . . . . . . . . . . .
The Voice Module . . . . . . . . . . . . . . . . . . 64 Voice Parameters: page 1 . . . . . . . . . . . . . . . 64 Polyphony settings . . . . . . . . . . . . . . . . . . . . . . . 64 Density & Detune . . . . . . . . . . . . . . . . . . . . . . . . 64 Random Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 How does Analog Feel? . . . . . . . . . . . . . . . . . . . 65 Stereo mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Warm mode . . . . . . . . . . . . . . . . .
Operational Notes . . . . . . . . . . . . . . . . . . . . . . . . 89 Navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Access, Action . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Saving the Settings . . . . . . . . . . . . . . . . . . . . . . . 89 Save System State . . . . . . . . . . . . . . . . . . . . . . . . . 89 Notes About Notes . . . . . . . . . . . . . . . . . . . . . . . . 89 Master: Page 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Welcome to Hydrasynth! Everyone at Ashun Sound Machines would like to thank you for choosing one of our Hydrasynth instruments. We’re very proud of what we have created, and are confident they will take you into musical realms that have never been explored. Every aspect of these ground-breaking devices has been carefully considered, from the way the sounds are generated and processed, to the intuitive layout of the controls and displays.
Effects Hardware • Delay: five types, including Left-RightCenter and reverse • All delays can sync to tempo • Reverb: four types, with pre-delay and damping parameters • Reverb lengths to 90 seconds, plus “Freeze” • Independent Pre/Post FX: Chorus, Flanger, Rotary, Phaser, Lo-Fi, Tremolo, EQ, Compressor, Distortion • MIDI In/Out/Thru • USB type B port, class-compliant • CV/Gate inputs and outputs for integration with modular synthesizers • Headphone output(s) • Stereo 1/4” outputs (balanced) • Sustain pe
Quick Start Guide Inside the Box Your Hydrasynth was carefully packed at the factory with the following items: • The Hydrasynth • The power supply (12VDC / ≥1.5A) • This manual • Rack ears (Hydrasynth desktop only) Save Your Receipt! Ashun Sound Machines designed and constructed your Hydrasynth with extreme attention to detail. Our quality assurance personnel test each unit thoroughly before it goes out.
CV/Gate Your Hydrasynth has a row of connectors that are used to interface with modular synthesizers. Each one can be configured to match the voltages and signal types of the most popular formats. For details, see The CV / Gate Section (p. 82). Make Some Noise! By now you’ve already played the instrument and tweaked the controls. Now let’s take a quick tour of some of the main features. To get started, press the Home button. This will exit any page and take the Hydrasynth to the top level of the patch.
Triplet Subdivides the selected Division setting into triplets. Tap Tempo Tap several times to set the tempo. There are words in orange letters under two of the buttons: EDIT and SUSTAIN. These are used with the [SHIFT] button to access their secondary functions. We’ll describe those and the other arpeggiator features in The Arpeggiator Section (p. 71). Keyboard-specific controls The following controls are present on the top panel of the Hydrasynth keyboard, not the desktop model.
Check for Updates Be sure to visit www.AshunSoundMachines.com soon, and often! It’s your source for important things such as: • Firmware updates for your Hydrasynth • An interactive version of this manual • Banks of new patches from our top-notch sound design team • The original factory banks • Tutorial videos to help you master the intricacies of the Hydrasynth • Our free patch librarian, Hydrasynth Manager • ...and more! That’s Enough Reading for Now. We’ve covered the basics.
Overview The Hydrasynth represents a perfect balance of instant access, intuitive workflow, powerful features, and great sound, all with a single aim: to make the creation and performance of mindblowing music easier and more fun.
General Concepts Access buttons Control buttons The orange-lettered Access buttons are located in several areas of the top panel. All of the buttons in the Module Select section and many of those in the Main Systems and Master Control sections are Access buttons. Their purpose: Each Control knob is paired with a Control button. Their function also depends on the page that has been accessed. • Press an Access button and the main parameter page for that feature appears in the Right display for editing.
Knob types The displays Selection knobs At the center of it all are two high-resolution OLED displays, also known as the Left display and the Right display. They serve different purposes: These are only found in the Arpeggiator section. A “selection knob” clicks between positions to select a value. Of these four, only the Swing parameter can be set to intermediate values (see Swing (p. 71)). Note: The keyboard model also has four variable knobs in its Arpeggiator section.
The HOME button Initialize a Module The Home button is located in the center of the top panel. It provides a quick way to get back to the top level of the Hydrasynth, where the Macro controls are. This is known as the Home page. All Notes Off Sometimes MIDI signals are disrupted and a note becomes stuck. If that happens, hold [SHIFT] and press [HOME] to transmit an “All Notes Off” command. This will silence any stuck notes.
after the second press a random selection of values is generated. • Hold [SHIFT] and press [RANDOM] twice. The Left display shows “PATCHRND” after the first press, and after the second press a random selection of values is pulled from other patches. Sometimes the results can be strange, but that’s okay; just try it again. Once you get something interesting, you can save it like that or tweak it as needed.
VOICE button MACRO ASSIGN button This Access button takes you into a set of patch-level features like Pitch bend range, Vibrato settings, Mono/Poly/Unison voice modes, and the Glide settings. This is also where the Scale is defined for the keyboard and pads. This Access button opens a page that is like a hallway with eight doors, and behind each one is a lab that makes a powerful performance control called a Macro.
Arpeggiator Section 5 The Hydrasynth provides a comprehensive, cutting-edge set of arpeggiator features that you can enjoy immediately. You may have noticed that the Arpeggiator sections are different on the Hydrasynth keyboard and desktop models. But their capabilities are identical; the only difference is the number of controls on the top panel. If you’d like more information, there’s a chapter dedicated to the ins and outs (or “ups and downs”, if you will) of The Arpeggiator Section (p. 71).
If you have the one model and are curious about the differences between them, here are the most obvious: • The Keyboard model has 49 keys, a ribbon controller, pitch/mod wheels, Octave buttons, Chord mode, a Glide button, and front-panel headphone jacks. • The Desktop model has 24 RGB pads, which also offer quick access to secondary functions (Shift + Pad X). It can also be mounted in a rack. Both models have identical voice architecture, OLED displays, parameters, and editing methods.
Rear Panel 18 19 20 21 22 23 24 25 26 27 Rear panel of the Hydrasynth desktop model is pictured Section 18 19 20 21 22 23 24 25 26 27 Name Phones output (desktop only) Outputs Sustain pedal input Expression pedal input MIDI connectors USB connector DC power connector Power cable guard Kensington lock Power switch Description Keyboard: see Front panel description above Left (mono), Right (for stereo) Polarity sensing on startup Polarity can be inverted in System Setup In, Out, Thru Type B for compute
MIDI Power The Hydrasynth has three 5-pin MIDI connectors to allow you to interface with other devices that might not have a USB port or CV / Gate connectors. Cable lock • MIDI Out sends data from the Hydrasynth to another MIDI device • MIDI In receives data from another MIDI device • MIDI Thru passes the data that arrives at the physical MIDI In jack to another MIDI device. It does not send the MIDI information generated by the Hydrasynth keyboard or pads.
Hydrasynth Desktop The Hydrasynth desktop model has all of the firepower of the keyboard model, even though there are some obvious physical differences. Aside from the size, the most prominent distinction is that the desktop model has RGB pads instead of keys. The pads provide some interesting options for interactive creativity, which will be the main focus of this chapter. Attaching the Rack Ears We’ve included rack ears with the Hydrasynth desktop model so you can put it into a rack if you prefer.
Changing the Pad Key We’ll describe this first before getting into the Pad Modes. In addition to selecting scales and Pad Modes it’s also possible to define the root key for the pads. The default key is C, but you can choose any note in the chromatic scale. The process is simple: 1. Hold [SHIFT] through the final step. 2. Press the top-row pad labeled [KEY]. The Left display shows the current Pad Key.
Pad Modes Each Pad Mode changes the pad colors visible on the Home page. Yellow pads normally play the root of the scale, although there are exceptions that will be described later. For example, when the Pad Mode is Chromatic only two pads are yellow: pads 1 and 13. In the key of C, those two pads play a C. Other Pad Modes have more root notes, and therefore more yellow pads: Fretboard has three, Octave Row has six, and Octave has four.
Pad Mode examples Chromatic: C Pad # 17-24 9-16 1-8 E G# C F A C# F# A# D G B D# G# C E A C# F A# D F# B D# G Pad Mode = Chromatic, Pad Key/Scale = C Chromatic; = root (yellow), # = red, all others = blue A Chromatic scale contains all 12 notes, so none of the pads are grey. Instead, red pads are the equivalent of the black keys on a piano, and blue keys are the equivalent of the white keys. The yellow pads are the root notes, which in this case play a C.
Fretboard: C Major x2 Pad # 17-24 9-16 1-8 a F C B f c c g d C G D D A E d a F E B f F C G Pad Mode = Fretboard, Pad Key/Scale = C Major; Voice Scale = Major = root (yellow), CAPS = in scale (blue), lower case = quantized to note in scale (grey) In this case the pads look the same, but the grey pads are forced to play notes within the Voice Scale. Pads that would otherwise trigger out-of-scale notes are quantized to a note within the scale.
Octave: C Major Pad # 17-24 9-16 1-8 E D C F E D G F E A G F B A G C B A D C B E D C Pad Mode = Octave, Pad Key/Scale = C Major; = root (yellow), in-scale notes = blue Octave: C Maj Pent Pad # 17-24 9-16 1-8 D G C E A D G C E A D G C E A D G C E A D G C E Pad Mode = Octave, Pad Key/Scale = C Chromatic; = root (yellow), # = red, all others = blue Pad Scale vs. Voice Scale The Pad Scale and the Voice Scale both affect the notes played by the pads.
Understanding the Modules The orange-lettered Access buttons select particular modules for editing, and can also be used to create new mod routes. They are arranged in the order of signal flow, from left to right: [Osc] > [Mixer] > [Filter] > [Amp] > [FX]. The front panel graphics indicate this, and also show the interactions and independence of the modules. There are two exceptions to the signal flow rule: • The Voice module, located below the Exit button.
Amp module FX group The Amp module contains only three parameters: Rounding out each patch is a healthy array of effects processors, from pitch effects to spatial emulations and much more. With these a raw sound can become sweet or angry, pure or distorted, straightforward or mangled. • LFO 2 Amount adjusts the amount and polarity of the effect LFO 2 has on the Amplitude of the patch. • Velocity controls the velocity response of the Amplitude stage.
Select Macro Destinations Modules that will When Hydrasynth is on the Home page the Control knobs and Control buttons are capable of the simultaneous manipulation of up to eight parameters each. The module buttons make it easy to set these up. First the Hydrasynth must be on the Macro Assign page, where the module buttons become shortcuts to select the parameters you want to control. This is significantly faster than scrolling through all of the other modules to reach the one you want.
The Oscillator Group Oscillators are the foundation of a patch. They generate the most basic component of the sound, which is then shaped by other components such as Mutants, Filters, Envelopes, etc. Hydrasynth has 3 oscillators per voice. Oscillators 1 and 2 can operate in two different modes: Single and WaveScan. Oscillator 3 operates only in Single mode. The same waveforms are available in both modes, but the features of each mode are very different.
WaveScan mode This mode offers all of the same waveforms found in Single mode, but then allows you to select up to eight of them in a Wavelist. WaveScan will morph gradually between the positions in the Wavelist, using an LFO or some other source through the Mod Matrix. We’ll list the parameters first and describe them in detail later. Some are also present in Single mode: Parameter Range Wavelist Edit... (access) Semi Cents WaveScan Keytrack Description Press Control button 2 to access the list.
Mutants 1–4 Each of the Mutant modules is identical so we will describe them all at the same time. They are arranged in pairs: two for Oscillator 1 and two for Oscillator 2. Depending on the selected mode, the output of one of the Mutants in a pair can be fed into the next Mutant and/or into any other Mutant, including itself. In some modes the Mutants are dedicated to the oscillators with which they are paired. The first edit field of the Mutant module selects the mode.
WavStack This mode stacks five detuned copies of the waveform on top of itself, which makes for a fat sound using only a single oscillator. Pro tip: Spreading out multiple voices with the StereoWidth parameter ([VOICE] page 1) can make the sound HUGE. Depth controls the amount of detuning between each of the five copies. Dry/Wet adjusts the balance between the unprocessed input and the mutated output.
Pulse Width modulation Pulse Width Modulation (PWM) alters the basic shape of the waveform by shifting its internal structure over time, making some areas narrower and others wider. This is normally only heard with square waves, but Hydrasynth can apply PWM to any of its 219 waveforms. PWM parameter Range Ratio 0.250-64.000 in varying increments Depth 0-128 in increments of 0.
Harmonic At its maximum Depth and impact (100% wet) the Harmonic mutator emphasizes individual harmonics in a waveform and de-emphasizes the others. Its effect is heard more obviously on waveforms rich in harmonics, like a sawtooth wave, than on a simpler waveform such as a sine wave. Harmonic parameter Range Ratio 0.250-64.000 in varying increments Depth 0-128 in increments of 0.1 Feedback 0-150% Dry/Wet 0-100% Description Selects initial harmonic for emphasis. Hold [SHIFT] to jump by harmonics.
PhazDiff PhazDiff generates the difference of the incoming wave and a version that is inverted and phase-shifted. Parameter Depth Feedback Dry/Wet Range 0-128 in increments of 0.1 0-150% 0-100% Description Controls the phase of the output waveform Feeds the phase-shifted output back into itself Mix raw and phase-shifted waveforms; 100% = pure Mutant Here’s how to explore this Mutant. But be careful with high Feedback values in step 5! The results can be very loud. 1.
Mod In 1 and 2 can process audio-rate input frequencies, so it’s possible to use an instrument or an audio feed as an input source for the ring modulator. Note that this works best with mono mode. It is not possible to dissect polyphonic audio and assign each part to individual voices.
The Mixer Module This module has three pages with a few simple but important functions. We’ll refer to the oscillators, Ring modulator, and Noise generator as “the sources” to make the information easier to read. Page Feature 1 Source Level 1 Solo 2 2 3 Source Pan Filter Ratio Source Pan 3 Filter Ratio 3 Filter Routing Range 0.0-128.0 Description Individual levels for Osc 1-3, Ring modulator, and Noise generator On/Off First press: all 5 sources are active. Use Control buttons to solo a source.
Set the Pan Positions Osc 1-3 Pan To set the stereo placement of the oscillators, access [MIXER] and use the Page Down arrow to select page 2. In the top row are the pan positions for Oscillators 1-3. Use the appropriate Control knob to adjust the pan position of each item, and use [SHIFT] + Control knob X to fine-tune the value. Ring + Noise Pan To set the stereo placement of the Ring modulator and Noise generator, access [MIXER] and press the Page Down arrow twice to select page 3.
The Filters and their Controls Filters are second only to oscillators in defining the sound of a patch. If the oscillators were passengers in a car, for example, then the filters are the doors: Some open and close luxuriously to reveal the occupants; others have more grit and meet a different need. The Hydrasynth filters cover the range from a silky Lamborghini to a rugged Jeep, with all the sophistication and aggression implied by those extremes.
Control knob Parameter Range 2 Control (type = Vowel only) 0.0-128.0 3 Cutoff 0.0-128.0 4 5 Resonance ENV 1 amount 0.0-128.0 +/- 64.0 6 LFO 1 amount +/- 64.0 7 Vel Env +/- 64.
Keytrack This parameter scales the filter response across the keyboard, with C2 as the center note. A positive value means that notes above the center note increase the filter cutoff frequency, and notes below the center note decrease the filter cutoff frequency. A negative value means that notes above the center note decrease the filter cutoff frequency, and notes below the center note increase the filter cutoff frequency. There is a similar, separate parameter for Filter 2.
Filter 2 Filter 2 is our adaptation of a classic 2-pole state-variable filter. True to form, Filter 2 can toggle between two filter types: Low Pass / Band Pass / High Pass, and Low Pass / Notch / High Pass. Each provides a perfect complement to Filter 1. The filters can be used in Series or Parallel. This setting is found on page 2 of Filter 1. Filter 2 parameters Control knob Parameter 1 Type Range LP-BP-HP, LP-NO-HP 0.0-128.0 2 Morph 3 4 5 Cutoff 0.0-128.0 Resonance 0.0-128.0 ENV 1 amount +/- 64.
The Amp Module The Amp module is relatively simple, and has only three parameters. Control knob Parameter Range 6 LFO 2 amount +/- 64.0 7 8 Velocity Amp Level Description Sets amount and polarity of LFO 2 amplitude modulation +/- 64.0 Adjusts amplitude velocity response 0.0-128.0 Controls pre-FX level of patch How the Parameters Interact All three of the parameters in the Amp module work together. The LFO 2 amount and Velocity parameters operate within the limits set by the Amp Level setting.
The Envelopes What’s an Envelope? An envelope defines the shape of a modulation: how it begins, how it ends, and how big it will be in the middle. Hydrasynth has 5 envelopes that can be used to shape any available parameter through the Mod Matrix. All 5 have identical parameters, so every description applies equally to all. Envelope features Looping envelopes ADSR plus Hydrasynth envelopes can loop a specific number of times or indefinitely.
Envelope parameters: page 1 Control knob Parameter Range 1 Attack BPM = Off: 0 ms to 36.0 seconds BPM = On: 0, 1/64T to 64’ (16 measures) 2 Decay 3 Sustain 4 Release 5 Delay 6 Hold 7 8 (blank) BPM Sync Description After the delay period, this is the length of time the envelope takes to reach its full amplitude. BPM = Off: 0 ms to 60.0 seconds After the hold period, this BPM = On: 0, 1/64T to 64’ (16 is the length of time the measures) envelope takes to reach its sustain level. 0.0 to 128.
Envelope parameters: page 2 Control knob Parameter Range 1 AtkCurve Log (-64) > Lin (0) > Exp (64) 2 DecCurve Log (-64) > Lin (0) > Exp (64) 3 (blank) 4 RelCurve Log (-64) > Lin (0) > Exp (64) 5 Legato Off, On 6 Reset Off, On 7 Freerun Off, On 8 Env Loop Off, 2-50, Infinite Description Defines the curve for the attack segment. Defines the curve for the decay segment. Defines the curve for the release segment. When On, an envelope won’t reset unless all notes have been released.
9. Play the 8th note and listen as the filter sweeps through all frequencies 10. Wait until the filter stabilizes for voice 8, then play C again. 11. Listen as the filter sweeps from the sustain level, not the lowest frequencies. 12. Release the pedal. 13. Press the Page Down arrow and set Reset to On. 14. Repeat steps 6-12. 15. The difference: The filter sweeps through all frequencies for all notes, not just the first 8.
Envelope Shortcuts These are described in greater detail in other chapters, but they’re so easy and useful we’ve included them here too. Copy Env A to Env B Create a direct Mod route 1. Hold [SAVE] 2. Press and release the source (Envelope A) 3. Press and release the destination (Envelope B) To set up a mod route to a specific parameter from inside a module: 1. Hold [ENV X] to select the source 2. Press the Control button for the desired destination parameter, then release both buttons 4.
The LFOs What’s an LFO? LFO is an abbreviation for Low Frequency Oscillator. LFOs are the cause of familiar effects like vibrato and tremolo, but they can be used in very complex ways (as the presets will attest). Hydrasynth has 5 LFOs that can modulate any available parameter through the Mod Matrix. All 5 have identical parameters, so every description applies equally to all. LFO features Hydrasynth LFOs might be more flexible than any you have encountered.
5 Delay 6 Fade In 7 Phase BPM = Off: 0 ms to 32.0 seconds BPM = On: 0, 1/64T to 64’ (16 bars) BPM = Off: 0 - 5943 ms BPM = On: 0, 1/64T to 64’ (16 bars) 0° - 360° 8 Level 0.0 - 128.0 Length of time before LFO begins Length of time LFO takes to rise to maximum amplitude Defines starting point of LFO waveform Maximum amplitude of LFO There’s a quick way to set the LFO rate: While on page 1, hold [SHIFT] and then hold Control button 2 for the desired period of time. This works with BPM On or Off.
LFO parameters: page 2 Control knob 1 2 4 7 Parameter Steps Smooth One-Shot SemiLock Range 2-64 0-127 Off, On Off, On 8 Step Edit.. (access) Description Specific LFO points can be selected and defined Slows waveform changes On = LFO completes 1 cycle and stops Displays steps in semitone amounts inside the Step Edit page Enters the Step Edit page Three of those parameters are hidden for most LFO waveform selections, so we’ll describe the other two first. Smooth 4.
5. Use Control knob 1 to select the Step wave 6. Select page 2 with the Page down arrow 7. Notice that the Steps value is set to 8. Leave it there for now. 8. Use Control knob 7 to set SemiLock to On 9. Use Control button 8 to access the Step Edit page To dive even deeper, press [EXIT] and try different settings for Smooth, Rate, BPM = On, etc.
You might hear the wrong pitch at first if you hold Control button 1 and play a note to set the semitone value for step 1. The reason: LFO1 starts as step 1 is entered, and it restarts with every new note (unless TrigSync = Off ). The result: double-transposition of the first note. The right pitch will play when the LFO loops. More Step LFO ideas Here are more ways to use the Step LFO: • The maximum Step values are +/- 64.
The Effects The Hydrasynth has such a powerful synthesizer engine that it only made sense to pair it with an equally powerful effects section. There are four independent effect modules available, two of which provide awe-inspiring delay and reverb effects, while the other two are the aural equivalent of a set of Swiss Army knives. Any tool you need for your music, Hydrasynth has it. Some parameter names are shown below in [brackets]. These are available as mod destinations for Macros and the Mod Matrix.
Flanger Control knob 2 3 4 5 6 Mono/St [Dry/Wet] Description Selects preset template Controls the flanger rate Controls the flanger depth Sets initial phase of effect relative to input Feeds flanger back into itself (positive or negative polarity) Mono, Stereo Selects mono or stereo output 0.0-100.0% Blends unaffected and affected signals Parameter Preset [Lo-Speed] [Hi-Speed] Lo-Depth Hi-Depth Low/High Range 1-3 0.02-10.0 Hz 0.02-10.0 Hz 0-127 0-127 -/+ 63 [Dry/Wet] 0.0-100.
Lo-Fi Control knob 2 3 4 5 6 7 8 Parameter Range Preset 1-2 [Cutoff ] 160-20,000 Hz [Resonance] 1.0-12.0 Filter Type Thru, PWBass, Radio, Tele, Clean, Low Output - 6 / + 36 dB Sampling 44,100-2,756 Hz [Dry/Wet] 0.0-100.0% Description Selects preset Filter cutoff frequency Filter resonance Selects filter model Gain compensation control Sets downsampling rate Blends unaffected and affected signals Tremolo Control knob 2 3 4 5 6 Parameter Preset [Rate] [Depth] LFO shape Phase Range 1-3 0.02-10.0 Hz 0.
Compressor Control knob Parameter 2 Sidechain Range Off, BPM Duck, Tap, Mod In 1, Mod In 2 3 [Ratio] 1.0 :1 to 20.0 :1 4 [Threshold] -64.0 to 0.0 dB 5 6 Attack Release 1-400 ms 5-560 ms 7 8 Output [Dry/Wet] 0-512 0.0-100.
Delay Parameters All of the delays have identical parameters, so we’ll describe them once. Control knob Parameter 2 [Time] 3 4 [Feedback] [Wet Tone] Range BPM = Off: 1 ms to 3.00 seconds BPM = On: 0, 1/64T to 1/1 Dot 0.0-128.0 -/+ 64.0 6 7 8 BPM sync [Feed Tone] [Dry/Wet] Off, On 0.0-128.0 0.0-100.0% Description Delay period Fade-out time for delay Filter control for Wet signal: -64.0 to -0.1: Low pass filter 0.0: No filtering 0.1 to 64.
Mod Route Shortcut Here’s how to set up mod routes quickly from an Envelope or LFO to an effect: • Hold the module button for the desired source • Press the module button for the destination. This will create a mod route in the Mod Matrix at the first available slot with the first parameter of the effect selected. • Change the selected parameter if needed • Set the mod amount with the appropriate Control knob. Remember: not all FX parameters are available as mod destinations.
The Voice Module Technically the Voice module isn’t in the signal path, so it isn’t located in the Module Select section of the top panel. But its functions have a significant impact. Many settings related to the playability and performance of the patch are found here.
How does Analog Feel? Alter Another thing that makes an analog synthesizer seem so “alive” is its inherent instability. This unpredictability is an issue not only in the tuning of the oscillators but throughout the signal path. The Analog Feel parameter allows you to dial in as much of this behavior as you like, from “a little bit” to an amount that would summon a repair tech if you hadn’t done it on purpose. Stereo mode With this option the voices take turns spreading further and further from center.
4 5 6 7 8 Vibrato Rate BPM = Off: 0.30-10.
Voice Parameters: page 3 Control knob Parameter 1 Key Lock 2 3 4 8 Range Description (Chromatic octave) Lock keyboard or pads to a certain key. No effect if Scale = Chromatic or Micro#(x). Scale Custom + 38 See Custom Scale below; see Scales (p. presets + 32 Micro 101) for preset scale list; see Master: Page scales 2 (p. 90) for Microtuning operations. Microtuning Scale name Visible when a microtuning scale is Scale selected. see Master: Page 2 (p. 90) for Microtuning functions.
Clear a note Individual note assign To clear one or more notes, hold [INIT] and press the corresponding Control button(s). You can’t clear the Key selection on Control button 1; that’s the root key of the scale. To change it, exit this page and adjust the Key Lock parameter. If you entered a wrong note, hold the related Control button and play the correct note. The Control knob also can be used to select the note.
Ribbon Controller (keyboard only) The Ribbon controller has three modes of operation. Press the [Ribbon] button and use Control knob 1 to select the desired mode: • Pitch bend is like the pitch bend wheel, only horizontal. Wherever it is touched becomes the center point. Lock Global makes this true for all patches. • Theremin allows the ribbon to be played like a monophonic synthesizer. It also reveals more parameters and adds another page where its key and scale can be set.
The Ribbon can be in Pitch Bend mode or Theremin mode and be a mod source in the Mod Matrix at the same time. The Ribbon as a Mod Source There’s a separate chapter that describes how to use The Mod Matrix (p. 78), so you’ll want to read that too. But the way the ribbon interacts with the Mod Matrix deserves special coverage here. It actually provides three different mod sources, not just the one you see! The fastest way to learn about the different sources is to build a mod route, so here we go: 1.
The Arpeggiator Section A well-designed arpeggiator can make someone who’s new to music sound like a pro. Add a bit of music theory and some sound design chops to the mix and the results can be amazing. The presets make an ironclad case for that. An overview of the Hydrasynth arpeggiator features was provided in the Arpeggiator basics (p. 11) section of the Quick Start Guide. This included the similarities and differences between the controls of the keyboard and desktop models.
Mode Control knob 7 is used to specify the direction of the arpeggio and other behaviors. For the following descriptions we’ll use a 3-note chord with Octave Mode = Up and Range = 2. • Increase Length to 5. The lowest note of the chord will appear in the second octave. • Increase Length to 6, then 7, then 8. Gradually each note of the chord will appear in the second octave. • Up plays the notes from low to high in each octave and starts again from the bottom. • Increase Length to 9.
ClkLock This locks the arpeggiator phase to the system clock so it will sync to other clocked elements such as an LFO with BPM Sync set to On. Here’s something else you might notice: With ClkLock set to Off and the Hydrasynth as the master clock source, the arpeggio starts when the first note is played. With ClkLock set to On, the arpeggio starts at the next quantized value after the first note is played.
Mastering the Macros Macros are powerful, expressive tools for song creation and live performance. Every factory patch has up to 8 Macros that maximize their creative potential. Each Macro is a combination of one of the Control knob / button pairs and a list of destinations, sort of like a private Mod Matrix grouped around the Right display. In fact, Macros can even control the Mod Matrix mod routes (and vice versa). You can create and modify Macros to match your music and your style.
9. Hold a note and use Control knob 5 and Control button 5 to audition the Macro. All 8 routes will respond. The Macro knob/button pair you are editing will behave this way on the Home page. 10. With these settings the knob sweeps an octave; the button jumps a whole step. The MacroBtn parameter on System Setup page 2 defines the behavior of the Macro buttons: If the setting is “Trigger” or “Reset” the button is a Trigger. When set to “Toggle” or “Switch,” the button behaves as a Toggle.
Macro Button Response There’s a separate chapter for The System Setup Pages (p. 89), but this information affects how the Macro buttons behave on the Home page and while auditioning a Macro during editing. To access the Macro Button settings, press [SYSTEM SETUP] and press the Page Down arrow once to reach page 2. Use Control knob 4 to select one of the four options: Toggle, Trigger, Switch, and Reset. • Toggle: The Macro button toggles between the Button Value setting and the current Control knob value.
Preset Macro Name List These are the preset Macro names found on Macro Edit page 4. You can also create your own Macro names; see Name the Macro (p. 75).
The Mod Matrix Modular synthesizers use cables to make connections. Hydrasynth has a much neater solution: an easy-to-use internal patch bay with 32 sets of modulation sources and destinations. Creating Mod Routes There are three ways to create a new mod route in the Mod Matrix. The first is to access the Mod Matrix page directly. Additional notes are entered below some steps in italics. The Whole Process 1. Press [MOD MATRIX] to access the Mod Matrix page. 2.
Direct Assignment Notes About Mod Routes Mod routes can be established between a source and a specific parameter using this method. After you access the page with the parameter to be modulated, hold the modulation source button and press the Control button next to the parameter in the Right display. This creates a link between the source and destination in the fewest possible number of steps.
Clear the Entire Mod Matrix If you want to start over with all new mod routes, hold [INIT] and press the [MOD MATRIX] button. A prompt will ask you to confirm the decision, because it’s a big one. If you’re sure, press [INIT] again. Be Random If you’re looking for something crazy, randomize the entire Mod Matrix! You might get lucky or you might get nothing. You can always try again! Before you do, though, try a few mod sources: the wheels, the ribbon controller, start the arpeggiator, etc.
Modulation Destinations These are the potential mod destinations in the Hydrasynth. A few may need explanation; see below the chart.
The CV / Gate Section The seven CV/Gate connectors have a longer history in the music world than MIDI does! This is how the modules of early synthesizers were connected, using cables to carry the control voltages, gate triggers, and clock signals. And the resurgence of modular synths and Eurorack modules in the 21st century has brought these connection protocols back to the forefront of the music creation process for many musicians.
Compatibility There are several voltage standards that companies use, so the Hydrasynth allows you to set the voltage ranges to match the source device. Those are defined on System Setup pages 7-9. More later about that. Output Connectors The output connectors (Pitch, Gate, Mod 1, Mod 2, and Clock) convert data from the Hydrasynth into voltages, which can then be used to trigger notes and control parameters on an external device. Each of the five output connectors has a different purpose.
Esoteric Uses These are a few ideas that will take you beyond the basics of using the CV/Gate connectors. We’ll refer to Mod 1 in the following examples, but the statements apply equally to Mod 2. CV Attentuator Process Audio You can create a CV attenuator or CV booster by routing Mod In 1 to ModOut 1 in the Mod Matrix. The amount of boost or cut is determined by the mod route Depth setting. The best results require matching the Mod 1 input and output settings on CV – Mods: Page 9 (p. 96).
Patch Management The process of saving a patch and finding it later are closely related, so both are covered in this chapter. Using the Browser Whether you’re hunting for a specific patch or looking for something in a particular category, the Browser has several features that will help you quickly locate what you need.
Find by Category This sorts the patches by their categories (Arp, Bass, FX, etc.). The categories themselves are sorted in alphabetical order, and Control knob 3 is used to scroll through the categories. Note that Control knob 3 is only active when Find By Category is selected. Control knob 1 is used to select individual patches within the selected category. As it is turned the patch Bank and number might jump around a lot; this is because the patches are not relocated when the Find By option is changed.
Save the Patch Patch Protection There’s a Protect setting in System Setup that is on by default. So the first time the [SAVE] button is pressed the Left display might show the message “Protection is On!” This will need to be disabled before a patch can be saved. It’s easy to find: press [SYSTEM SETUP] and the first page will appear. The Protect feature is in edit field 4. Turn Control knob 4 to deactivate or reactivate the feature. Press [EXIT] and the setting will be saved.
Macro Options Choose a Color Control knob 4 lets you decide what will happen with the current settings of the Macro knobs and buttons when the patch is saved. This option returns all Macro knobs to zero and sets the Macro buttons to Off. As an added degree of personal touch, you can choose from 32 different colors for each patch when saving. The selection affects the LEDs under the Patch knob, the Pitch wheel, and the Mod wheel.
The System Setup Pages Operational Notes Navigation Saving the Settings The System Setup pages work the same way all other modules do, but here are some reminders: Press [EXIT] or any module button to save System Setup changes. The message “System saving...” will be shown in the Left display for about 1 second. Note that sound output is silenced while the settings are being saved. • To access the next or previous page, use the Page Down / Up arrows.
Master: Page 2 Control knob Function 1 Knob Mode 2 3 4 5 6 8 Settings Absolute, Pickup, Scale Knob Speed Slow, Medium, Fast Tempo Lock On, Off Macro Button Toggle, Trigger, Switch, Reset Safe Edit On, Off Pads LED [1] Bright, Mid, Dim Microtun (access) menu… Description How Direct knobs edit values when moved Sets Control knob response speed Selects Global tempo or per-patch tempo Determines behavior of Macro Buttons Prevents accidental loss of edited patch Sets brightness of pad LEDs Opens Microtuning me
Microtuning Menu The microtuning scale is selected on page 3 of The Voice Module (p. 64) menu. This section describes how to send and receive them. After accessing the microtuning menu the following options are shown in the Right display: Control Knob 1 2 (view only) Button 3 Button 4 Parameter Scale select Scale name Receive Scale Send Scale Range 1–32 1–16 characters action action Description Selects the Microtuning scale location Define with third-party software (Scala, etc.
logarithmic. Neo curves are based on a new velocity calculation that allows for a more sophisticated response. Aftertouch settings • Aftertouch Delay: the time that transpires between note on and the onset of aftertouch. • Aftertouch Fade: the time it takes to ramp aftertouch to its current value from 0. • Aftertouch Curve: determines the amount of force required to reach maximum aftertouch values. • Aftertouch Offset: reduces the dynamic range of the aftertouch.
MIDI: Page 5 Control knob Function 1 Aftertouch transmit 2 3 4 5 6 8 [1] Ribbon pitch bend transmit Sustain pedal transmit Expression pedal transmit Mod wheel transmit (MIDI CC #1) Mod receive (MIDI CC #1) MPE support Settings Off, Mono, Poly On, Off On, Off On, Off On, Off On, Off On, Off Description Send channel, polyphonic, or no aftertouch data to USB / MIDI On = ribbon sends pitch bend data Off = ribbon sends NRPN data Send sustain pedal data via USB / MIDI Send expression pedal data via USB / MIDI
Button 3 Button 4 (action) (action) Knob 5 Send Patch Send All Patches Overflow [1] Knob 6 Knob 7 Arp TX [1][2] Pgm Chg TX Off, On Off, On Knob 8 Pgm Chg RX Off, On Off, On Sends sys-ex of the current patch via MIDI / USB Sends sys-ex of all patches and banks via MIDI / USB Connect two Hydrasynths for 16-voice functionality Send Arp note on/off messages via MIDI / USB Send MIDI Program Change upon patch selection Receive MIDI Program Change commands [1] The Arp TX setting has no effect when Over
Pgm Chg TX / RX These parameters determine whether the Hydrasynth will transmit (TX) or receive (RX) MIDI program change commands. CV – Pitch Gate: Page 7 These settings are compatible with most modular synthesizer equipment. Please refer to the specifications of other devices and match those settings on the Hydrasynth.
CV – Mods: Page 9 These settings enable the use of devices with different CV standards. For example, Input / Output Mod 1 can be set to +/- 5V while Input / Output Mod 2 are set to 0-10V. The Offset ranges are independent in each direction, which allows the voltages to be fine-tuned to compensate for the idiosyncrasies of individual devices.
System: Page 10 (desktop) / System: Page 11 (keyboard) Control button Function Description Range 1 Self Test (action) Hold the button and all LEDs and displays are lit at maximum for visual inspection. 2 Factory (action) Resets all parameters in System Setup to their Reset default values. This does not erase the patch banks. OS: Page 11 (desktop) / OS: Page 12 (keyboard) There’s only one item on this page: the OS version.
Control Combinations [INIT] + Button X The following modules can be initialized by holding [INIT] and pressing the Access button. Button Amp Arp On Delay Env (1-5) Filter (1, 2) Button LFO (1-5) Macro Assign Mixer Mod Matrix - Button Mutant (1-4) Osc (1, 2, 3) Post-FX Pre-FX - Button Reverb Ribbon Ring-Noise Voice - [INIT] + Control Button X The following parameters can be initialized by holding [INIT] and pressing the appropriate Control button.
[RANDOM] + Button X The following modules can be randomized by holding [RANDOM] and pressing the Access button. Button Amp Arp On Delay Env (1-5) Filter (1, 2) Button LFO (1-5) Macro Assign Mixer Mod Matrix Mutant (1-4) Button Osc (1, 2, 3) Post-FX Pre-FX Reverb Ribbon Button Ring-Noise Voice < or > (select random patch) - [SHIFT] + Button X These shortcuts are available by holding [SHIFT] and pressing the button.
[SHIFT] + Control Knob X The following value jumps are available by holding [SHIFT] and turning the appropriate Control knob. Location Arp Arp Arp Browse Browse Patch Voice Macro Assign Mod Matrix Mod Matrix Osc X Osc X Control knob Tempo Length Phrase Patch Compare Save Patch # Pitchbend Edit Destination Module Source Destination Module Wave Semi Osc X Wavescan Mutant X Ratio Behavior Fine-tune by 0.
Scales Preset Standard Scales Below are the notes of each preset scale relative to the key of C. An “x” means that note is in the scale; a dash means it is not. The microtuning scales are listed at the end of this chapter.
Scale C C /D D D /E E F F /G G G /A A A /B B Algerian x - x x - x x x x - - x Gypsy x - x x - - x x x - x - Hungarian x - x x - - x x x - - x Ukranian x - x x - - x x - x x - Dim.
Preset Microtuning Scales Micro scale # Name Scale Name 1 1/4 Tone 17 Diaphonic 12-tone 2 19 Tone 18 Eikosany 1 3-11 3 31 Tone 19 Greek Aeolic 4 Al-Farabi SynChrom 20 H. Partch 43-note 5 Arabic 12-tone 21 Harmonic A 1-60 6 Archytas Chromatic 22 Hexany 1 3 5 9 7 Archytas Enharmonic 23 Hexany 1 3 7 11 8 Belafon Singapore 24 Hexany 13 11 13 9 Belafon W.
MIDI CC Charts Sorted by Module Module Amp ARP ARP ARP ARP ARP ARP ARP Delay Delay Delay Delay ENV 1 ENV 1 ENV 1 ENV 1 ENV 2 ENV 2 ENV 2 ENV 2 ENV 3 ENV 3 ENV 3 ENV 3 ENV 4 ENV 4 ENV 4 ENV 4 ENV 5 ENV 5 ENV 5 ENV 5 Filter 1 Filter 1 Filter 1 Filter 1 Filter 1 Parameter Amp LFO2amt ARP Division ARP Gate ARP Mode ARP Ratchet ARP Chance ARP Octave ARP Length Delay Feedback Delay Time Delay Wet tone Delay Dry/Wet ENV1 Attack ENV1 Decay ENV1 Sustain ENV1 Release ENV2 Attack ENV2 Decay ENV2 Sustain ENV2 Release
Mixer Mixer Mixer Mixer Mixer Mutator 1 Mutator 1 Mutator 1 Mutator 2 Mutator 2 Mutator 2 Mutator 3 Mutator 3 Mutator 3 Mutator 4 Mutator 4 Mutator 4 OSC 1 OSC 1 OSC 2 OSC 2 OSC 3 Post-fx Post-fx Post-fx Pre-fx Pre-fx Pre-fx Reverb Reverb Reverb System System System System System System System OSC 3 FRate Noise FRate Ring Mod FRate OSC1 FRate OSC2 FRate Mutator1 Ratio Mutator1 Depth Mutator1 Dry/Wet Mutator2 Ratio Mutator2 Depth Mutator2 Dry/Wet Mutator3 Ratio Mutator3 Depth Mutator3 Dry/Wet Mutator4 Ratio
Sorted by CC Number Module System System Mixer Voice System Mixer Mixer Mixer System Pre-fx Pre-fx Delay Delay Macros Macros Macros Macros Macros Macros Macros Macros OSC 1 ENV 4 OSC 2 ENV 4 LFO 2 Mutator 1 Mutator 1 Mutator 1 System Mutator 2 Mutator 2 Mutator 2 Mutator 3 Mutator 3 Mutator 3 Mutator 4 Mutator 4 Mutator 4 Parameter Bank select MSB Modulation wheel.
ENV 1 ENV 1 ENV 2 ENV 2 ENV 2 ENV 2 ENV 3 ENV 3 Reverb Delay Pre-fx Post-fx Voice ENV 3 ENV 3 ENV 5 ENV 5 ENV 5 ENV 5 ARP ARP ARP ARP ARP OSC 1 OSC 2 OSC 3 Mixer Mixer Mixer Voice Mixer Mixer ARP ARP System ENV 4 ENV 4 ENV1 Sustain ENV1 Release ENV2 Attack ENV2 Decay ENV2 Sustain ENV2 Release ENV3 Attack ENV3 Decay Reverb Dry/Wet Delay Dry/Wet PRE-FX Mix POST FX Mix Detune ENV3 Sustain ENV3 Release ENV5 Attack ENV5 Decay ENV5 Sustain ENV5 Release ARP Division ARP Gate ARP Mode ARP Ratchet ARP Chance OSC1 C
Hydrasynth Specifications Keyboard Desktop Dimensions: 80 x 35 x 10.3 cm (31.5 x 13.78 x 4.05 inches) Dimensions: 44 x 22.3 x 7 cm (17.32 x 8.78 x 2.76 inches) Weight: 10kg (22.05 lbs) Weight: 3.6kg (7.94 lbs) Connections: Rear Panel • MIDI In/Out/Thru • Stereo 1/4” outputs (balanced) • USB type B port, class-compliant • Sustain pedal input (polarity-sensing) • Headphone output (Desktop only) • Expression pedal input (reversible) • Power: 12 V DC, ≥1.
Declaration of Conformity USA Important Notice: DO NOT MODIFY THE UNIT! instructions, may cause interferences harmful to the operation to other electronic devices. Compliance with FCC regulations does not This product, when installed as indicate in guarantee that interference will not occur the instructions contained in this manual, in a particular installation. If this equipment meets FCC requirements.
