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Solaris User Guide 100711

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1. 43 System MenU nicedretasiiicnstsngeccenecndeladinscaneecmeddanenbuesdeedeiates 44 MIDE MODU ee 44 Home MEN statis ss ecactunieieuedcnededennslin coacatecniuiucibataads 45 Sample POOL seven 58 Warranty Regulations cccccscccsseceseeeeeeeseneeeeneees 60 6 DEDICATION Safety Precautions Avoid exposing your Solaris to moisture dust or dirt Do not place open liquids anywhere near the unit If any substances get into the Solaris housing you should switch it off disconnect the power supply and contact a qualified service technician Avoid exposing the unit to excessive heat or direct sunlight Ensure that relatively cool air can circulate freely around the unit Avoid exposing the unit to physical shock or vibrations Make sure it is placed firmly on a flat surface Only use the external power supply that was included with the unit Never connect the Solaris to a power outlet that does not fully comply with national safety regulations Never use an external power supply which wasnt designed to match the local voltage require ments Disconnect the power whenever you are unlikely to use the Solaris for a long period of time Always pull on the plug itself not on the cord Never touch the mains plug with wet hands 2 The Solaris is capable of generating levels that can cause irreversible damage to your ears either via an external amplifier or when using headphones connect ed directl
2. Enables or disables oscillator glide for the selected oscilla tor Oscillator Parameters Mod Mode Oscillator Mod mode is active when the LED next to the Mod label is lit Mod mode loads the text display of the Os cillators panel with the modulation controls of the selected oscillator Each oscillator can have up to four modulation sources assigned to affect various parameters Refer to Modular style Modulation on page 18 for further explanation of Solaris s destination based modulation The section below describes the parameters available in each of the four oscillator MOd mode pages Please refer to Appendix 2 Modulation Sources on page 54 for a full description of the oscillator modulation parameters Source 1 4 This control allows you to select a modulation source from the comprehensive list of modulation sources available within Solaris Signal from the selected modulation source is applied to the selected modulation destination Dest Amount This control determines the amount the control signal from the modulation source affects the destination parameter When oscillator Pitch is selected as the destination the range of this control is 120 to 120 semitones When the destination parameter is linFM or Shape the range is 100 to 100 Control Control allows you to select another control signal to act as a sidechain input that affects the amount of modulation source signal that is applied to the
3. 867 MIDI 0 CC1 868 MIDI 0 CC2 869 MIDI 0 CC3 870 MIDI 0 CC4 871 MIDI 0 CC5 872 AssignOButtonO 873 AssignOButton1 874 AssignOButton2 875 AssignOButton1 876 AssignOButton2 877 KeyboardGlide0ModeO 878 KeyboardGlideOType0 879 KeyboardGlideOTimeO 880 KeyboardGlideORateO 881 KeyboardGlide0RangeO 882 Rot1Coarse0 884 Rot2Coarse0 885 Osc1Coarse0 886 Osc2Coarse0 887 Osc3Coarse0 888 Osc4Coarse0 889 MasterOPitchWheelRange2 890 ArpOVelocityModeO 891 RibbonOlntensity0 892 RibbonO0Offset0O 893 RibbonOHoldO 894 Ribbon4InSource0 895 Preset0Cat1 909 Preset0Cat2 910 NoneO 0 913 Perf1Value0 918 Perf2Value0 919 Perf3Value0 920 Perf4Value0 921 Perf5ValueO0 922 NoneO 0 928 NoneO 0 929 NoneO 0 930 NoneO 0 931 NoneO 0 932 NoneO 0 933 Lfo1ClockSyncSwO 934 Lfo2ClockSyncSwO 935 Lfo3ClockSyncSwO 936 Lfo4ClockSyncSw0 937 Lfo5ClockSyncSw0 938 Osc1ClockSyncSwO 939 Osc2ClockSyncSwo 940 Osc3ClockSyncSwo 941 Osc4ClockSyncSwO 942 Rot1ClockSyncSw0 943 Rot2ClockSyncSw0 944 Seg0A LengthO 950 Seg0OB LengthO 951 SeqOC LengthO 952 SeqOD LengthO 953 Seq0A_1 954 Seg0A 2 955 Seg0A 3 956 Seq0A_4 957 Seq0A_5 958 Seq0A_6 959 Seq0A_7 960 Seg0A 8 961 Seg0A 9 962 Seg0A 10 963 Seg0A 11 964 Seg0A 12 965 Seg0A 13 966 Seg0A 14 967 Seg0A 15 968 Seg0A 16 969 Seg0OB 1 970 Seg0OB 2 971 Seg0OB 3 972
4. FibHold Hestarulars Figure 14 Assignable Button setup PERFORMANCE BUTTONS Octave Transpose Up Down These buttons should be self explanatory They change the range of the keyboard but must be pressed before you play to get the transposed values They will not transpose keys currently held Unison Activates Unison mode which is configured in the Home menu page 4 Seq On Activates the Sequencer which is configured in the four sequencer tabs SegA SeqB SeqC and SeqD on the graphic display Arp On Activates the Arpeggiator which is configured on the Arp tab on the graphic display Hold Has the function of a sustain switch It does not work with the sequencer as this is a gated sequencer which only works when keys are held down This control can be used to latch the arpeggiator on Tempo This button is actually a Tap Tempo button as well Holding it down will allow a pop up on the screen to show the cur rent BPM and allow you to change it with either left most knob of the Graphic Display Tapping the Tempo button will determine an average BPM after 2 taps and will continue to average the tempo for subsequent taps Tempo is stored with the preset but can be overridden ignored by setting this in the System page Select Load BPM ON if you want the presets to load their programmed tempos Enable Part Buttons Figure 15 Enable Part Buttons 15 Enable ah Buttons These butto
5. 228 Lfo4WaveSel0 229 Lfo4Phase0 230 Lfo4KeySyncSwoO 231 Lfo4FadelnTimeO 232 Lfo4FadeOutTimed 233 Lfo4DelayTimeO 234 Lfo4OffsetSw0 235 Lfo4Level0 237 Lfo5ModCMix1 238 Lfo5ModAmount1 239 Lfo5ModCMix2 240 Lfo5ModAmount2 241 Lfo5ModCMix3 242 Lfo5ModAmount3 243 Lfo5ModSource1 246 Lfo5ModSource2 247 Lfo5ModSource3 248 Lfo5ModControl1 250 Lfo5ModControl2 251 Lfo5ModControl3 252 Lfo5ModDest1 254 Lfo5ModDest2 255 Lfo5ModDest3 256 Lfo5Frequency0 258 Lfo5WaveSel0 259 Lfo5PhaseO 260 Lfo5KeySyncSw0 261 Lfo5FadelnTimeO 262 Lfo5FadeOutTimed 263 Lfo5DelayTimeO 264 Lfo5OffsetSw0 265 Lfo5Level0 267 Osc1ModCMix1 268 Osc1ModAmount1 269 Osc1ModCMix2 270 Osc1ModAmount2 271 Osc1ModCMix3 272 Osc1ModAmount3 273 Osc1ModCMix4 274 Osc1ModAmount4 275 Osc1ModSource1 276 Osc1ModSource2 277 Osc1ModSource3 278 Osc1ModSource4 279 Osc1ModControl1 280 Osc1ModControl2 281 Osc1ModControl3 282 Osc1ModControl4 283 Osc1ModDest1 284 Osc1ModDest2 285 Osc1ModDest3 286 Osc1ModDest4 287 Osc1Frequency0 288 Osc1ModeO 289 OsciWaveSel01 290 OsciTuned 296 Osc1Shape0 297 Osc1PhaseO 298 Osc1KeytrackSw0 299 Osc1GlideSw0 300 Osc1GlideTimeO 301 Osc1SyncSrc0 302 Osc2ModCMix1 305 Osc2ModAmount1 306 Osc2ModCMix2 307 Osc2ModAmount2 308 Osc2ModCMix3 309 Osc2ModAmount3 310 Osc2ModCMix4 311 Osc2ModAmount4 312 Osc2ModSource1
6. Mix4In3Src0 555 Mix4In4SrcO 556 Mix4ln1GMSrcO 557 Mix4In2GMSrc0 558 Mix4In3GMSrc0 559 Mix4In4GMSrc0 560 Mix4OutputGainO 561 Mix4OutputGModo 562 Mix4OutputGMSrc0 563 Fil1ModCMIx1 564 Fil1ModAmount 565 Fil1ModCMix2 566 Fil1iModAmount2 567 Fil1 ModCMix3 568 Fil1 ModAmount3 569 Fil4 ModCMix4 570 Fil1 ModAmount4 571 Fil1ModSource1 572 Fil1 ModSource2 573 Fill ModSource3 574 Fill ModSource4 575 Fil1ModControl1 576 Fil1ModControl2 577 Fil1 ModControl3 578 Fil1ModControl4 579 Fill ModDest1 580 Fil1 ModDest2 581 Fill ModDest3 582 Fill ModDest4 583 Fill ModeO 584 Fil1Sel0 585 Fil1Vowel1 586 Fil1 Vowel2 587 Fil1Vowel3 588 Fil1Vowel4 589 Fil1Vowel5 590 FiliResonanceO 591 Fil1Dampo 592 Fil1 TuneO 593 FiliKeycenterO 594 FiliKeytrackO 595 Fil1InSrcO 596 Fil1XFadeO 597 Fil2ModCMix1 599 Fil2ModAmount1 600 Fil2ModCMix2 601 Fil2ModAmount2 602 Fil2ModCMix3 603 Fil2ModAmount3 604 Fil2ModCMix4 605 Fil2ModAmount4 606 Fil2ModSource1 607 Fil2ModSource2 608 Fil2ModSource3 609 Fil2ModSource4 610 Fil2ModControl1 611 Fil2ModControl2 612 Fil2ModControl3 613 Fil2ModControl4 614 Fil2ModDest1 615 Fil2ModDest2 616 Fil2ModDest3 617 Fil2ModDest4 618 Fil2ModeO 619 Fil2Sel0 620 Fil2Vowel1 621 Fil2Vowel2 622 Fil2Vowel3 623 Fil2Vowel4 624 Fil2Vowel5 625 Fil2ResonanceO 626 Fil2Damp0 627 Fil2T
7. Mixer Insert FX ELG EE RE 21 TABLE OF CONTENTS Insert FX after the filters Mixer Filter Insert FX 21 Feedback loop In MIXETr ee 22 Processing External Signals 23 EXMA SIGNS seisean in i ii 23 Processing External Audio Signals 23 Processing External Control Signals 23 Oscillators ee ne ene ee ee escent 24 Oscillators OSC 1 4 een 24 Oscillator Parameters Main Mode 24 Page 1 Parameters ee 24 Page 2 Parameters 352 ssbitzisstudedass tests estiakis 25 Glide OMON EE NE VEN 25 Oscillator Parameters Mod Mode 25 Rotors 2 ere deda ech ee 26 Rotor Parameters Main Mode 26 Page 1 Parameters 26 Page 2 Parameters ee 26 Page 3 Parameters en 26 Rotor Parameters Mod Mode 26 LIDE u n m anne dala ae kc eo ho a n o 27 Mixers EE 27 Mixer Parameters Main Mode 27 Page 1 Parameters ee 27 Page 2 Parameters ee 27 Mixer Parameters Mod Mode 27 Page 1 Parameters wanna 27 Page 2 Parameters ee 27 Ta al FX EEE EE 28 Insert FX 1 4 00000 nn a nn nn 28 Insert FX Parameters Main Mode 28 Insert FX Parameters Mod Mode 28 PIG ES ven E E E E A E E 29 Filters 1 4 rernnnonnneranornnnnnanevanennnrnnanennnennnrnnannnnnennnnnnnne 29 Filter Parameters Main Mode 29 Page 1 Parameters ee 29 Page 2 Parameters ee 29 Filter Parameters Mod Mode 30 VC AS l
8. Vca1Gaino 706 Vca1ModAmounto0 707 Vca1MSrcO 708 VcalInSrcO 709 Vca2Mode0 710 Vca2Boost0 711 Vca2Gain0 712 Vca2ModAmountO 713 Vca2MSrc0 714 Vca2InSrcO 715 Vca3Mode0 716 Vca3Boost0 717 Vca3Gain0 718 Vca3ModAmountO 719 Vca3MSrc0 720 Vca3InSrcO 721 Vca4Mode0 722 Vca4Boosto0 723 Vca4Gain0 724 Vca4ModAmountO 725 Vca4MSrc0 726 Vca4lnSrc0O 727 Pan1Pos0 728 Pan1Mod0 729 PaniMSrc0 730 Pan1OutSwO 731 Pan2Pos0 732 Pan2Mod0 733 Pan2MSrc0 734 Pan2OutSw0 735 Pan3Pos0 736 Pan3Mod0 737 Pan3MSrc0 738 Pan3OutSw0 739 Pan4Pos0 740 Pan4Mod0 741 Pan4MSrc0 742 Pan4OutSw0 743 Ifx1ModeO 744 Ifx1OffsetO 745 Ifx1ModCMix0 746 Ifx1ModAmountO 747 Ifx1InSourceO0 748 Ifx1ModSourceO 749 Ifx1ModControlO 750 Ifx2Mode0 751 Ifx2OffsetO 752 Ifx2ModCMix0 753 Ifx2ModAmountO 754 lfx2InSourceO 755 Ifx2ModSource0 756 Ifx2ModControlO 757 Ifx3ModeO 758 lfx3OffsetO 759 Ifx3ModCMix0 760 Ifx3ModAmountO 761 Ifx3InSourceO 762 lfx lt 3ModSource0 763 Ifx3ModControlO 764 Ifx4ModeO0 765 lfx4OffsetO 766 Ifx4ModCMix0 767 Ifx4ModAmountO 768 lfx4InSourceO 769 Ifx4ModSourceO0 770 Ifx4ModControlO 771 Am1ModeO 772 Am1Offset0 773 Am1ModCMix0 774 Am1ModAmountO 775 Am1InSource0 776 Am1ModSourceO 777 Am1ModControlO 778 Am2Mode0 779 Am2Offset0 780 Am2ModCMix0 781 Am2ModAmounto 782 Am2InS
9. 52 Env3SSlope0 53 Env3RSlope0 54 Env3LvlVel0 55 Env3AMod0 56 Env3DMod0 57 Env3SMod0 58 Env3RMod0 59 Env3ATMSrc0 60 Env3DTMSrc0 61 Env3SLMSrc0 62 Env3RTMSrc0 63 Env4Delay0 64 Env4AttO 65 Env4DecO 66 Env4Sus0 67 Env4Rel0 68 Env4ASlope0 69 Env4DSlope0 70 Env4SSlope0 71 Env4RSlope0 72 Env4LvIVel0 73 Env4AMod0 74 Env4DMod0 75 Env4SMod0 76 Env4RMod0 77 Env4ATMSrcO 78 Env4DTMSrc0 79 Env4SLMSrc0 80 Env4RTMSrc0 81 EnvoDelay0 82 Env5AttO 83 Env5Dec0O 84 Env5Sus0 85 Env5Rel0 86 Env5ASlope0 87 Env5DSIopeO 88 Env5SSlope0 89 Env5RSlope0 90 Env5LviVel0 91 Env5AMod0 92 Env5DModo 93 Env5SMod0 94 Env5SRModo 95 Env5ATMSrcOo 96 Env5DTMSrc0 97 Env5SLMSrc0 98 Env5RTMSrc0 99 Env6Delay0 100 Env6Att0 101 Env6Deco 102 Env6Sus0 103 Env6Rel0 104 Env6ASlope0 105 Env6DSIopeO 106 Env6SSlope0 107 Env6RSlope0 108 Env6LvlVel0 109 Env6AMod0O 110 Env6DModO 111 Env6SMod0 112 Env6RMod0 113 Env6ATMSrcO 114 Env6DTMSrc0 115 Env6SLMSrc0 116 Env6RTMSrcO 117 Lfo1ModCMix1 118 Lfo1ModAmount1 119 Lfo1ModCMix2 120 Lfo1ModAmount2 121 Lfo1ModCMix3 122 Lfo1ModAmount3 123 Lfo1ModSource1 126 Lfo1ModSource2 127 Lfo1ModSource3 128 Lfo1ModControl1 130 Lfo1ModControl2 131 Lfo1ModControl3 132 Lfo1ModDest1 134 Lfo1ModDest2 135 Lfo1ModDest3 136 Lfo1Frequency0 138 Lfo1WaveSel0 139 Lfo1Phase
10. Figure 22 further expands on our example by activating three of the four available modulation sources for Osc1 Sourcel and its Control signal modulate the oscillator s wave shape Modulation Source2 LFO3 is providing exponential Pitch modulation of the oscillator and LFO4 is providing the sidechain Control signal to modulate the signal from LFO3 Modulation Source3 LpEG1 Looping Envelope is modulating the LinFM Linear Frequency Modulation parameter of the oscillator and sidechain modulation is coming from AT Aftertouch 20 MODULAR STYLE MODULATION lave HFulse Tyre ehi 2 99 amp Share Coarse Fine HSA HA HA Exponential FM Side Chain Linear FM 0 Strength 0 Strength 0 p jj M 100 2 120 100 100 Ctrl In Ctrl In Ctrl In Ctrl In Source Amount Control Strasth Dest KLECI FE HFoLsHT ke hare lt gt Source Amount Control Strasth Dest HLEDS 18 84 MERE AY Fitch Amount Control Strnath Dest F A H OFF H Fitch Sources Amount Control Strasth Dest HOFF KA FOFF FAY Fone Side Chain Figure 23 Modulation Sources 2 and 3 modulating oscillator pitch Figure 23 shows an example of two modulation sourc es modulating the same parameter In this case both Source2 LFO3 and Source3 LpEG1 are connected to the oscillator s Exponential Frequency Pitch input Finally in all of these examples the oscillators modula tion Source4 slot is emp
11. OutLevel 44 P PatLen 36 Pattern 37 Performance Controls 14 Phase 25 Pitch and Modulation Wheels 15 Playmode 46 Pol 46 PrgChng 44 Processing External Signals 23 Pulse 48 Pulse waveform 48 PW Down 47 PW Up 47 R Ramp 48 Release 44 Repeat 42 Resolut 36 Resonance 29 Ribbon Controller 15 RibHold 46 Rotors 26 Rx NRPN 45 S Sample 58 Sample Playback Oscillator 51 Sample Pools 58 Saw 48 Saw Pulse 50 Sawtooth with downward ramp 48 Sawtooth with upward ramp 48 Saw Tri 50 scaling 42 Self Test Menu 59 SendArp 44 Seq 36 SeqA 36 SeqB 36 SeqC 36 SeqD 36 SeqOn 15 Sequencer 36 Serial 47 Shape 48 Shift 41 signal path 21 Sine 48 Sine wave 48 Slope 42 Soft Menus 35 Solid State Music 56 Split 44 SSM 56 Start 41 StT P 50 SusPed 46 Swing 36 Sync 25 26 48 SysMid 14 System Menu 44 T Tempo 15 Time L 40 Time R 40 Transp ose 47 Tri 48 Triangle wave 48 TritPulse 50 Tunable noise 48 Tune 44 Tx NRPN 45 U Unison 15 UniTune 46 UniVoice 46 V VCA 31 Vector Synthesis 40 Vector Synthesis Oscillator 52 Velocity 36 Vibrato LFO 32 Vocal 56 Volume 45 VS 40 VS AM 14 W Wav 51 Wave 48 Wavetables 49 Wet 39 White noise 48 Wrap 44 WT 49 X X Fade 26
12. Seg0OB 4 973 Seg0OB 5 974 Seg0OB 6 975 Seg0OB 7 976 Seg0OB 8 977 Seg0OB 9 978 Seq0B 10 979 Seq0B 11 980 Seg0OB 12 981 Seq0B 13 982 Seq0B 14 983 63 Seg0B 15 984 Seg0B 16 985 Seq0C_1 986 SeqOC 2 987 Seq0C_3 988 Seg0C 4 989 Seq0C_5 990 SeqOC 6 991 SeqOC 7 992 SeqOC 8 993 Seq0C_9 994 SeqOC 10 995 SeqOC 11 996 Seg0C 12 997 Seg0C 13 998 SeqOC 14 999 SeqOC 15 1000 SeqOC 16 1001 Seq0D_1 1002 Seg0D 2 1003 Seg0OD 3 1004 Seg0D 4 1005 Seg0D 5 1006 Seg0OD 6 1007 Seg0D 7 1008 Seg0D 8 1009 Seg0D 9 1010 SeqoD 10 1011 Seg0D 11 1012 SeqOD_12 1013 Seg0OD 13 1014 SeqoD 14 1015 Seg0OD 15 1016 SeqoD 16 1017 NoneO 0 1018 NoneO 0 1019 VelocityOType0 1021 VelocityOIntensityO 1022 Velocity0OffsetO 1023 AftertouchOTypeO 1024 AftertouchOlntensityO 1025 AftertouchOOffset0 1026 Leg1ClockSyncSw0 1027 Master0PlaymodeO 1036 Leg1T1 1058 Leg1T2 1059 Leg1T3 1060 Leg1T4 1061 Leg1T5 1062 Leg1T6 1063 Leg1T7 1064 Leg1T8 1065 ArpOMode0 1066 Arp0Octave0 1067 ArpOSwingo 1068 ArpOResolutionO 1069 ArpONoteLengthO 1070 ArpOHoldO 1071 ArpOLoopLen 0 1072 ArpOPattO 1073 ArpOOnOffd 1074 Seq0OnOffO 1075 Seq0ModeO 1076 SeqoResolutionO 1077 Seq0Swingo 1078 SeqoPatternO 1079 Lfo1SyncRateO 1080 Lfo2SyncRateO 1081 Lfo3SyncRateO 1082 Lfo4SyncRate0 1083 Lfo5SyncRateO 1084 Osc1SyncRateO 1
13. SlaNedL nuvvverssssemnspesmaede 9 Se EA asa sone cca PV P O i 9 Updating the Operating System 0 9 Calibration Routines een 9 Loading samples e eee 9 There are several ways to select presets 10 Preset Mode Graphic Display 10 About Preset Categories 11 Storing Presets RR O OR P O eii 11 Loading Samples cccccsececceeeeeceseeesseeeceeseeseeseeens 11 User Interface and Navigation 13 General Navigation ccccccsscccssecceeeeceeeeeesesseeeeees 13 PP 13 Main Mode and Mod Mode 13 Graphic TS 0 zna eno tao domed cuneunneeeutmiantendecanes 13 Function Group Shortcut 50iamusotukue ucet 14 Performance Controls 14 Performance Buttons 14 Enable Part Buttons ranrrnnrrnnnrrnnrrnnnrnnnnnnnnnnnnennn 15 Assignable Performance Knob 15 Pitch and Modulation Wheels 15 JO 15 Ribbon Controller APM RANO PR O P 15 Knob Acceleration 00000000 een 16 Knob Acceleration and the Shift Button 16 Rear Panel Connections 17 Modulation BasicsS ranxrnnnnnnnnnnnnnnnnnnnvnnnnnnunnnennnernn 18 Modular style Modulation 18 Destination based Modulation 18 Signal Pathi PSO POS SP ee eee 21 Flexible Signal Path eee 21 Boosting the signal of each oscillator by 6dB 21 Classic synthesizer configuration 21 Insert FX before the filters
14. Source with a full Amount and you would have the knob from the box controlling the filter cutoff of the Solaris The other thing to know about this is that these CC values are usually 0 127 so they may sound stepped when you use them especially on frequency controls In that case HOME MENU you would want to route the CC 1 through a Lag proces sor first and then select that Lag processor as your Mod Source using a small amount of lag to smooth out the control signal Home Menu gl dTare Ge Me Lasffode Lesa OEF C ie Fols mol mola ode Thode Pol Figure 86 Home Menu page 1 of 4 GldType The global glide type setting portamento Porta glissan do Gliss fingered portamento FingPort and fingered glissando FingGlis Glissando is quantized portamento It is as if you were sliding your finger up a guitar neck with discreet semitone intervals being played as you slide Fin gered means it only glides when legato notes are played you play a new note before lifting off the old note GidMode Parameter Description C Time Constant Time Allows you to specify the time of the glide using the GIdTime parameter C Rate Constant Rate 0 to 100 with 100 being the shortest glide time Exp Exponential Table 17 Glide Modes GIdRange Describes the range of the glide between two notes When set to 100 you get the full range expected If you are in Gliss mode for example you
15. are stored in the Global Init file abbreviated in the Factory folder on your CF card as glo ini This file is created when you set the Save parameter on the System page to Active and then press Enter The Global init file contains all of the parameters on the System and MIDI pages as well as the polarity settings for the foot switches set on page 2 of the Home parameters This glo ini file is loaded into the synth for use when you first turn on your Solaris MIDI Menu Figure 84 MIDI Menu page 1 of 2 Channel MIDI channel the Solaris sends and receives on PrgChng When On Solaris will respond to program change mes sages over MIDI SendArp When On Solaris will send the notes played by the internal arpeggiator to the MIDI Out port Omni Turns MIDI Omni mode On or Off LocalOff When On Solaris does not respond to MIDI messages from the physical keyboard Tx NRPN When On Solaris will transmit Non Registered Parameter Numbers over MIDI MIDI MENU Rx NRPN When On Solaris will receive Non Registered Parameter Numbers over MIDI MIDICtrl This parameter determines whether or not Solaris will send or receive MIDI signal It should be defaulted to On CIkSrc Determines whether the Solaris will use its internal MIDI clock or sync to an external MIDI clock source When set to Ext Solaris will sync to an external clock When set to Send Solaris will sync to its internal clock and also send
16. clock signal out over MIDI out Volume When On Solaris will respond to volume change mes sages over MIDI Figure 85 MIDI Menu page 2 of 2 There are five assignable MIDI Control inputs labeled CC 1 5 The value that appears below each of these labels is the actual MIDI Control number that the user wants to as sign to the CC input That input is then available as a Mod Source in all the Mod Lists This provides for a way to use a MIDI Controller that wasn t included in the standard Mod List Here s how it works Let s say you have an external MIDI controller box such as the Kawai K5000 Macro Control This box has some dedicated knobs that put out specific controller values such as Release 72 Attack 73 and Cutoff 74 This means when you turn the knob that is called Cutoff it will send its knob output as MIDI Control 74 Now let s say you wanted to use this knob as a source for modulation in the Solaris On page 2 of the MIDI menus you can assign up to 5 control numbers and in this exam ple we are going to select a value of 74 for CC 1 If I plug the Macro Control box into the MIDI input of the Solaris when turn the cutoff knob on the box it will send a value to wherever CC 1 is programmed to go When you select Modulation Sources you will see that CC1 is one of the choices so you could go into a Filter modulation source set the Destination for Cutoff and then select CC 1 as the Mod
17. copy until it starts blinking and then select the button where you want to paste the data Of course this only works with like objects LFOs to other LFOs Filters to Filters etc Graphic Display JE VG Had Hrres i t ti Bank Fade er Cat pale Je US H34 Bre Ci Hrresaio Cerbrishli Fraga gt Figure 11 Graphic Display The center section with the graphic display is the softkey functional display area It also has a Preset Mode when the Preset switch is on at the top of the numeric keypad GRAPHIC DISPLAY 13 panel Other functional buttons located here are Home and More The graphic display handles all of the remain ing parameters that are not covered in the dedicated text display sections There are 6 soft key buttons whose labels change depending on which functional group is selected The top row of knobs operate the upper line of parameters the bottom row the lower line Sometimes either the up per or lower knob will adjust the same value only for the BPM at this time You may find yourself at times operating a knob that is not the correct one for the parameter line you are wanting to adjust something you have to learn to watch The bottom line of the graphic display will always show the active parameter i e the last knob touched It will show the current parameter value waveshape names sample names etc The Data Wheel will always affect the active parameter The bottom row of the graphic display s
18. fine adjustment of LFO Rate the knob is programmed to increase or decrease in steps of 1 100th of 1Hz as the knob is turned Clearly this scheme would require many full rotations of the knob to reach 500Hz Knob Acceleration and the Shift Button Pressing and holding down the Shift button as you turn a knob will invert its default acceleration scheme Holding down the Shift button while turning the LFO Rate knob will cause the value to jump by 1Hz making it much quicker to access values at either end of the range The exact oppo site happens for Cutoff allowing for very fine control over the frequency The Data Wheel is not affected by the Shift button It always scrolls at the finest resolution available for the parameter 16 PERFORMANCE CONTROLS KNOB ACCELERATION Rear Panel Connections The illustrations below show the rear panel connections of the Solaris The illustration is too long to fit on a single page of the manual so it is represented by Figure 17 which shows the leftmost connections on the rear of the unit and Figure 18 which shows the rightmost connections Exp Sus Out In Right 8 Left 7 Right 6 Left s Right 4 Left 3 Right 2 Left 1 4 3 2 1 Figure 17 Leftmost rear panel connections MIDI COMPUTER CF CARD POWER POWER Thru Out In USB Switch Plug Figure 18 Right most rear panel connections PEDALS The pedal inputs are described in Home Menu on page 45 SPDIF Optical S PDIF capable of 48kHz
19. more than one page of information You can tell by the small numbers in the lower right of the gfx display if there are additional pages For example if you see 1 4 this means you are looking at page 1 out of 4 possible pages Use the up down buttons to the left of the gfx display to move through the pages Performance Controls Solaris provides a number of performance oriented controls that give you tremendous control over the expressiveness of your playing These controls are described below ata high level For further details about how to configure and customize these controls please refer to the appropriate sections in the Solaris User Guide Performance Buttons Assign 1 Assign 2 Octave Figure 13 Performance Buttons On the left side of the unit between the LFOS panel and the Ribbon Controller there are 9 performance oriented buttons Assign 1 and 2 These buttons can be set to momentary or toggle mode This is done in the Home menu page 2 as shown in Figure 14 You also can assign the desired function for each but ton on this page The choices are Keyboard Glide on off Oscillator Glide on off for an individual oscillator or for all of them start stop Seq start stop Arpeg and Arpeg Trans pose When selected in the Mod Source list the assignable buttons generate full value Max value when pressed and a zero value when not For details refer to Figure 85 MIDI Menu page 2 of 2 on page 45
20. no output of the LFO regardless of any other settings VIBRATO LFO PARAMETERS MAIN MODE Page 2 Parameters Figure 51 Vibrato LFO Main Mode page 2 LFO Parameters Mod Mode Figure 52 LFO Mod Mode All of the LFOs have 3 modulation source slots An LFO s Rate or Level can be modulated by any of the three modu lation sources LFOS 1 4 AND VIBRATO LFO LFO PARAMETERS MOD MODE 33 Envelope Generators ally a second decay segment that ramps down to 0 or up to 127 depending on the value The sustain slope range is in seconds and ms In addition there is a small custom graphic character to the left of the value either a down arrowhead if a negative value or an up arrowhead for a Tarn er positive value This is to help describe that any negative value eventually ends up taking the EG output down to 0 while any positive value takes it up to 127 full value Figure 53 Envelope Generator Panel EG Parameters Mod Mode Page 1 Parameters Envelope Generators 1 6 ECT Wel HOFF HOFF Figure 56 Envelope Generator Mod Mode page 1 ro SS E Sro Solaris has six DADSR envelope generators that are fully The modulation source list for the envelope generators is assignable and available in the modulation source lists limited to velocity key tracking modulation wheel and as There is also a looping envelope generator see Looping signable continuous controllers 1 4 Env
21. on page 59 for details about the Self Test menu Loading samples Samples can be in raw or wav format and have a text file that describes each sample in a group sample pool Refer to Appendix 5 Sample Specifications on page 58 for details about creating sample pools To load an exist ing sample pool from the CompactFlash card access the System soft menu on the Graphic Display Press the Enter button and select from the available sample pools as shown in Figure 1 Samples are loaded into RAM so the CF card can be removed while Solaris is on Em DFF amr les LosdDuts rar I Uri Uri Tune i Foolnane blockersFlel Figure 1 Loading a Sample Pool Rotate the knob beneath the Poolname parameter to se lect a sample pool then press Enter again to load You will see a progress menu as samples are loaded Move off of the System soft menu to avoid reload ing the sample pool if you hit the Enter key inad vertently Selecting Presets About 30 seconds after the system is turned on the Preset screen should be shown on the graphic display You should A FEW THINGS TO KEEP IN MIND 9 get a short message about the CF card and the Preset LED should be lit as shown in Figure 2 If it isn t press the Preset button Figure 2 Numeric Keypad Figure 3 Data Wheel There are several ways to select presets 3 Use the Inc Dec buttons right above the Data Wheel as shown in Figure 3 This automatically l
22. oscil lator selected by this parameter Note that an oscillator cannot be synchronized to itself Wav Sample Playback Oscillator Parameter Parameter Description Values Description Main mode page 1 parameters Type Type of oscillator Sample playback oscillator Wave This parameter selects a sample from the 1 N sample set the user has uploaded to Solaris Coarse Parameter controls the pitch of the oscilla 60 to 60 tor in semitones Fine Fine tuning of the oscillator in percentage of 100 to 100 one semitone Main mode page 2 parameters Glide Exponential glide time for this oscillator 0 0 ms to 20 0 sec Glide Turns oscillator glide on and off Table 23 Parameter Table for Sample Playback WAV Oscillator 51 VS Vector Synthesis Oscillator Parameter Parameter Description Values Description Main mode page 1 parameters Type Type of oscillator S Vector synthesis oscillator is osci Wave This parameter selects among the 94 1 94 Number of the single cycle waveform to play single cycle waveforms to play Coarse Parameter controls the pitch of the oscilla 60 to 60 tor in semitones Fine Fine tuning of the oscillator in percentage of 100 to 100 one semitone Main mode page 2 parameters Glide Exponential glide time 0 0ms to 20 0sec Turns oscillator glide on and off Table 24 Parameter Table for Vector Synthesis Oscillator 2 Sawtooth 134 MassOrgan 166 MediumPue gt 4 WarmBel 136
23. oscillator type It is possible to cre ate multi samples for use with Solaris by editing the lowkey and highkey values of each sample to indicate over which MIDI note range they should each play Each new note will play the sample currently selected by the active oscillator s You could play and hold sample 1 from the example above using the sustain pedal or Hold button change the oscillator s Wave parameter to the second sample and press another key The new note on event will cause the oscillator to play the second sample even though the first sample may still be playing 58 Appendix 6 Self Test Menu To access the Self Test Menu press and hold the 1 8 and 3 buttons on the numeric keypad simultaneously Follow the on screen instructions to perform various diagnostic tests or to calibrate the analog controls such as the Joystick Rib bon Controller and wheels Figure 91 Self Test Menu page 1 Figure 91 shows the main menu of the Self Test Menu In this case you can see that the DSP diagnostic test has been run Figure 92 shows the second page of self test menu options Press Exit to leave the Self Test Menu Figure 92 Self Test Menu page 2 The menu you are most likely to use is the Analog Ctr s menu Access this menu by pressing 4 on the numeric keypad when you are on the main Self Test menu page The Analog Ctr s menu allows you to re calibrate the physical controls on Solaris Figure 93 Self Test Menu
24. pa rameters You can even use them with the lag processors for simple 1 pole filtering as described in Lag Processor on page 43 Using external ins with the Vector Mixers allows you to quad mix 4 inputs with the Joystick Using them with the AM sections such as the Ring Mod algorithm allows the external ins to interact more with the oscillators and vice versa Or you can just use them as Mod Sources to control an oscillator s frequency directly An additional comment about using external audio signals with the Rotors because the Rotors can run at audio rates like oscillators do you can use the Rotor to give a pitch to external audio signals and play them polyphonically that way The source material doesn t even have to be pitched You could use traffic sounds crowd noises or strange elec tronic blips and beeps and then just run the Rotor as an oscillator The external inputs will provide the raw material for the Rotor s timbre and the Rotor s tuning controls and the keyboard will control the pitch or frequency EXTERNAL SIGNALS Processing External Control Signals Control signals from external synthesizer gear such as a modular LFO module can be passed in to Solaris via one of the four analog inputs This signal can then be used as a control source within Solaris to modulate other parameters thus providing a way to easily synchronize parameters in Solaris to external analog gear PROCESSING EXTERNAL CO
25. press Enter and the Solaris will go out to the CF card and look for any SamplePool text files in the Samples folder to load in the Sample Pool names Once it has all of the names loaded from the card you can turn the same lower left knob and now see a number and a name of each SamplePool that is on the card Once you see the one you want to load you press Enter again and wait until the Solaris is finished loading the samples at which point you should see the message Finished sample transfer To avoid any accidental reloading of the SamplePool names and or samples themselves it s best to move off of the SYSTEM screen to some other screen you can go to the MIDI screens or any other soft key group Now you can go to any Oscillator select the WAV type and you should be able to hear your loaded samples as you scroll through the Wave numbers The first time you load a brand new sample pool into your Solaris a special map file is created from the SamplePool txt file This will take a little bit of time depending on how many samples are in the Sample Pool and you will find that when trying to select the new pool you will not see it immediately in the screen You do need to attempt to select it however to tell the Solaris to build the map file Once it s done you will have the SamplePool num ber available to load The format of SamplePool files is described in Sample Specifications on page 58
26. related to the arpeggiator or sequencers The Ribbon Controller occupies the last spot since it is also a real time controller that you might want to adjust during performance Group 1 Group 2 has to do with the Effects and Output bus sing since that is all related Group 2 Functional groups related to oscillator like function ality as well as the looping envelope Group 3 Individual soft menus for the 4 Key Tables to avoid deep menus lag processors which all fit into a single soft menu and envelope follower Group 4 System and MIDI settings that are not stored with the preset Group 5 Table 8 Soft Menu Group Organization The following sections describe each soft menu in detail Arpeggiator Arp vere Pat T TE 1 User 1 16 FED B t Penn HOF gt Figure 59 Arp Menu page 1 of 1 Ho mz LIF Patten Solaris provides an arpeggiator with performance oriented controls accessible directly on the front panel The Arp On button activates the arpeggiator The Hold button holds the notes of any keys currently being pressed This allows the arpeggiator to be latched on When the Solaris is using its internal MIDI clock the Tempo button can be used to set the arpeggiator s playback tempo See Tempo on page 15 Mode Controls the direction in which the arpeggiator will play a sequence of notes held by the player The modes are Up Down Up Down AsPlayed and Random AsPlayed p
27. the gracious support message from Waldorf Music giving permission to use their Wavetables Your keyboard comes with a CompactFlash card that pro vides organization and editing of presets arpeggiator and sequencer patterns storage of samples and several other basic setup files In addition there are a few hidden com mands to call up system diagnostics and calibration Updating the Operating System There are two ways to update Solaris s operating system OS QUICK START 1 There is a file in the OS folder of the CompactFlash card that came with Solaris called doFlash txt There is a single value in the text file either a 1 or a 0 A value of 1 will cause Solaris to automatically load the OS file in the same folder Once the operating system is loaded the value doFlash txt file is rewritten as a O prevent ing Solaris from updating the OS every time you turn it on You will see a progress screen and a message to reboot Solaris when the OS is finished loading 2 If you hold down Enter during boot up when the graph ics screen first shows an image you get a special menu that offers a menu option to load the OS from the card Calibration Routines You can re initialize the Joystick wheels ribbon and after touch sensing by accessing Solaris s Self Test menu Press 1 3 and 8 on the numeric keypad simultaneously and fol low the instructions shown in the main display See Appen dix 6 Self Test Menu
28. their generosity in allowing me to use the Waldorf wavetables in Solaris WAVETABLE REPRODUCTION WITH FRIENDLY PERMISSION OF WALDORF MUSIC GMBH GERMANY prat WALDORF MUZIC DE 2 Introduction Welcome to the world of Solaris Thank you for purchasing the Solaris keyboard I ve worked for years on this design following my desire to merge the benefits of digital technology with a bit of old school layout and control This approach intends to provide fairly quick ac cess to a very large number of parameters over 1250 due to the flexible approach decided to implement however as with any complex system work flow and understanding can take time depending on your experience and interest Please register your purchase of the Solaris with me at info johnbowen com Once have your name and email and se rial number will send you links to some video tutorials to get you started It is my hope that Solaris will provide you with many hours of exploration and enjoyment Please let me know if you have questions or need clarification on any subjects that are not clearly explained and will do my best to answer Regards John Bowen WELCOME TO THE WORLD OF SOLARIS 3 Dedication I d like to dedicate the Solaris project to the memory of my late mom and dad They were always supportive and encour aging to me throughout my music career I d also like to thank my wife and family for their patience and understanding Hans Zi
29. will give results equal to the actual original time level setting If time values longer than the initial setting are desired you must first set the velocity Page 2 Parameters mod amount and then adjust the initial setting to achieve desired results Likewise for amounts of negative value plore 5 S1ore F Slore minimum velocity will yield the original settings and higher Ree H 26 da Ames Hin values will be shorter than the initial setting The delay segment delays the onset of the attack segment by the time interval specified H Slore D Figure 55 Envelope Generator Main Mode page 2 The Slope parameter controls the shape of the segment A value of zero is a linear slope while 127 is exponential The sustain slope of Solaris s envelope generators is actu 34 ENVELOPE GENERATORS 1 6 EG PARAMETERS MOD MODE Graphic Display Functions Graphic Display gd r FES rigter cat HrPesslo Leib ITE US 6 Bank Hes Figure 58 Graphic Display Panel Solaris uses 5 text display panels with dynamic LCD panels and hardware controls to provide fast intuitive access to common synthesizer modules such as oscillators LFOs and filters While those panels are excellent for hands on tweaking much of Solaris s functionality is too complex to be represented this way The graphic display panel shown in Figure 58 provides a highly visual means for interacting with Solaris s deeper capabilities Soft Menus
30. 0 HL Ser HA rs Figure 49 LFO Main Mode page 2 Parameter Description DelStrt 0 0 ms to 10 0 seconds Delays the output of the LFO based on the note on gate Fadeln 0 0 ms to 10 0 seconds The time it takes to fade in the LFO output after the Delay Start is finished FadeOut 0 0ms to 10 0 seconds The time it takes to fade out the LFO output after a note key is released Level Controls the initial output level of the LFO Table 7 LFO Main Mode page 2 parameters Vibrato LFO Parameters Main Mode The Vibrato LFO is hard wired to the vibrato effect Pitch mod of all 4 oscillators The Vibrato LFO in Solaris is a multimode LFO with the same parameters that come with the other four LFOs Added are parameters to disconnect the Mod Wheel and set a maximum mod amount for the Mod Wheel ModWMax Page 1 Parameters mate Hodhi ra J Hz On Figure 50 Vibrato LFO Main Mode page 1 By default the Vibrato LFO is connected to the Mod Wheel The ModWhl parameter allows the Vibrato LFO to be disconnected from the Mod Wheel When ModWhl is Off the Vibrato LFO affects all 4 oscillators pitch with full strength When ModWhl is On the ModWMax parameter controls how much the Vibrato LFO affects oscillator pitch relative to the position of the Mod Wheel The output of any LFO is controlled overall by the Level parameter Main Mode page 2 Share E ModlMax Fhase a aA HO If the Level is 0 there will be
31. 085 Osc2SyncRate0 1086 Osc3SyncRate0 1087 Osc4SyncRate0 1088 64 Rot1SyncRate0 1089 Rot2SyncRate0 1090 Fil1lModAmount1 PitchO 1091 Fil2ModAmount1 PitchO 1092 Fil3ModAmount1 PitchO 1093 Fil4ModAmount1 PitchO 1094 Fil1ModAmount2 PitchO 1095 Fil2ModAmount2 PitchO 1096 Fil3ModAmount2 PitchO 1097 Fil4ModAmount2 PitchO 1098 Fil1ModAmount3 PitchO 1099 Fil2ModAmount3 PitchO 1100 Fil3ModAmount3_PitchO 1101 Fil4ModAmount3 PitchO 1102 Fil1ModAmount4 PitchO 1103 Fil2ModAmount4 PitchO 1104 Fil3ModAmount4 PitchO 1105 Fil4ModAmount4 PitchO 1106 Osc1ModAmount1 PitchO 1107 Osc2ModAmount1 PitchO 1108 Osc3ModAmount1 PitchO 1109 Osc4ModAmount1 PitchO 1110 Osc1ModAmount2 PitchO 1111 Osc2ModAmount2 PitchO 1112 Osc3ModAmount2 PitchO 1113 Osc4ModAmount2 PitchO 1114 Osc1ModAmount3 PitchO 1115 Osc2ModAmount3 PitchO 1116 Osc3ModAmount3 PitchO 1117 Osc4ModAmount3 PitchO 1118 Osc1ModAmount4 PitchO 1119 Osc2ModAmount4 PitchO 1120 Osc3ModAmount4 PitchO 1121 Osc4ModAmount4 PitchO 1122 Lfo1ModAmount1 PitchO 1123 Lfo2ModAmount1 PitchO 1124 Lfo3ModAmount1 PitchO 1125 Lfo4ModAmount1 PitchO 1126 Lfo5ModAmount1 PitchO 1127 Lfo1ModAmount2 PitchO 1128 Lfo2ModAmount2 PitchO 1129 Lfo3ModAmount2 PitchO 1130 Lfo4ModAmount2 PitchO 1131 Lfo5ModAmount2 PitchO 1132 Lfo1ModAmount3 PitchO 1133 Lfo2ModAmount3 PitchO 1134 Lfo3ModAmount3 PitchO 1135 Lfo4ModAmount3 PitchO 11
32. 1 2P 1 2 1 2T 1 4P 1 4 1 4T 1 8P 1 8 1 8T 1 16P 1 16 1 16T 1 32 1 327 1 64 1 64T 1 128 Table 30 MIDI Clock Divisions Description o7 Appendix 5 Sample Specifications Sample Pools Solaris loads samples from the CompactFlash card into the RAM on its DSP chips Solaris has a total of 32MB of sample RAM The samples are stored as mono 16 bit signed headerless raw audio files on the CompactFlash card Wav files will work as well The current OS version looks for a folder named Samples to find the samples A sample pool consists of audio sample files and a text file defining how to load and play them The definition of a sample pool is done with a simple text file in the same folder use a naming like SamplePool 001 txt SamplePool 002 txt etc Pool name Glockenspiel Sample sampleindex I filename Glockenspiel B3 raw samplerate 44100 samplelength 43753 loopstart 43042 loopend 43753 rootkey 59 finetune 0 lowkey 0 highkey 127 Sample sampleindex 2 filename Glockenspiel B5 raw samplerate 44100 samplelength 40628 loopstart 39628 loopend 40628 rootkey 83 finetune 0 lowkey 0 highkey 127 Figure 90 Example SamplePool text file The sample pool file shown in Figure 90 contains two individual samples These two samples will show up as samples 1 and 2 in the Wave parameter of any oscillator slot running a sample playback Wav
33. 12 LOADING SAMPLES STORING PRESETS General Navigation This section introduces some very important con cepts that will help you easily dive into the depths of Solaris It s well worth your time to read this chapter The Solaris is organized so that you can get to a number of parameters rather quickly That s why I ve decided to use six displays five text displays and one Graphic Display Even so with over 1200 parameters inevitably there is going to be the need to page the displayed parameters All synthesizers have several basic sections to create sound the five text displays are used to handle the parameters for seven of these sections 2 of the 5 displays are shared These sections are Oscillators LFOs Mixers InsertFX Filters VCAs and Envelopes The sixth display is called the graphics gfx display and is used to handle all remaining parameters of the instrument Text Displays x5 lave Share Coarse Pulse H58x HA Fine HA Tyre HM 1 99 0 6 Figure 9 Typical Text Display Main Mode and Mod Mode Figure 9 shows the layout of a text display this one from the Oscillators section For each of the text display sec tions you have 1 pair of buttons stacked vertically The pair of buttons to the left of the displays are Inc Dec buttons Below those is the sub group toggle button The upper subgroup is called Main the lower one Mod For each section you will find general settings under
34. 313 Osc2ModSource2 314 Osc2ModSource3 315 Osc2ModSource4 316 Osc2ModControl1 317 Osc2ModControl2 318 Osc2ModControl3 319 Osc2ModControl4 320 Osc2ModDest1 321 Osc2ModDest2 322 Osc2ModDest3 323 Osc2ModDest4 324 61 Osc2Frequency0 325 Osc2Mode0 326 Osc2WaveSel02 327 Osc2Tune0 333 Osc2Shape0 334 Osc2Phase0 335 Osc2KeytrackSw0 336 Osc2GlideSw0 337 Osc2GlideTimeO 338 Osc2SyncSrc0 339 Osc3ModCMix1 342 Osc3ModAmount1 343 Osc3ModCMix2 344 Osc3ModAmount2 345 Osc3ModCMix3 346 Osc3ModAmount3 347 Osc3ModCMix4 348 Osc3ModAmount4 349 Osc3ModSource1 350 Osc3ModSource2 351 Osc3ModSource3 352 Osc3ModSource4 353 Osc3ModControl1 354 Osc3ModControl2 355 Osc3ModControl3 356 Osc3ModControl4 357 Osc3ModDest1 358 Osc3ModDest2 359 Osc3ModDest3 360 Osc3ModDest4 361 Osc3Frequency0 362 Osc3Mode0 363 Osc3WaveSel03 364 Osc3Tune0 370 Osc3Shape0 371 Osc3Phase0 372 Osc3KeytrackSwO 373 Osc3GlideSw0 374 Osc3GlideTimeO 375 Osc3SyncSrc0 376 Osc4ModCMix1 379 Osc4ModAmount1 380 Osc4ModCMix2 381 Osc4ModAmount2 382 Osc4ModCMix3 383 Osc4ModAmount3 384 Osc4ModCMix4 385 Osc4ModAmount4 386 Osc4ModSource1 387 Osc4ModSource2 388 Osc4ModSource3 389 Osc4ModSource4 390 Osc4ModControl1 391 Osc4ModControl2 392 Osc4ModControl3 393 Osc4ModControl4 394 Osc4ModDest1 395 Osc4ModDest2 396 Osc4ModDest3 397 Osc4ModDest4 39
35. 36 Lfo5ModAmount3 PitchO 1137 Rot1ModAmount1 PitchO 1138 Rot2ModAmount1 PitchO 1139 Rot1ModAmount2 PitchO 1140 Rot2ModAmount2 PitchO 1141 Rot1ModAmount3 PitchO 1142 Rot2ModAmount3 PitchO 1143 Rot1ModAmount4 PitchO 1144 Rot2ModAmount4 PitchO 1145 Osc1WaveSel1 1146 Osc1WaveSel1 1147 Osc1WaveSel1 1148 Osc1WaveSel1 1149 Osc1WaveSels 1150 Osc2WaveSel2 1151 Osc2WaveSel2 1152 Osc2WaveSel2 1153 Osc2WaveSel2 1154 Osc2WaveSels 1155 Osc3WaveSel3 1156 Osc3WaveSel3 1157 Osc3WaveSel3 1158 Osc3WaveSel3 1159 Osc3WaveSels 1160 Osc4WaveSel4 1161 Osc4WaveSel4 1162 Osc4WaveSel4 1163 Osc4WaveSel4 1164 Osc4WaveSels 1165 Fil1Sel1 1166 NoneO 0 1167 Fil1Sel5 1168 Fil2Sel1 1169 NoneO 0 1170 Fil2Sel5 1171 Fil3Sel1 1172 NoneO 0 1173 Fil3Sel5 1174 Fil4Sel1 1175 NoneO 0 1176 Fil4Sel5 1177 glo Analog0Out12 2001 glo ChorusOFrequency0 2006 glo Chorus0ModeO 2007 glo ChorusODepthO 2008 glo ChorusOOffsetO 2009 glo ChorusOlnLevel0 2010 glo ChorusOFeedbackO 2011 glo ChorusODryLevel0 2012 glo ChorusOWetLevel0 2013 glo ChorusOPhase0 2014 glo ChorusOlnSrcO 2015 glo PhaserOFreguency0 2016 glo PhaserOMode0O 2017 glo PhaserODepthO 2018 glo PhaserOOffsetO 2019 glo PhaserOlnLevel0 2020 glo PhaserOFeedbackO 2021 glo PhaserODryLevel0 2022 glo PhaserOWetLevel0 2023 glo PhaserOPhaseO 2024 glo PhaserOlnSrcO 2025 g
36. 8 Osc4Frequency0 399 Osc4Mode0 400 Osc4WaveSel04 401 Osc4TuneO 407 Osc4Shape0 408 Osc4Phase0 409 Osc4KeytrackSw0 410 Osc4GlideSw0 411 Osc4GlideTimeO 412 Osc4SyncSrc0 413 Rot1ModCMix1 416 Rot1ModAmount1 417 Rot1ModCMix2 418 Rot1ModAmount2 419 Rot1ModCMix3 420 62 Rot1ModAmount3 421 Rot1ModCMix4 422 Rot1ModAmount4 423 Rot1ModSource1 424 Rot1ModSource2 425 Rot1ModSource3 426 Rot1ModSource4 427 Rot1ModControl1 428 Rot1ModControl2 429 Rot1ModControl3 430 Rot1ModControl4 431 Rot1ModDest1 432 Rot1ModDest2 433 Rot1ModDest3 434 Rot1ModDest4 435 Rot1In1Gain0 436 Rot1In2GainO 437 Rot1In3GainO 438 Rot1In4Gain0 439 Rot1Frequency0 440 Roti Tuned 441 Rot1XFade0 442 Rot1Phase0 443 Rot1KeytrackSw0 444 Rot1In1Src0 445 Rot1In2SrcO 446 Rot1In3SrcO 447 Rot1In4SrcO 448 Rot1SyncSrc0 449 Rot2ModCMix1 452 Rot2ModAmount1 453 Rot2ModCMix2 454 Rot2ModAmount2 455 Rot2ModCMix3 456 Rot2ModAmount3 457 Rot2ModCMix4 458 Rot2ModAmount4 459 Rot2ModSource1 460 Rot2ModSource2 461 Rot2ModSource3 462 Rot2ModSource4 463 Rot2ModControl1 464 Rot2ModControl2 465 Rot2ModControl3 466 Rot2ModControl4 467 Rot2ModDest1 468 Rot2ModDest2 469 Rot2ModDest3 470 Rot2ModDest4 471 Rot2In1Gain0 472 Rot2In2Gain0 473 Rot2In3Gain0 474 Rot2In4Gain0 475 Rot2Frequency0 476 Rot2Tune0 477 Rot2XFadeO 478 Rot2Phase0 479 Rot2K
37. Analog Ctrls menu 59 Appendix 7 Warranty Warranty Regulations Warranty Regulations Zarg Music LLC warrants that the described product has been free of failures within parts or components of the hardware and was found to be fully functional Please carefully read the following information which is important in the case of prob able damages or malfunctions If goods are being found defective missing features described within the present documentation or becoming defective due to eventual fabrication deficiency or material defects within the first twelve months after purchase then Zarg Music LLC shall at its sole discretion and evaluation replace or repair the defective parts or goods at no cost Multiple repairs shall be permissible In case the malfunction or physical failure can not be fixed customer receives the right to cancel the purchase with refund of the amount originally paid for the defective product In case testing shows no physical damages customer will be charged for testing procedure and services Any deficiencies caused by transportation have to be declared within a 14 days period after receipt of goods by written notice Please note that any warranty repair at no cost ruled by the above regulations requires registration of name and address by sending the proof of purchase together with the defective product To return defective goods please contact the retailer where you purchased the product As an alternative y
38. I 100 pa 100 FY Ctrl In Ctrl In Strength Sourcel Amount Control Strasth Dest KLECI a FPolsAT 59 HShare Figure 21 Solaris oscillator mod source 1 LFO1 controlling wave shape and Poly Aftertouch providing sidechain modulation All of Solaris s modulation sources have an additional Con trol or sidechain circuit This allows a modulation source to itself be modulated by another control signal resulting in very interesting and complex control signal shapes Figure 21 expands on our previous example by adding a Control signal to modulate the LFO signal coming in as modulation Sourcel In this case we have a virtual patch chord run ning from the output of the PolyAT module on our modular synth into the sidechain control input of our modular oscilla tor s wave shape parameter DESTINATION BASED MODULATION 19 lave HFulse Tyre kil Share Coarse Fine HSA HA HA Exponential FM Side Chain Linear FM 0 Strength 0 0 0 p 100 100 100 gt 100 100 120 Ctrl In Ctrl In Side Chain Strength Ctrl In Ctrl In o Wz Source Amouat Control StrasthfPest HLEDS HA KLFO4 H Pak Sources Amount Contre Dest FLFEGi HAAS FA FLinFr w ul 7 XK Sourcet APO Contra nath Dest FOFF HA FOFF HA Fore Figure 22 Solaris oscillator with 3 of 4 available modulation sources active and wired to the oscillator
39. IT patch that ships with Solaris is designed to make it very easy to set up a typical patch in which the step sequencer s control the pitch of the oscil lators Check the modulation sources for each oscil lator in the INIT patch One of the sources should be set to one of the four sequencer rows probably SegA for Oscillator 1 SeqB for Oscillator 2 etc Note that the Amount of the modulation source is set to the maximum value of 120 00 semitones This setting makes the pattern step values corre spond to semitones Using values less than 120 will cause the steps in the pattern to translate to less than full semitone values Solaris has 4 exponential lag processors that can be used to produce a slowing or gliding effect on the sequencer s control signal See Lag Processor on page 43 All four sequencer rows are activated by pressing the Seq On button below the LFO control panel When the se quencer is synchronized to Solaris s internal MIDI clock the Tempo button can be used to set the sequencer s playback tempo See Tempo on page 15 Horr l ie Se ae E Figure 60 Sequencer Menu page 1 of 3 Mode Normal Each step in the sequence retriggers the envelopes Each new key press restarts the sequencer from the first step and retriggers the envelopes No Reset The sequencer is free running in the back ground A key press will retrigger envelopes but the sequencer will not restart from the first step It
40. MIDI clock by setting the ClkSrc parameter in the MIDI menu to Int You can then specify the BPM clock division and swing amount for the steps in the sequencer The step sequencer can also be set to synchronize to an incoming MIDI clock signal by setting the ClkSrc parameter to Ext in the MIDI menu See MIDI Menu on page 44 ENER SEE Figure 61 Sequencer Menu page 2 of 3 PatLen Specifies the length of the sequencer row s pattern Each of the 4 rows can have a different pattern length GRAPHIC DISPLAY Step1 Step8 Allows the first 8 steps of the row s pattern to be set If the Amount parameter in the destination is set to 120 00 semitones the values of each step correspond to 1 semi tone Division MIDI clock division that determines the length of each step All rows are controlled by the Division setting of SegA Figure 62 Sequencer Menu page 3 of 3 Init Init provides a convenient way to clear the row s step set tings Change the Init parameter to Active The LED above the Enter button will flash Pressing the Enter button will zero out all of the row s step values Press Exit to cancel without clearing the values Step9 Step16 Allows steps 9 16 of the row s pattern to be edited Division MIDI clock division that determines the length of each step All sequencer rows are controlled by the Division set ting of SeqA The parameter is simply listed on all 3 menu pages for convenience Ribbon Contr
41. NTROL SIGNALS 23 Oscillators Type HEN Figure 25 Oscillators Panel Share Coarse Kak H laue Pulse Fine H Solaris has four oscillators as well as several special sound sources including Rotors AM and Vector Synthesis Oscillators Osc 1 4 Osc1 4 represent 4 slots each of which supports a variety of different oscillator types Table 2 lists the oscillator types available for each of Solaris s 4 oscillators OFF MM1 The oscillator slot is empty MultiMode oscillator supporting a wide range of common waveforms as well as 2 morphing waveforms sine to saw and sine to square and a special stacked sawtooth waveform called Jaws WT Wavetable oscillator using the same wavetables as the Waldorf microwave Contains 63 waveta bles each with 64 sweepable waveshapes Based on the Curtis Electromusic oscillators found in classic Sequential Circuits analog synthesizers Capable of generating single waveforms or any combination of Saw Triangle and Pulse wave forms CEM WAV Sample playback oscillators that plays files loaded from a CompactFlash card VS Based on the Prophet VS containing 94 single cycle waveshapes Mini Based on the Minimoog supporting the same 6 single and combination waveforms Table 2 Oscillator types available for Osc 1 4 Oscillator Parameters Main Mode Oscillator Main mode is active when the LED next to the Main label is lit Main mode loads t
42. O 140 Lfo1KeySyncSw0 141 Lfo1FadelnTimeO 142 Lfo1FadeOutTimed 143 Lfo1DelayTimeO 144 Lfo1OffsetSw0 145 Lfo1LevelO 147 Lfo2ModCMix1 148 Lfo2ModAmount1 149 Lfo2ModCMix2 150 Lfo2ModAmount2 151 Lfo2ModCMix3 152 Lfo2ModAmount3 153 Lfo2ModSource1 156 Lfo2ModSource2 157 Lfo2ModSource3 158 Lfo2ModControl1 160 Lfo2ModControl2 161 Lfo2ModControl3 162 Lfo2ModDest1 164 Lfo2ModDest2 165 Lfo2ModDest3 166 Lfo2Frequency0 168 Lfo2WaveSel0 169 Lfo2PhaseO 170 Lfo2KeySyncSw0 171 Lfo2FadelnTimeO 172 Lfo2FadeOutTimeO 173 Lfo2DelayTimeO 174 Lfo2OffsetSwO 175 Lfo2Level0 177 Lfo3ModCMix1 178 Lfo3ModAmount1 179 Lfo3ModCMix2 180 Lfo3ModAmount2 181 Lfo3ModCMix3 182 Lfo3ModAmount3 183 Lfo3ModSource1 186 Lfo3ModSource2 187 Lfo3ModSource3 188 Lfo3ModControl1 190 Lfo3ModControl2 191 Lfo3ModControl3 192 Lfo3ModDest1 194 Lfo3ModDest2 195 Lfo3ModDest3 196 Lfo3FrequencyO0 198 Lfo3WaveSel0 199 Lfo3Phase0 200 Lfo3KeySyncSw0 201 Lfo3FadelnTimeO 202 Lfo3FadeOutTimed 203 Lfo3DelayTimeO 204 Lfo3OffsetSw0 205 Lfo3Level0 207 Lfo4ModCMix1 208 Lfo4ModAmount1 209 Lfo4ModCMix2 210 Lfo4ModAmount2 211 Lfo4ModCMix3 212 Lfo4ModAmount3 213 Lfo4ModSource1 216 Lfo4ModSource2 217 Lfo4ModSource3 218 Lfo4ModControl1 220 Lfo4ModControl2 221 Lfo4ModControl3 222 Lfo4ModDest1 224 Lfo4ModDest2 225 Lfo4ModDest3 226 Lfo4Frequency0
43. OME MENU Figure 87 Home Menu page 2 of 4 ExpPed Expression Pedal A continuous value Can be assigned to control Expr volume level or overall Pan position relative to the initial pan setting of each part SusPed1 and SusPed2 Sustain Pedals switches Values for both pedals can be Sostenuto Sustain interacts with the front panel Hold button Ribbon Hold Sequencer On Arpeggiator On Arpeggiator Hold Arpeggiator Transpose Refer to Table 18 for details about Arpeggiator Transpose Pol Each pedal has this parameter It allows you to set the po larity of the pedal Pedals can also be completely disabled by selecting a value of Off This value is stored as a global value Assign1 and Assign2 These are the assignable switches on the front panel to the left of the Octave switches Possible values are Parameter Description GloGlide This turns Glide Type from Off to whatever is programmed for global GldType Glide This turns on off the individual oscillator glides 01 Glide 04 2S programmed on page 2 of the oscillator s Main Mode See Oscillator Parameters Main Mode on page 24 GlideAll This affects all 4 oscillator glides RibHold When On this keeps the most recent value touched on the ribbon so you don t need to keep holding down the ribbon ArpTrans Allows you to transpose the active arpeggiator pattern Start the arpeggiator and press the Hold button Now press the assignable but
44. OrganAm 168 PullBel gt 5 RandomBel 137 MellowOrgan 169 Beli gt 6 RandomBel2 138 FormantOrgan 170 Pinched2 gt 8 FormantBel 140 AhhFemae 72 MediumPinched gt 9 FuzzyReed 141 AhhHomme 173 VoxPinohed gt 15 Puse2 147 Bass 79 Reed Harmonic gt 16 Square Reed 148 Guitar 180 Light Fundamental gt 19 Feedback 181 Oboe 188 Bel gt Piano 1 52 Ham 184 Saw3rd amp 5th E Piano 53 Pipe 185 Smedt Medium Harmonic 54 Hackt 186 Sine 2Octaves HiTop 3rd amp 5th Harmonic Pinched 1 89 Saw 2 Octaves 28 BellOrgan 160 HighHarmonic1 192 Square 2Octaves gt 30 Tnet 162 BellRed M pels gt 31 Phase Square 168 Warm Whistle 11 32 Orient 4A Wood o oS SOS Table 25 Original Prophet VS waveshapes 52 Mini Oscillator Parameter Parameter Description Values Description Main mode page 1 parameters Type Type of oscillator Minimoog emulation from the Sonic Core Mini max Saw Tri The oscillator generates a sawtooth and triangle waveform simultaneously Sw Sawtooth with downward ramp Pulse The oscillator generates a pulse wave of a preset shape Pulse2 The oscillator generates a pulse wave of a preset shape Pulse3 The oscillator generates a pulse wave of a preset shape The Shape parameter has no effect The 0 to 100 Minimoog had three preset pulse waveform shapes Coarse Parameter controls the pitch of the oscilla 60 to 60 tor in semitones Fine Fine tuning of the oscillator in percentage of 100 to 100
45. Sustain portion Segments following the KeyOff Point represent the release phase of the envelope When Loop Mode is on the envelope behaves as described above Table 14 Looping Envelope Main mode page 1 parameters LOOPING ENVELOPE LOOPEG 41 Figure 76 Looping Envelope Menu page 2 of 4 Parameter Description Level 1x These controls determine the output level Level 4x for the X dimension of each segment of the envelope Since this is a bipolar envelope the range of these controls is 127 Level 1y These controls determine the output level Level 4y for the Y dimension of each segment of the envelope Since this is a bipolar envelope the range of these controls is 127 Table 15 Looping Envelope Main mode page 2 parameters Figure 77 Looping Envelope Menu page 3 of 4 Page 3 displays the X and Y levels for the remaining 4 seg ments Figure 78 Looping Envelope page 4 of 4 Parameter Description LevSrc These parameters select from a list of modula TimeSrc tion sources to modulate all segments levels or times LevAmt These parameters select from a list of control TimeAmt ler values to modulate all segments levels or times Slope Adjusts the slope of each segment 0 is linear 127 is exponential sync Allows use of MIDI Clocks to set the timing values Repeat Sets the number of times the loop will repeat Range is Off 1 9 Inf inite Loop This enables disables the looping f
46. The Graphic Display provides access to 25 different menus many with multiple pages of parameters Each menu is represented at the top of the Graphic display as a soft tab The display shows up to 6 menus at a time with other menus accessible by pressing the More button or by using the fast access technique described in Function Group Shortcut on page 14 A menu is selected by pressing the physical button above its soft menu label The LED for that button for the active menu will light The soft tab menus will wrap around to the first menu if you continue to press the More button The LED above the More button will be off when you are on the first or top group of menus in the Graphic Display While the soft tabs are always displayed across the top of the Graphic Display the contents of the rest of the window is dependent upon which menu is selected As described in General Navigation on page 13 multiple pages of pa rameters can be accessed by pressing the Inc Dec buttons to the left of the display GRAPHIC DISPLAY Soft Menu Group Organization As mentioned earlier the Graphic Display shows six soft menus at a time and pressing the More button will bring up the next group of 6 soft menus We will refer to those groups of six soft menus as Soft Menu Groups Table 8 de scribes the general organization of these groups of menus For live performance or things that you might want to adjust while playing
47. a value The Performance Knobs are relative to the programmed value They can add or subtract from the parameter value Only a one to one assignment is allowed one parameter per knob Since the parameters in the text displays are fairly easy to reach usually these Performance Knobs will be selected from one of the many soft key pages but they can be any stored Preset parameter you want to provide quick access and keep the synth in Preset Mode Performance Knob assignments are stored with presets Pitch and Modulation Wheels These function as you might expect The range of the pitch wheel both up and down can be set independently using the parameters PW Up and PW Down in the Home sec tion page 3 Note that since these parameters are bipolar the pitch ranges for up and down movement can be inde pendently adjusted and reversed Joystick The Joystick is a springless controller designed to be used with vector synthesis types of sounds Its X and Y position are available in most modulation source lists so it can be used as a real time controller for most of Solaris s param eters Ribbon Controller The Ribbon Controller outputs 2 separate control signals If you use a single finger the output signal for Rib1 and Rib2 are the same If you use two fingers the control signal associated with the right most finger is output as Rib2 RIBBON CONTROLLER 15 More details can be found in Figure 61 Sequencer Menu p
48. a fixed value For all values in between the two fixed notes the Solaris will interpolate or calculate a value so for note 55 we are getting an output of 7 6 You can assign fixed values for every note in the MIDI scale Custom tunings or scales can be crafted this way Or the interpolated values output by the key table can be used as modulation sources for parameters other than oscillator pitch The Active parameter tells you how many points you have assigned and the Init parameter allows you to clear the key table Just set it to Active then press Enter Press Exit to cancel Lag Processor Figure 81 Lag Processors Menu page 1 of 1 There are four lag processors that can be used to smooth any signal either control signals or audio though mostly used with control signals The lag processors are essen tially single pole 6 dB lowpass filters Some examples of their use follow The output of the step sequencer say you want to have a filter cutoff opening and closing gradually not abruptly by using one of the sequence rows Just feed a SegA SeqB SegC or SeqD output into a lag processor and then route the lag processor to control the filter cutoff You want to use the S H output of an LFO on the oscillator pitch but don t want abrupt pitch chang es Maybe you are running the LFO at an extremely slow rate to give random subtle pitch variations like the drift of an unstable analog osc If you use a S
49. a n M M ae en 31 0 jer 31 VCA Parameters Main Mode 31 VCA Parameters Mod Mode rrrnnnrnrnnnrnnnnnrrnvnnnennnnn 31 EPOS esse E E E AO 32 LFOs 1 4 and Vibrato LFO ee 32 LFO 1 4 Parameters Main Mode 32 Page 1 Parameters eee 32 Page 2 Parameters Lussessemsasmsmsgrjnseinmsnnansje 32 Vibrato LFO Parameters Main Mode 32 Page 1 Parameters eee 32 Page 2 Parameters eee 33 LFO Parameters Mod Mode 33 Envelope Generators nnnnnnnnnnnnnnnnnunnnunnnunnnennnennn 34 Envelope Generators 1 6 34 EG Parameters Main Mode 34 Page 1 Parameters eee 34 Page 2 Parameters zh auditamuuseuausu initi adn hd ak 34 EG Parameters Mod Mode rrrnnnnnrnnnnnrnnnnrrnnnnnnnnnnre 34 Page 1 Parameters siciccsvoswsesasccdanceantacinaiedcatscavietelins 34 Page 2 Parameters eee 34 Graphic Display Functions rnnnnvnnnnvnnnnnnnnnnnennner 35 Graphic DISPIAY zoe oii 35 Soft ME Ea 35 Soft Menu Group Organization 39 Arpeggiator Arp ER 95 Sequencer 580 0000000 onen nn 36 Ribbon Controller Le 37 ssc atone sete ce ee eee 38 Effects Channel FXChan 38 Chorus Flanger GhorFla L uvassesksmssrusmsi edrdanabasntde 39 SI SEE P O E 39 BEE EEE 39 EE EEE EE 40 Vector Synthesis VS L vsndgusmdsvsuirnstedsas 40 Amplitude Modulation AM 41 Looping Envelope LoopEG 41 CE 9 ES 42 Lag OC CS SOP EE 43 Envelope Follower EGFOoIll
50. age 2 of 3 on page 37 Knob Acceleration Due to the enormously flexible nature of Solaris s design there are often times when the physical knobs will control parameters with greatly differing value ranges For ex ample the 4th knob in the Oscillators section controls the oscillator frequency either in semitones 60 to 60 MIDI clock divisions or absolute frequency from OHz to 20kHz A sort of acceleration scheme has been implemented that ensures the user is able to interact with a given parameter in a way that makes the most sense for the parameter pro viding fine adjustment for an LFO s rate for example while still allowing the full range of values to be accessed without endlessly turning the knob In order to accomplish this several default knob behaviors have been developed For example the range of the Cutoff frequency of a filter is 10 octaves 6 semitones This is listed in the Cutoff parameter as 0 0 to 126 semitones The default knob behavior ap plied to Cutoff is to increase or decrease the frequency by 1 semitone as the knob is turned There is a small amount of acceleration programmed in to ensure the entire range is available with only a couple of full turns In this case the default knob behavior is to compress the range of values which allows faster access to the range of values but by making larger steps along the way In contrast the LFO Rate parameter uses the opposite scheme In order to al low
51. al The resulting envelope could be used to control the cutoff frequency of a filter for example allowing a classic wah effect to be created based on the envelope of the incoming audio signal Input The input signal whose amplitude envelope will be used to derive a control envelope Attack The length in milliseconds of the attack portion of resulting envelope Increasing this value will smooth the resulting envelope by ignoring peaks in the incoming signal s ampli tude envelope that are shorter than this value ENVELOPE FOLLOWER EGFOLL 43 Release The length in milliseconds of the release stage of the resulting envelope Increasing this value will smooth the resulting envelope by ignoring amplitude peaks in the incoming signal that are shorter than the release phase of the envelope InLevel The gain level of the incoming signal Increasing this value increases the envelope follower s sensitivity to the input signal OutLevel The output gain of the resulting control signal Increasing this value increases the depth of the output signal System Menu i Cp li p ofr Apar Ture KI Se ihe LO JE 1 ledmode T LE Figure 83 System Menu page 1 of 1 Tune Applies 100 cents tuning to the entire synthesizer This is because you may want to play the Solaris along with an acoustic instrument that is not at concert pitch and cannot be retuned easily such as an old piano Y
52. apes i e pulse morphing and Jaws types of Shape 0 to 100 waveforms this parameter determines the shape of the waveform the oscillator will generate Parameter controls the pitch of the oscilla tor in semitones Fine tuning of the oscillator in percentage of one semitone Coarse 60 to 60 Fine 100 to 100 Main mode page 2 parameters Specifies the master oscillator this oscillator will be synchronized with Exponential glide time for this oscillator Glide Turns oscillator glide on and off Table 22 Parameter Table for CEM Oscillator Sync OFF Gate Osc 1 Osc 4 Glide 0 0 ms to 20 0 sec On Off 01 0 Description Pulse waveform which produces a square wave when the Shape parameter is 50 0 and 100 Shape produce no sound The oscillator generates a sawtooth and a trian gle wave simultaneously The oscillator generates a sawtooth and pulse wave simultaneously The oscillator generates a triangle and pulse wave simultaneously The oscillator generates a sawtooth triangle and pulse wave simultaneously For the CEM Oscillator only the Pulse waveform is affected by the Shape parameter Pulse width is affected in any of the waveshape combinations that include the Pulse waveform The oscillator is not synced with another oscillator The oscillator s waveform phase will be reset with each note on event The oscillator will be hard synced with the
53. awtooth with upward ramp Sawtooth with downward ramp Pulse waveform which produces a square wave when the Shape parameter is 50 0 and 100 Shape produce no sound White noise Tunable noise A morphing waveform that starts as a sine wave when the Shape parameter is 0 and gradually changes into a sawtooth waveform when the Shape parameter reaches 100 A morphing waveform that starts as a sine wave when the Shape parameter is 0 and gradually changes into a square waveform when the Shape parameter reaches 100 A special waveform comprising 7 stacked sawtooth waves whose tuning spread is controlled by the Shape parameter Note that this parameter doesn t affect all waveforms When the Jaws waveform is selected the Shape parameter affects the tuning spread between the 7 stacked sawtooth waves The oscillator is not synced with another oscillator The oscillator s waveform phase will be reset with each note on event The oscillator will be hard synced with the oscillator se lected by this parameter Note that an oscillator cannot be synchronized to itself For this oscillator only the Sine Tri Ramp Saw amp Pulse waveforms can be synced WT Wavetable Oscillator Parameter Parameter Description Values Description Main mode page 1 parameters Type Type of oscillator WT Wavetable oscillator Wave The wavetable the oscillator will play There are 64 different wavetables each with 60 individual waveshapes tha
54. ccessed by pressing the Mod button or pressing the Inc Dec buttons if Split and Wrap are set appropriately in the System menu to the left side of the module you want to modulate Let s use Solaris s Oscillators section as an example Imagine that each of Solaris s oscillators is an oscillator module in a large modular system Figure 19 depicts Solaris oscillator 1 which currently holds a Multimode Oscillator as an imaginary oscillator module in a modular synth The typi cal oscillator controls waveform shape coarse and fine tuning map 1 1 to our imaginary modular oscillator 18 MODULAR STYLE MODULATION Modulation Basics Share Coarse Fine ea a HA HA Wave Tyre HAM 1 HFulse Wave Shape Waveform Coarse Fine Pulse 0 L a 4 k Z A pa 60 5 0 o Sine a Ctrl In N Exponential FM Side Chain Linear FM Side Chain Side Chain 0 Strength 0 Strength Strength L lt L o 4 3 100 120 100 100 100 100 Ctrl In Ctrl In Ctrl In Ctrl In Ctrl In i p Figure 19 Solaris Oscillator imagined as a modular synthesizer oscillator module Next lets modulate the wave shape of the oscillator using some modulation source such as LFO1 If we were to do this on our modular system we would connect a patch cable from the output of our LFO module to the oscillator s wave shape control input To see what is modulating any particular parameter on any particular
55. d criteria of C1 Arpeggio OR C2 Bright fyrt c Mm 5 1 A aoe es HENGE omatt TER Ln ie ll E E Lyi ir k m atm en al I HE HE NN EN 3 a NM V NK a mong Me nn nn nt HET th dr fri i he Fe ite Lay Er 6 Preset Mode page with Category Filtering on About Preset Categories When you save store a preset you have the option of assigning two categories to the sound These categories allow you to search for matching presets when you use the Category logic on the Preset Mode s page 1 When you set the logic to one of the three choices scrolling though pre sets will be limited to only those that satisfy the conditions of the search The categories are Category 1 Arpeggio Bass Drum Effect Keyboard Lead Pad Seguence and Texture Category 2 Acoustic Aggressive Big Bright Chord Clas sic Dark Electric Moody Soft Short Synthetic and Upbeat More categories will be available in the future If the Category logic is set to AND both categories must be valid to select a preset If the Category logic is set to OR either category will be used to select a preset If the Category logic is set to NOT all presets that do NOT have the 2 categories listed will be available to select If the logic is blank then all presets are available Storing Presets As soon as you edit any parameter the Preset LED will go off putting you in live edit mode Once you have made changes that
56. e 2 modulates the amplifier s pan position VCAS 1 4 VCA PARAMETERS MOD MODE 31 Figure 47 LFO Panel LFOs 1 4 and Vibrato LFO Solaris has 5 LFOs including a special Vibrato LFO all of which are available as modulation sources Button Description Clock Sync Synchronizes the LFO with the MIDI clock and changes rate to a MIDI clock related table of values Offset Offset reduces the signal and shifts it all into the positive quadrant Useful particularly with some Shape modulations Retrigger This restarts the waveshape at the selected Phase point for every note on event Table 6 LFO panel buttons LFO 1 4 Parameters Main Mode Page 1 Parameters Share kate Hi PHE Figure 48 LFO Main Mode page 1 Kane Each LFO supports sine triangle ramp saw square and sample and hold S H or random wave shapes Frequency is adjustable between 0 000Hz and 500 000Hz The LFOs can be synced to the MIDI clock by pressing the Clock Sync button above the LCD screen When synced to MIDI clock the LFO s frequency is displayed as a division of one beat Recall from Knob Acceleration and the Shift Button on page 16 that the LFO Rate knob is configured for fine 32 LFOS 1 4 AND VIBRATO LFO control over frequency To increase the speed at which the knob sweeps through frequency values press and hold the Shift button while turning the Rate knob Page 2 Parameters pelstri Faded Face Level EL rs 10
57. e Offset This parameter is an offset which allows you at larger values to shift the zero point of the control signal from aftertouch Figure 89 Home Menu page 4 of 4 Serial Internal serial number of the Solaris unit OS Version Currently loaded operating system version HOME MENU MIDI MENU 47 Appendix 1 Oscillator Parameters MM1 Multimode Oscillator Parameter Values Type Wave Shape Coarse Fine Sync Phase Glide Glide Parameter Description Type of oscillator Waveform generated by the oscillator For waveforms that have variable shapes i e pulse morphing and Jaws types of waveforms this pa rameter determines the shape of the waveform the oscillator will generate Parameter controls the pitch of the oscillator in semitones Fine tuning of the oscillator in percent age of one semitone Specifies the master oscillator this oscillator will be synchronized with The phase the slave oscillator will start from when its cycle is reset by the master oscillator Exponential glide time for this oscillator Turns oscillator glide on and off Table 19 Parameter Table for Multimode MM1 Oscillator 48 MM1 Sine Tri Ramp Saw Pulse Noise S H MorphSaw MorphSquare Jaws 0 to 100 60 to 60 100 to 100 OFF Gate Osc 1 Osc 4 180 to 180 0 0 ms to 20 0 sec On Off Description Multimode oscillator Sine wave Triangle wave S
58. e filters in series simply select the first filter in the series as the input to the next filter and so on The signal for each filter is sent to its own dedicated VCA where its pan position and level can be set Each VCA can be controlled by a different envelope but the EG6 VCA has the final say for the overall output Using separate envelopes you can create articulated shapes for each fil ter s output almost a multi timbre approach to the sound enhanced by the fact that each can also have its own enve lope and pan position With the filter outputs as possible signal inputs to other filters you can create feedback loops within each filter section or place multiple filters in series You also can get some useful and strange distortion of the filters if desired among many many other things Filter Parameters Main Mode Page 1 Parameters Type HR HAM Figure 41 Filter Main Mode page 1 Type Type of filter Refer to Appendix 3 Filter Types on page 56 for a comprehensive list of the filter types available in Solaris FILTERS 1 4 Mode Several of Solaris s filter types support multiple modes of operation such as lowpass highpass bandpass band reject notch or combinations of those in series Some filter types also support different pole configurations Refer to Filter Types on page 56 for details Cutoff The filter s cutoff frequency in semitones from 0 0 to 126 0 Reca
59. eature of this envelope When enabled the envelope will loop between the segments specified by the Loop Start and KO Point controls Table 16 Looping Envelope Main mode page 4 parameters 42 GRAPHIC DISPLAY Key Tables Figure 79 Key Table Menu page 1 of 1 Solaris provides 4 key tables for use as modulation sourc es The key tables take a normal note input and scale it across the table as an output signal Each key table is represented by a separate soft menu The key tables allow you to set any value from 0 0 100 0 for each key by using keyboard entry Simply select the key you want to adjust by playing it on the keyboard You will see the current number appear in the Current column in the display Using the Data Wheel or lower row knob you can adjust this value changing it from Interpol ated to a Fixed value Values for keys in be tween the ones you set are calculated using linear interpo lation A Previous field and Next field are provided to show you the values that you have assigned Fixed The Key Tables do not yet have a graphic to show you the table scaling so instead we have provided a number of parameters to define the table s output and to show what is going on as best as possible There are three param eters that determine the table values These are Previous Current and Next as shown in Figure 79 The numbers shown below each of these are MIDI note numbers If the key table is empty then yo
60. ec the preset then go back to your newly edited preset to check and make sure all is saved as you wanted Loading Samples The factory CF card comes with a folder in it labeled Samples Inside here you will find 9 glockenspiel samples and one harpsichord sample in raw format and two text files called SamplePool 001 txt and SamplePool 002 txt These text files describe the name of the sample set the number and name of each sample in the set and various other aspects such as root key fine tuning and low high key mapping Any new SamplePool must be numbered in the next avail able ascending number otherwise the Solaris will not recognize it So for the current factory CF card one would need to create a SamplePool b 003 b txt to describe the next set of custom samples to be used You can however re number the factory SamplePools so that the glocken spiel would be numbered 003 and your new file 001 STORING PRESETS 11 for example Subsequent SamplePools would have to be 004 005 006 etc And finally the SamplePools will not automatically load when you turn on the Solaris or plug in the CF card You must go to your SYSTEM soft key group in the center graphics display and activate the process by turning the lower left most knob for the parameter labeled Sam pimg Once you turn the knob you should see a mes sage in the bottom line that says Press Enter to select im age file You then
61. ed as the carrier or modulator though a classic AM synthesis tech nique is to modulate the amplitude of one oscillator with another oscillator The following algorithms are available Shift Typical AM that produces two sidebands around the Carrier Clip Multiplies the two input signals and clips the result Creates two strong sidebands stronger than those generated by Shift around the carrier s frequency and on strong sideband at a much lower frequency Phase cancellation eliminates the original carrier Abs Outputs the absolute value of multiplying the two abso input signals without clipping Creates two weak lute sidebands widely spaced around the carrier Ring Classic ring modulation that creates two strong sidebands around the carrier and eliminates the car rier completely due to phase cancellation Table 13 AM Algorithms The AM section can be side chain modulated by selecting a modulation source for the Control parameter Amount This is a bipolar mixer for the output of the algorithm Using Ring Mod as an example if you have the Offset at 0 the Amount will seem just like a bipolar mixer with negative values just producing an inverted phase signal and when the Amount is at 0 you won t hear anything However if you then adjust the Offset to some other value you will hear some of the original Carrier input and then by adjust ing the Amount you can hear the Ring Modulated output increase Offset Shifts t
62. elope LoopEG on page 41 Each segment can be l separately modulated Each has variable attack decay and When using Velocity as a modulation source for a seg release slopes Sustain also has a slope control however ment a negative amount will cause shorter time values with in the case of Sustain this control allows you to set up higher velocities a positive value will cause longer values an additional segment that either goes to zero value with With higher velocities Careful adjustment and balance a negative slope or to the maximum sustain level with between the initial segment s settings and the mod amount positive slope Envelope segment values are show in time S usually needed to obtain desired results Shorter time increments from 0 0 ms to 20 0 seconds values will limit the noticeable effect of velocity modulation EG 6 VCA is the final envelope controlling the output of Page 2 Parameters Solaris s four VCAs elozte Hod D Moc Z Fpi ba FE Fe a r EG Parameters Main Mode Figure 57 Envelope Generator Mod Mode page 2 The Velocity parameter controls the overall amount of the Page 1 Parameters envelope to its destination Higher values require a greater velocity to reach their maximum value Dena Mo sec ks J When a segments modulation amount is set at zero the Figure 54 Envelope Generator Main Mode page 1 actual segment time level is heard With the amount at 127 maximum velocity
63. er into the inputs of the other delay creating interesting panoramic effects Both delay types have the following parameters Mode Allows you to Bypass the effect or operate it as a standard DELAY 39 Delay or XDelay cross delay Time L The time in milliseconds between the initial input sound and the first delayed output of the left channel TimeR The time in milliseconds between the initial input sound and the first delayed output of the right channel Feed L The amount of feedback for the left channel Feed R The amount of feedback for the right channel Damp The amount of high frequency damping applied Higher values dampen high frequencies more quickly more closely approximating the natural decay of high frequencies in a room Dry The amount of original unaffected signal passed to the output Wet The amount of effect sound passed to the output MIDI Clik MIDI Sync allows the delay effect to be synchronized to the MIDI Clock Clock division selectors replace the millisecond delay times for the right and left channel EQ Figure 70 EQ Menu page 1 of 1 The EQ effect module is a 3 band EQ each band with an assignable center frequency between 0 00Hz and 20000 0Hz A Gain cut or boost of 12 dB per band is avail able Q controls the bandwidth of the cut or boost 0 7 is the minimum Q setting and allows the widest bandwidth around the center frequency 20 00 is the maximum giving the narrow
64. er combinations Type Description MM1 Multimode 23 filter variations are selectable The 24 dB Lowpass LP4 is very similar to the CEM LP filter of the Rev 3 Prophet 5s Available modes include LP4 LP3 LP2 LP1 HP4 HP3 HP2 HP1 BP4 BP2 BP2 LP1 BP2 LP2 BP2 HP1 BP2 HP2 BR4 BR2 BR2 LP1 BR2 LP2 BR2 HP1 BR2 HP2 AP3 AP3 LP1 AP3 HP1 SSM Emulation of the Solid State Music chip used in the Rev 1 and Rev 2 Prophet synths A 4 pole 24 dB slope filter Mini Emulation of the filter used in the Minimoog A 4 pole 24 dB slope filter Input levels easily distort Obie A 2 pole 12 dB state variable filter based on an Oberheim design Includes LB HP BP and BR Comb The comb filter adds a delayed copy of a signal to itself in either a feed forward or feedback loop Both cause interference with the original signal resulting in a frequency response that looks much like a comb Solaris s comb filter can operate in two modes Tube or Comb Tube mode is a feedback loop which produced higher levels of resonance making it better for modelling Karplus Strong plucked string algo rithm Comb mode is a feed forward design The delay length is limited to onboard chip memory so this affects how low the cutoff frequency can go Vocal A format filter with five vowels that can be morphed using the X Fade control Table 29 Solaris Filter Types 56 Appendix 4 MIDI Implementation Clock Division 8 1 6 1 4 1 3 1 2 1 1 1
65. ered the center of the keyboard which af fects how keytracking is applied FILTER PARAMETERS MAIN MODE 29 Filter Parameters Mod Mode Figure 43 Filter Mod Mode Each filter has 4 modulation source slots A filter s Cutoff cutoff frequency or Reso resonance can be modulated by any of the four modulation sources Other modulation sources are available for some filter models for example case Damping for the Comb filter and X Fade crossfade for the Vocal filter 30 FILTERS 1 4 FILTER PARAMETERS MOD MODE VCAs Figure 44 VCA Panel VCAs 1 4 Solaris has four VCAs each hardwired to accept an input signal from either its corresponding filter or Insert FX mod ule filter or Insert FX with the same number VCA Parameters Main Mode Figure 45 VCA Main Mode The VCA type can be set to linear logarithmic or sigma s curve used on the Minimoog The VCA type controls the response of the amplifier to control signals The Boost control is an emulation of an OTA circuit or soft distortion taken from the original Minimoog filter emula tion It was moved into the amplifier section so that is could be used with any filter type Setting its value at around 70 or more will result in a more analog sound VCA Parameters Mod Mode Figure 46 VCA Mod Mode The VCA modules have two modulation inputs Sourcel on Mod Mode page 1 modulates the amplifier s level and Source2 on Mod Mode pag
66. est bandwidth Vector Synthesis VS The Vector Synthesis section allows four different sound sources to be mixed morphed dynamically based on a 2 di mensional x y vector graph Vector Synthesis allows Solaris to achieve swirling moving dynamic sounds reminiscent of the Sequential Circuits Prophet VS Solaris has 2 vector 40 GRAPHIC DISPLAY synthesis modules The Prophet VS introduced the idea of changing the harmonic structure of the raw material to be filtered and shaped by using a 2 dimensional mixer We called it Vec tor Synthesis You can also program this with one of the regular Mixers but to make things easier put in two of these Vector Mixers essential quad panners to simplify programming The VS1 mixer has 4 signal inputs each with an initial Level The X axis controlled by SourceX will crossfade between inputs 1 and 2 the Y axis controlled by SourceY between inputs 3 and 4 The factory default for Source X amp Y are the 2 outputs from the Joystick but you could program anything you want Figure 71 Vector Synthesis Menu page 1 of 2 Figure 72 Vector Synthesis Menu page 2 of 2 The X Y motion of the vector synthesis module can be assigned to the hardware Joystick or modulated by any of Solaris extensive modulation sources When assigned to the Joystick each corner of the control represents the full level of one of the four input sources X Offset and Y Offset shift t
67. eytrackSw0 480 Rot2In1SrcO 481 Rot2In2SrcO 482 Rot2In3SrcO 483 Rot2In4SrcO 484 Rot2SyncSrc0 485 Mix1In1Gain0 488 Mix1In2GainO 489 Mix1In3GainO0 490 Mix1In4GainO0 491 Mix1In1GModO 492 Mix1In2GMod0 493 Mix1In3GMod0 494 Mix1In4GMod0 495 Mix1In1Src0 496 Mix1In2SrcO 497 Mix1In3SrcO 498 Mix1In4SrcO 499 Mix1In1GMSrcO 500 Mix1InN2GMSrcO 501 Mix1In3GMSrc0 502 Mix1In4GMSrcO 503 Mix1OutputGainO 504 Mix1OutputGModo 505 Mix1OutputGMSrc0 506 Mix2In1GainO 507 Mix2In2GainO 508 Mix2In3Gain0 509 Mix2In4GainO 510 Mix2In1GMod0 511 Mix2In2GMod0 512 Mix2In3GMod0 513 Mix2In4GMod0 514 Mix2In1SrcO 515 Mix2In2SrcO 516 Mix2In3SrcO 517 Mix2In4SrcO 518 Mix2In1GMSrc0 519 Mix2In2GMSrc0 520 Mix2In3GMSrc0 521 Mix2In4GMSrc0 522 Mix2OutputGainO 523 Mix2OutputGMod0O 524 Mix2OutputGMSrcO 525 Mix3In1Gain0 526 Mix3In2GainO0 527 Mix3In3GainO 528 Mix3In4GainO0 529 Mix3In1GModO 530 Mix3In2GMod0 531 Mix3In3GMod0 532 Mix3In4GMod0 533 Mix3In1SrcO 534 Mix3In2SrcO 535 Mix3In3SrcO 536 Mix3In4SrcO 537 Mix3In1GMSrc0 538 Mix3In2GMSrc0 539 Mix3In3GMSrc0 540 Mix3In4GMSrc0 541 Mix3OutputGainO 542 Mix3OutputGModo 543 Mix3OutputGMSrcO 544 Mix4In1Gain0 545 Mix4In2Gain0 546 Mix4In3Gain0 547 Mix4In4Gain0 548 Mix4In1GMod0 549 Mix4In2GMod0 550 Mix4In3GMod0 551 Mix4In4GMod0 552 Mix4In1Src0 553 Mix4In2SrcO 554
68. f the oscillator from 60 to 60 semitones Fine Fine tuning of the oscillator over a range of 100 to 100 which represents 1 semitone Clock Sync No Track and Low WU n Akai JV y IWO Figure 27 Clock Sync No Track and Low buttons The three buttons shown in Figure 27 provide special control over the frequency of the selected oscillator Clock OSCILLATOR PARAMETERS MAIN MODE Sync allows you to synchronize the frequency of the oscil lator to divisions of the MIDI clock signal The range is from 1 128 of a beat to 8 beats No Track turns off keyboard tracking and allows you to specify the oscillators fixed frequency from 0 Hz to 20 kHz Low simply lowers the frequency of the oscillator by 60 semitones as a means to quickly switch the oscillator into sub audio rates Page 2 Parameters Glide IFF HA Amz HOFF Figure 28 Oscillator Main Mode page 2 Figure 28 shows page 2 of the Main mode controls for the Multimode oscillator The following section describes the page 2 parameters at a high level For a detailed descrip tion of the parameters and values available for each oscilla tor type please refer to Appendix 2 Modulation Sources on page 54 Sync This control can be used to synchronize the selected oscillator to another oscillator which causes the selected oscillator the slave to restart its waveform every time the master oscillator cycles its waveform The pitch of the slave oscillato
69. haser Delay and EQ that can be plugged in to these slots There is only one of each effect module but they can be applied to any slot in any of the four effect channels The effect modules are described in the next section FX Channels are different from FX Slots Each Channel or FX buss has room for up to 4 possible effects however the four effects can only be selected once because of the Effects Pool concept any FX Slot can select from the available effects in the pool but once an effect is selected somewhere it is removed from the pool and no longer available to any other FX slot To navigate between the four effect channels press the Inc Dec buttons beside the Graphic Display while in the FxChan soft menu Each of the four effect channels has the following param eters Input synth The audio signal directly from the VCA Ext 1 2 External audio inputs 1 and 2 Ext 3 4 External audio inputs 3 and 4 S P DIF S PDIF input FXchan N Output of any of the other three effects chan nels EFFECTS CHANNEL FXCHAN Table 12 Effects Channel Inputs FX 1 FX 2 FX 3 FX 4 These are the four effect slots available in each effect chan nel Select from the four available effect modules Chorus Flanger ChorFla Figure 67 Chorus Flanger Menu page 1 of 1 This module is a chorus and flanger effect The flanging effect is achieved by adding positive or negative feedback into the signal via the Feedbck paramete
70. he Carrier input above or below or around zero Looping Envelope LoopEG The Looping Envelope is a two dimensional 8 stage bipo lar envelope with looping capability This envelope can be selected as a modulation source for any other modulation destination GRAPHIC DISPLAY Release Phase r 2 lt c 8 a 3 te Figure 75 Looping Envelope Menu page 1 of 4 Parameter Description Time1 Times These controls determine the length of each of the 8 segments of the envelope The default range of the time controls is 1 0 ms 20 0 seconds The Looping Envelope can also be synced to the MIDI clock by setting the Sync parameter on menu page 4 When synced to MIDI clock the time values for each segment are shown in time divisions Start When Loop is enabled this control determines the starting point of the loop The envelope will play as normal up until the KeyOff Point then loop back to the segment indicated by this control The loop will continue until the key is released at which point the release phase of the loop is activated from KeyOff Point through segment 8 Key Off This control serves two purposes When Loop Mode is active KeyOff Point determines the last segment in the loop KO Point also defines the beginning of the release stage of the enve lope If Loop Mode is off segments 1 to KeyOff Point represent the attack and decay portions of the envelope The KeyOff Point represents the
71. he Oscillator s panel with the parameters associated with the type of oscillator 24 OSCILLATORS OSC 1 4 loaded into the active oscillator slot as indicated by the LED above the oscillator selection buttons The parameters associated with Osc 1 4 are displayed in the Oscillator text display grouped into 2 pages which can be accessed by pressing the up down arrows to the left of the text display as shown in Figure 25 The parameters displayed in the text display will vary based upon the type of oscillator selected Page 1 Parameters TES Pulse Type H P Figure 26 Oscillator Main Mode page 1 Figure 26 shows page 1 of the Multimode oscillator s parameters The actual parameters and their values var les across the oscillator types This section describes the parameters at a high level For a detailed description of the parameters and values available for each oscillator type please refer to Appendix 1 Oscillator Parameters on page 48 Type This control allows you to select which type of oscillator oc cupies the currently active oscillator slot Osc 1 4 Wave Determines the waveform generated by the oscillator Shape For variable shape waveforms such as Pulse and Morph Saw this control determines the shape of the waveform across its continuum For a Pulse wave for example 0 and 100 will actually make no sound at all while 50 will generate a perfect square wave Coarse Coarse tuning o
72. he value of the x y control moving the center of the Joystick away from 0 0 If you take a look at the factory setting default patch when you switch on the Solaris without any CF card you can see that Input1 Input4 are set to Oscs 1 Osc 4 all at full Level Moving to the next VS 1 page you will see JoyX for SourceX and JoyY for SourceY both at 100 with no offsets If you now set the tuning for each oscillator at obvi ous different intervals you can use the Joystick to isolate each oscillator and crossfade between the 4 oscillator outputs with the center Joystick position being an equal mix of all 4 inputs Amplitude Modulation AM Figure 73 Amplitude Modulation Menu page 1 of 1 AMPLITUDE MODULATION AM Amplitude Modulation AM is a process of varying the amplitude of one sound the carrier by the amplitude of another the modulator If the frequency of the modulator is sub audio AM results in a tremolo effect If the modulator s frequency is above around 10hz the timbre of the carrier is affected by the introduction of additional partials to the output When two sine waves are used AM results in two additional sidebands equally spaced around the carrier s fundamental frequency The frequency of the sidebands is the sum and difference of the carrier and modulator s fre quencies and the amplitude of the new partials is half the amplitude of the carrier Solaris has 2 AM modules Any source can be us
73. hows the active parameter i e the last knob touched This is especially handy when working with the wavet able and VS oscillators since you can see the full wavetable or waveshape name respectively in the graphic display Function Group Shortcut There are currently five functional groups which are se lected by repeatedly pressing the More button For direct access to these 5 groups you can also hold down the More button for 2 seconds to change the soft key labels to display the 5 functional groups as shown in Figure 12 Pressing one of these will take you to the associated set of soft key labels LED above the More button will flash when you are viewing the Function Group Shortcuts Figure 12 Function Groups shown in Graphic Display Arp Seq The controls for the arpeggiator sequencer and ribbon are here FX The output assignment effects bussing and effects con trols are here VS AM This page has 2 each of Amplitude Mod and Vector Mixer sections also Looping EG KeyTab The 4 Key Tables and 4 Lag processors are here also the Env Follower 14 PERFORMANCE CONTROLS SysMid All other system parameters and MIDI controls are here This data is not stored in a preset but as a glo ini file You can tell how many pages of information are available for each section of the Graphic Display by referring to the bottom right corner of the display For each of the soft key graphic displays there may be
74. ice controlled feedback 22 MODULAR STYLE MODULATION FLEXIBLE SIGNAL PATH Processing External Signals External Signals Solaris provides extensive processing capabilities for external signals routed through the synthesizer External signals can be routed in via one of the four analog inputs or the S PDIF jacks on the rear panel These inputs appear in source lists as Input1 Input2 Input3 Input4 SPdifL and SPdifR respectively Processing External Audio Signals External audio signals are essentially played through the Solaris Though you can process them as you would the oscillators it s important to remember that the external in puts are not polyphonic No sampling or pitch shifting or re synthesis is involved Just holding down one key or using the Hold button and playing one key will be all you need to hear external audio as it is routed through the synth Pressing multiple keys will just give you the same signal but louder for each key pressed The external inputs are on the Audio Source List and therefore can be routed just like the oscillators You can filter them in parallel or in series with the 4 filters use the insert FX with them pre or post filter even use them as inputs to the Rotors Vector Mixers or AM sections Plus you can derive an envelope with the envelope follower see Envelope Follower EGFoll on page 43 for any of the external ins to sweep the filter cutoff or modulate other
75. in out when in Master mode Solaris will operate at 96kHz in Slave mode ANALOG OUT The analog outputs are described in Output on page 38 ANALOG IN See Processing External Signals on page 23 for more information about the analog inputs MIDI Solaris provides standard MIDI In Out and Thru connectors MIDI configuration is covered in MIDI Menu on page 44 COMPUTER Solaris can transmit and receive MIDI signals over the USB port CF CARD CompactFlash port See Quick Start on page 9 for more information about the CF card POWER Power Switch POWER Jack for the external power supply The power supply that ships with Solaris has the following specs Input 100 240V 1 0A max 50 60Hz groundless Output 12V DC 2 5A 30W max 2 5 x 5 5 x 11 0 mm center positive Table 1 Rear panel connections REAR PANEL CONNECTIONS KNOB ACCELERATION 17 Modular style Modulation Destination based Modulation Unlike many hard wired synthesizers which use a modula tion matrix to select a modulation source and assign where to send it Solaris uses a destination based scheme just like a big modular synthesizer In Solaris you start with a destination oscillator pitch for example and select which modulation source you want to use to modulate that pa rameter Solaris provides four modulation sources for each major component each oscillator filter etc except for the LFOs which have three These modulation sources can be a
76. k Sync 24 Coarse 26 48 Comb 56 CompactFlash 9 Compare 11 C Rate 45 Crossfade 26 C Time 45 Curtis Electromusic 50 Cutoff 29 D Damp 29 40 Decim 28 Distort 28 Division 37 Dry 39 E Effects Channel 38 EGFoll 43 EgReset 46 Enable Part Buttons 15 Envelope Follower 43 Envelope Generators 34 EQ 40 Exp 45 Exponential 45 ExpPed 46 External Signals 23 F Feedbck 39 FeedL 40 FeedR 40 Filters 29 Filter Types 56 Fine 26 48 Free CF Space 47 Function Group Shortcut 14 FX 14 FXChan 38 66 G GldMode 45 GldRange 45 GldTime 46 GldType 45 Glide 25 GlideAll 46 GloGlide 46 Graphic Display 35 H Hold 15 Home Menu 45 INIT 36 InLevel 39 44 Insert FX 28 Intens 37 J Jaws 48 Joystick 15 40 K KeyCntr 29 Key Step 37 KeyTab 14 Key Tables 42 KeyTrk 29 Knob Acceleration 16 L Lag Processor 43 Legato 46 Length 36 LFO 32 LFOs 32 Load BPM 44 Load Outs 44 LocalOff 45 Loop 42 LoopEG 41 Looping Envelope 41 Low 24 M Main Mode 13 MIDI Clk 40 MIDICtrl 45 MIDI Menu 44 Mini 53 56 Mini Oscillator 53 Mixers 27 MM1 48 Mod Mod 13 Modulation Sources 54 morphing 48 MorphSaw 48 MorphSquare 48 Multimode 56 Multimode oscillator 48 N NG NR 37 No Gate 37 No Gate No Reset 37 Noise 48 No Reset 36 Normal 36 NotePri 46 NotePri ority 46 No Track 24 O Obie 56 Octaves 36 Octave Transpose 15 Offset 32 Omni 45 Oscillators 24 OS Version 47
77. lays the series of notes in the order that one presses keys and holds down on the keyboard There is a buffer limit of 61 notes A good way to use this is to turn on the Arpeggia ARPEGGIATOR ARP 35 tor and the Hold button then while holding down the first note you want with the left hand play any series of notes with your right hand even repeating note selections to cre ate a long series of a custom pattern Random randomly selects the next note to play from the notes being held Octaves Determines the number of octaves 1 4 over which to play the arpeggiator pattern Pattern Solaris can store 64 arpeggiator patterns The values are 1 63 and User Arpeggiator patterns are stored on the So laris CF card in the Factory Arp folder Only 5 patterns are currently shipped with the Solaris CF card A software editor for sequencer and arpeggiator patterns is planned Please refer to the website for more information Resolut The MIDI clock division that determines the length of each step in the arpeggiator pattern Length Adjusts the gate length or duration of each note played in the sequence BPM When Solaris is using its own MIDI clock the BPM knob can be used to change the playback speed of the arpeggia tor When synced to an external MIDI source this value will show the BPM of the incoming clock Velocity The velocity of each note played in the arpeggiator pattern can be controlled by the vel
78. ll from Knob Acceleration and the Shift Button on page 16 that the Cutoff knob is designed to sweep quickly through its values For fine control over cutoff frequency use the Data Wheel or press and hold the Shift button while turning the Cutoff knob to make adjustments in 1 10 semitone increments Resonance Resonance control Each filter type will have a different resonance characteristic so you will need to adjust this as you change the filter type Damp If you are working with a Comb Filter this parameter ad justs a 6 dB LP filter in the feedback circuit X Fade If Vocal filter type is selected this parameter adjusts the po sition of the signal in the five vowel field Page 2 Parameters Inet HUL er Figure 42 Filter Main Mode page 2 Typically the input to a filter will be a sound source such as a mixer output or the output directly out of an oscillator or Insert FX Because Solaris s filter can take almost any signal as an input very interesting effects can be created by routing control signals through the filters as well KeyTrk Keyboard tracking causes the filter to open in relation to the note number played With large positive values notes played higher on the keyboard will sound brighter because the filter s cutoff frequency has been increased relative to the Key Trk parameter s value and the Key Cntr KeyCntr The key center parameter determines which MIDI note number is consid
79. lo Delay0ModeO 2026 glo DelayODelayTime1 2027 glo DelayODelayTime2 2028 glo DelayOFeedback1 2029 glo DelayOFeedback2 2030 glo Delay0Dampo 2031 glo DelayODryLevel0 2032 glo DelayOWetLevel0 2033 glo DelayOlnSrcO 2034 glo EQOMode0 2035 glo EQOFrequency1 2036 glo EQOQ1 2037 glo EQOGain1 2038 glo EQOFrequency2 2039 glo EQ0Q2 2040 glo EQOGain2 2041 glo EQOFrequency3 2042 glo EQ0Q3 2043 glo EQOGain3 2044 glo EQOInSrcO 2045 Appendix 9 Legal Declarations COMPLIANCE FCC INFORMATION U S A IMPORTANT NOTICE DO NOT MODIFY THIS UNIT This product when installed as indicated in the instructions con tained in this manual meets FCC requirements Modifications not expressly approved by ZARG MUSIC LLC may void your authority granted by the FCC to use this product IMPORTANT When connecting this product to accessories and or another product use only high quality shielded cables Cable s supplied with this product MUST be used Follow all instal lation instructions Failure to follow instructions could void your FCC authorisation to use this product in the USA NOTE This product has been tested and found to comply with the requirements listed in FCC Regulations Part 15 for Class B digital devices Compliance with these requirements provides a reasonable level of assurance that your use of this product in residential environment will not result in harmful interference with o
80. low lag time you can have very small and GRAPHIC DISPLAY gradual pitch changes route the LFO into the lag processor then the lag processor into the Pitch modulation of the osc You are modulating the frequency of one oscilla tor by another at audio rates Putting the modula tion source through the lag processor can take the edge off the waveshape by lowpass filtering it giving a bit less harsh frequency modulation results You have a controller signal either an internal one like the ribbon or Joystick or Mod Wheel or an ex ternal one like Breath or one of the CC assignables and it is being used for pitch control but you are hearing some zippering or small discreet stepping of the pitch Use a Lag processor to smooth these out and you usually dont need much just a few MS You want to use one of the assignable switches lower left front panel to move pitch or cutoff or whatever up a specific amount like an octave jump up and back but you want it to glide on the way Since the output of the assignable switches is either 0 or max you can set the Amount of pitch or cutoff change in the Mod mode pages and then feed the switch through a lag processor to give you an exponential glide affect when you use the switch Envelope Follower EGFoll Figure 82 Envelope Follower Menu page 1 of 1 The Envelope Follower allows you to derive an envelope based on the amplitude envelope of the Input sign
81. meter will be modulated Pitch Exponential frequency modulation of the oscil lator in semitones XFade Crossfade amount Table 4 Rotor Processor 1 2 Modulation Destinations Clock Sync No Track and Low These buttons have the same function as they do with OSC 1 4 Please refer to Clock Sync No Track and Low on page 24 ROTOR PARAMETERS MOD MODE Page 1 Parameters Figure 35 Mixer Mod Mode page 1 Page 2 Parameters Figure 32 The Mixer Panel Figure 36 Mixer Mod Mode page 2 Mixers 1 4 Solaris provides four separate mixers each with fully user assignable inputs and master output level Mixer Parameters Main Mode Page 1 Parameters Figure 33 Mixer Main Mode page 1 Page 1 in the Mixer s Main mode allows you to specify the input signals to the mixer See Signal Path on page 21 for examples of how signals can be routed within the Solaris Page 2 Parameters Figure 34 Mixer Main Mode page 2 Page 2 allows you to set the individual levels of the mixer s inputs You can also set the overall mix level Mixer Parameters Mod Mode The level of each mixer input as well as the overall mix level can be modulated separately The mixer s Mod mode pages allow you to specify the modulation source and mod ulation amount for each The selected modulation source affects the level of the mixer channel or output level you are working with MIXERS 1 4 MIXER PARAMETERS MOD MODE 27 I
82. mmer for his early enthusiasm and support of my plugins for the Scope platform and Goffe Torgerson for having the faith and confidence in Solaris to help it along and whose assistance in additional graphics design and mechanical engineering we could not have done without Also for my colleagues at Sonic Core Holger Drenkelfort and Juergen Kindermann It was their early efforts that enabled my dream to begin taking shape and I will forever be grateful for their friendship and the many hours of unselfish dedica tion they contributed to bring the Solaris into the world Thank You a million times over As well all of the Sonic Core team who have worked so tirelessly to bring Solaris to life Klaus Piehl Julian Schmidt Ralf Dressel Alex Zielke Nadia Haubrich and Adriana Leonhard Finally I need to express my thanks to all those initial pre order customers who put their money where their mouth is for your unfailing faith and confidence that the Solaris would be a product worth waiting for and having the patience for waiting And for much longer than any of us ever expected Without your support the Solaris would have never hap pened A heartfelt Thank You to you all 4 DEDICATION Table of Contents laligets Ue i e tte a eee eee nene 3 Welcome to the world of Solaris 3 Dedicar EE EE O AA 4 Safety p 10 5 8110 LPR E Oh 7 About this Manudks uviss d da ads 8 Typographical Standards 8 Getting
83. modulation destina tion The Control signal is applied to the Amount control of the modulation source The Strngth parameter determines amount of Control signal to apply in the same way that the Amount control determines how much of the Source signal to apply to the destination Strngth Determines the amount of the Control sidechain signal to apply to the Source control signal Dest The destination parameter i e the oscillator parameter that will be affected by the incoming control signal from the modulation source The destination parameters include Parameter Description None No parameter will be modulated Pitch Exponential frequency modulation of the oscil lator in semitones OSCILLATOR PARAMETERS MAIN MODE 25 Parameter Description LinFM Linear frequency modulation of the oscillator in percentage Shape Shape of the oscillator waveform or detuning spread of the Jaws waveform in percentage Table 3 Oscillator 1 4 Modulation Destinations Rotors 1 2 Solaris has 2 Rotor processors There are four inputs to each Rotor Each is presented at the Rotor s output in series one after the other You can think of it as a four step wave sequence where each step s sound comes from one of the many sound sources in Solaris The X Fade cross fade control smooths the transition from one step to the next and does it uniformly for all four inputs If the X Fade amount is zero then the transition from one
84. module of a modu lar system you simply follow the patch cable back to its source On Solaris all you need to do is look at the Mod mode pages for that module DESTINATION BASED MODULATION lave HFulse Tyre Share Coarse Fine kil H FoR H 2 9 4 G Exponential FM Side Chain Linear FM 0 I M allt F Ctrl In Ctrl In Side Chain Strength 0 0 4 100 100 Ctrl In Ctrl In Strength Sourcel Amount Control Strasth Dest KLECI F FOFF FAY Share Figure 20 Solaris oscillator mod source 1 LFO1 controlling wave shape Figure 20 shows the Mod mode display of our Solaris oscillator directly beneath the imaginary modular oscil lator The Mod window is currently displaying modulation source 1 one of four modulation source slots available for the oscillator We can see that modulation Sourcel is set to LFO1 and modulation Dest is set to Shape This means that LFO1 will modulate the oscillator s wave shape pa rameter with an Amount of 56 Follow the green patch cable in Figure 20 You can imagine that the current setting of Sourcel is the modular equivalent of patching the con trol output of LFO1 to the control input for wave shape on our modular oscillator MODULAR STYLE MODULATION Share Coarse HSA HA pave HFulse Tyre Fine HHI H 2 99 6 Exponential FM Side Chain Linear FM 0 Do 20 Ctrl In Ctrl In Side Chain Strength 0 0
85. mum value for that parameter Osc4 Rotor 1 Rotor 2 AM1 AM2 Mixer1 Mixer 4 Filter1 Filter4 nsFX1 InsFX4 W Noise Rotor processors 1 and 2 Amplitude Modulation sources 1 and 2 Vector synthesis sources 1 and 2 Mixers 1 through 4 Filters 1 through 4 nsert effects 1 through 4 White noise source Pink noise source External inputs 1 through 4 S PDIF output left S PDIF output right Table 27 Modulation Source List 1 Ext1 Ext4 SPdifL lt 5 D A gt gt U UJ NM T S G 96 olo 2243 4 5 ae D Sa o D o N 5 o 5 T Sa x 5 Zl 3 O 5 o alo o D JE Aala 5 o Q D lee s gt ts o o 5 W By adding pink and white noise sources to the modulation source list we have freed up the MM1 oscillator type from having to provide the noise sources C1 4 Modulation Source List 2 Table 28 shows the modulation source list used by the Envelope Generator EG components We will refer to this list as Modulation Source List 2 Source Name OFF Vel Velocity Key Irk Key tracking ModWh Modulation wheel CC1 CC4 Continuous controllers 1 through 4 Table 28 Modulation Source List 2 55 Appendix 3 Filter Types Table 29 shows the filter types available in Solaris LP Lowpass HP Highpass BP Bandpass BR Band Reject Notch AP Allpass The numbers describe the pole count for each pole providing 6 dB of filtering There are several series filt
86. ns allow you to disable or mute the signal coming from each of the four mixers A lit LED above any of the buttons means that mixer s output will be heard Enable Part settings are stored with presets A number of Solaris s presets have been pro grammed to take advantage of the Enable Part buttons to alter the preset in a desirable way When creating your own presets experiment with using the Enable Part buttons to allow you to alter your sounds on the fly without having to select a differ ent preset Assignable Performance Knobs PERFORMANCE CONTROLS Even though you have five text screens to edit parameters doing so will immediately take you out of Preset Mode Also there are parameters in the graphic display for many different functional groups and you might want to have ac cess to these To give you quick access to any parameter in the system the bottom five knobs below the graphic display can be assigned You use the Shift button to the left side of the lower row of knobs to assign these knobs Figure 16 Performance Knob Assignment 1 Holding down the Shift button select which of the 5 Performance Knobs you want to assign by giving ita turn 2 Continue to hold down Shift and select the parameter you wish to associate with the Performance Knob 3 Release the Shift button You should see a descriptive text string for the assigned knob at the bottom of the screen As shown in Figure 16 you will also see
87. nsert FX Insert FX Parameters Mod Mode Figure 39 Insert FX Mod Mode Each Insert FX has one available modulation source with sidechain modulation which directly affects the Value parameter i e it affects the Insert FX s setting Figure 37 Insert FX Panel Insert FX 1 4 Solaris provides four Insert FXs that can be placed in the signal path between the mixers and filters or between the filters and the VCAs See Signal Path on page 21 for examples Insert FX Parameters Main Mode Figure 38 Insert FX Main Mode Mode Parameter Description Decim ator Reduces the sample rate of the playback system The range is 63 with lower values increasing the decimation effect BitChop A bit crusher effect that allows you to reduce the bit length of the playback signal from 16 to 1 There are 16 discrete steps though the parameter value shows a range of 63 Distort A soft distortion effect Table 5 Insert FX Modes Input The input signal Value The setting of the Insert FX in the range 63 28 INSERT FX 1 4 INSERT FX PARAMETERS MOD MODE Filters LCAL In Fey Ll Ler InitParn Henter MET gre Boost LCG eas Hinear 28 HAR Figure 40 Filter Panel Filters 1 4 Solaris has four filters that can be routed in parallel or series Any signal can be passed to a filter though a typical configuration might have a mixer output routed to a filter input To route 2 or mor
88. nt les limites applicables aux appareils numerique de la Class B pre scrites dans la reglement sur le brouillageradioelectrique edicte par le Ministre Des Communication du Canada This only applies to products distributed in Canada Ceci ne s applique qu aux produits distribues dans Canada OTHER STANDARDS REST OF WORLD This product complies with the radio frequency interference requirements of the Council Directive 89 336 EC Cet appareil est conforme aux prescriptions de la directive communitaire 89 336 EC Dette apparat overholder det gael denda EF direktivvedrorendareadiostoj Dieses Gerat entspricht der EG Richtlinie 89 336 EC 192 DECLARATION OF CONFORMITY The following devices Solaris keyboard are hereby declared to conform with the requirements of Council Directive 89 336 FWG for radio frequency interference They also comply with regulations dated August 30th 1995 concerning radio interference generated by electronic devices The following standards have been applied EM 50 082 1 1992 EN 50 081 1 1992 EN60065 1993 This declaration has been given responsibly on behalf of the manufacturer Zarg Music LLC 6012 Championship Cir Mukilteo WA 98275 USA 65 Index Abs 41 absolute 41 AM 41 Amplitude Modulation 41 Arp 35 Arpeggiator 35 ArpOn 15 Arp Seq 14 ArpTrans 46 Assign1 46 Assign2 46 Attack 44 B BitChop 28 Boost 31 BPM 15 C CEM 50 CF 9 Channel 44 Chord 46 Clip 41 ClkSrc 45 Cloc
89. oads each preset as you step one by one through the bank 4 Use the Data Wheel to scroll through presets When you see the one you want press Enter to load 10 QUICK START 5 Use the keypad to directly enter a Preset number You must press Enter to load the preset 6 Use the knobs below the Graphic Display to dial up dif ferent Presets or Banks You must then press Enter to load the preset A more convenient way to select various Banks is to use the keypad as follows Any number pressed on the keypad that is followed by the decimal point button dot will be used as the selected Bank number Any number following that will be used to select the Program number If no new bank number is entered i e you do not press the dot then any number entered will be used as a Program number for the current bank So for example to select Bank 3 Program 12 you would press 3 12 then Enter Preset Mode Graphic Display Preset Mode is enabled when you press the Preset button above the numeric keypad on so that its LED is lit This must be on to select any presets s soon as an edit is made anywhere on the front panel the Solaris will automat ically leave Preset Mode to allow for editing so when you want to play through the presets make sure this Preset button is lit You must have a CompactFlash CF card inserted to select presets For most all of the Graphic Display functions there will be a pair of numbers on the lowe
90. ocessing of the External or S PDIF signals will S PDIF occur FXchan1 4 Outputs routes the sum total of that FX channel to the assigned output Table 10 Audio output sources This system provides the maximum in flexibility for FX bussing but can be a bit confusing Combined with the FX Channel input options several variations of routing are pos sible For example You want to process the dry synth with 4 effects each one having its own direct output assigned In this case you would have a screen like this Table 11 Sample output routing You would then set up each of the Effects Channels see below with the dry Synth as input and only one effect selected for each FX Channel You want the dry synth to have a Flanger effect and send that to one output and then send the flanged synth into a Delay and have that come out a different output For the Output page you would 38 GRAPHIC DISPLAY have something like this Figure 65 Sample output routing You would then set up FXchan1 to take the Synth as input and select the Chorus Flanger only Then you would set up FXchan 2 to take FXchan1 as Input and select the Delay effect only With this example you have 2 FX channels in series coming out of analog outs 3 4 Effects Channel FXChan Figure 66 Effects Channel Menu page 1 of 4 Solaris provides four separate effect channels each with four effect slots There are four effect modules Chorus Flanger P
91. ocity values stored in the arpeg giator Pattern by the velocity at which the notes were played on the Keyboard or Both Hold Allows the arpeggiator to be latched on PatLen Sets the number of notes 1 32 used in the arpeggiator pattern Swing Introduces a delay of every other or every even note trig gered evoking a swinging or rhythmic feel to the playback Sequencer Seq Solaris s Step Sequencer allows you to develop complex pattern based sequences that can be used to control the vast modulation possibilities of the synthesizer The Step Sequencer comprises four separate rows SegA SegB SeqC and SeqD each programmable with up to 16 steps and parameters that determine how the rows are triggered 36 GRAPHIC DISPLAY and synchronized and what pattern the row will play Solar is s Sequencer is essentially one step sequencer with four rows of parallel control outputs or four layers Each row can have a different loop point step length but the overall timing is controlled by the first row SeqA and everything retains the overall feel of the timing or reset intervals are set on SedA Note that the seguencer in Solaris is not hardwired to control the pitch of the oscillators though that is a common use Solaris s Step Sequencer can be used as a modula tion source for any other parameter in the synthesizer which allows very complex evolving and or rhythmic ma nipulation of sounds The IN
92. ohn Bowen SYNTH D E SIGN Copyright 2011 2012 John Bowen Synth Design All rights reserved This manual as well as the software and hardware described in it is furnished under license and may be used or copied only in accordance with the terms of such license The content of this manual is furnished for informational use only is subject to change without notice and should not construed as a commitment by John Bowen Synth Design John Bowen Synth Design assumes no responsibility or liability for any errors or inaccuracies that may appear in this book Except as permitted by such license no part of this publication may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic mechanical recording or otherwise without the prior written permis sion of John Bowen Synth Design Solaris is a trademark of John Bowen Synth Design All other trademarks contained herein are the property of their re spective owners All features and specifications subject to change without notice For the latest revision of this manual visit our website www johnbowen com Special thanks to Marcos Paris sound design Bank 1 MP Carl Lofgren sound design Bank 2 CL Howard Scarr HS Kurt Ader KA and Stephen Hummel SH sound design Bank 3 Brent Garlow Solaris User Guide Scofield Kid Solaris Signal Path diagram And an extra special Thank You So Much to Stefan Stenzel and the directors at Waldorf for
93. oller Tra Lic ROEE nee 1 1 Figure 63 Ribbon Controller Menu page 1 of 1 As mentioned in Ribbon Controller on page 15 the Ribbon Controller outputs 2 control signals If only one finger is used both signals are identical If two are used the upper finger controls the Ribbon 2 output Offset This parameter moves the zero point of the ribbon to the right from the left most edge It currently affects the output whether the ribbon is touched or not This will be ad dressed in an upcoming OS update Intens Scales the ribbon output from 0 200 The most common usage is 100 RIBBON CONTROLLER 37 Hold Hold the last touched ribbon position TouchOff Touch Offset Resets the zero point to wherever you first touch the rib bon This allows very long sweeps down if you touch the rightmost edge of the ribbon This mode is similar to how the ribbon controller on the classic Yamaha CS 80 synthe sizer worked Output Figure 64 Output Menu page 1 of 1 The Solaris s analog outputs are configured as 4 pairs of stereo outputs Also available is the S PDIF stereo output For each of these stereo outputs you can decide the source of the audio signal The choices are Off Synth EXT 1 2 EXT 3 4 S PDIF and FXchan1 4 Synth Sends the direct output of the Solaris prior to any of the FX EXT 1 2 Routes the signals directly from their input EXT 3 4 or to the outputs as a pass thru function no pr
94. one semitone Main mode page 2 parameters Glide Exponential glide time for this oscillator 0 0 ms to 20 0 sec Turns oscillator glide on and off Table 26 Parameter Table for Mini Oscillator 53 Appendix 2 Modulation Sources Modulation Sources List 1 Table 27 shows the modulation list we will refer to as Modulation Source List 1 This modulation source list is used by the following components Oscillators Mixers Insert FX Filters VCAs and LFOs Source NET OFF LFO1 LFO4 LFO EG5 Envelope Generators 1 through 5 Envelope Generator 6 amplitude envelope Looping Envelope s X axis Looping Envelope s Y axis G lt el O mm lt O Olr QO i h mm lt X SE SE D o O 40 vj O O cu o ma Il o Ole gt A 0 U 5 WW U M00 U U 0 0 cjs 2952 See Se eee eee e ee eee See BEBE gt Q O x FKl lt ID J a a la Xx TO 87 O A O lt x 2 gt Al Ns s X OD lt Slo Q i gt S525 R a o N MIDI note number The center zero point is E4 when using for key tracking etc AT MW Aftertouch and Modulation Wheel summed ibbon Controller signal 2 higher of 2 oystick X position ystick Y position ser assignable controllers Refer to MIDI Menu on page 44 for details tep sequencers A through D dal 1 dal 2 ssignable Button 1 ssignable Button 2 nvelope Follower CC5 KeyTab1 KeyTab4 Lag1 Lag4 Lag processors 1 through 4 Breath controller Maxi
95. ou can also contact Zarg Music LLC directly to receive a RMA number for the defective product PLEASE NOTE It is mandatory to return the product with the referring RMA number to avoid delays in repair If possible please also add a description of the failure occurred to enable us executing the repair as soon as possible Zarg Music LLC phone 1 425 210 3270 sales johnbowen com The hardware described within this documentation is herewith certified to conform to the requirements set forth in the guidelines for electromagnetic acceptability 89 336 EWG CE Dipl Inform Jurgen Kindermann SONIC CORE DSP Audio Technology GmbH March 2009 60 Appendix 8 NRPN Table None0 0 0 None0 0 1 None0 0 2 Master0PitchWheelRange1 5 None0 0 8 None0 0 9 Env1Delay0 10 Env1AttO 11 Env1Deco 12 Env1Sus0 13 Env 1RelO 14 Env1ASlope0 15 Env1DSlope0 16 Env1SSlope0 17 Env1RSlope0 18 EnviLviVeld 19 Env1AMod0 20 Env1DModo 21 Env1SMod0 22 Env1RModo 23 Env1ATMSrcO 24 Env1DTMSrc0 25 Env1SLMSrc0 26 Env1RTMSrc0O 27 Env2Delay0 28 Env2AttO 29 Env2Dec0 30 Env2Sus0 31 Env2Rel0 32 Env2ASlope0 33 Env2DSlope0 34 Env2SSlope0 35 Env2RSlope0 36 Env2LviVel0 37 Env2AMo0d0 38 Env2DMod0 39 Env2SMod0 40 Env2RModo 41 Env2ATMSrco 42 Env2DTMSrc0 43 Env2SLMSrc0 44 Env2RTMSrc0 45 Env3Delay0 46 Env3AttO 47 Env3Dec0 48 Env3Sus0 49 Env3Rel0 50 Env3ASlope0 51 Env3DSlope0
96. ou can set the Fine Tune as needed and still select through the presets without resetting this parameter Load BPM Allows you to override the stored preset values for BPM If LoadBPM is Off the programmed BPM will be ignored and the current BPM setting will be used for all presets Load Outs Allows you to override the stored preset values for the output assignments If LoadOuts is Off all programmed signal routings in the Output section see Output on page 38 including FX routings will be ignored The current Output selection and FX bussing will be used for all Pre sets This will adversely affect many of the presets which have specific effects designed as an integral part of the sound This function is provided if for some rea son you wish to have the Solaris audio coming from output jacks that are not normally programmed in the factory Presets Split Limits the Inc Dec buttons to select pages only from the Main or Mod group The most recent displayed page is 44 GRAPHIC DISPLAY stored for each section allowing one to go between a Main page and a Mod mode page Wrap Allows continuous cycling of the parameter pages If Wrap is Off page selection will stop at the final page whether incrementing or decrementing System parameters are not stored in presets Save Certain parameters in the Solaris make more sense to be stored once for overall use in the synth instead of per preset These parameters
97. ourceO 783 Am2ModSource0 784 Am2ModControlO 785 VeciIn1GainO 786 Vec1In2Gain0 787 Vec1In3Gain0 788 Vec1In4Gain0 789 Vec1XOffset0 790 Vec1YOffsetO 791 Vec1XMod0O 792 Vec1YModo 793 VeciIn1Src0 794 Vec1In2SrcO 795 Vec1In3SrcO 796 Vec1In4SrcO 797 Vec1XMSrcOo 798 Vec1YMSrco 799 Vec2In1GainO 800 Vec2 In2Gain0 801 Vec2 In3Gain0 802 Vec2 In4Gain0 803 Vec2xXOffsetO 804 Vec2Y OffsetO 805 Vec2XMod0 806 Vec2YMod0 807 Vec2In1SrcO 808 Vec2In2SrcO 809 Vec2In3SrcO 810 Vec2In4SrcO 811 Vec2XMSrc0 812 Vec2YMSrc0 813 Leg1T1 814 Leg1X1 815 Leg1Y1 816 Leg1T2 817 Leg1X2 818 Leg1Y2 819 Leg1T3 820 Leg1X3 821 Leg1Y3 822 Leg1T4 823 Leg1X4 824 Leg1Y4 825 Leg1T5 826 Leg1X5 827 Leg1Y5 828 Leg1T6 829 Leg1X6 830 Leg1Y6 831 Leg1T7 832 Leg1X7 833 Leg1Y7 834 Leg1T8 835 Leg1X8 836 Leg1Y8 837 Leg1Slope0 838 Leg1LoopModeO 839 Leg1LoopRepeatO 840 Leg1LoopStartO 841 Leg1LoopEndO 842 Leg1TModAmountO 843 Leg1LModAmountO 844 Leg1TModSrc0 845 Leg1LModSrcO 846 EnvFolOlnputGain0O 847 EnvFol0OutputGainO 848 EnvFolOAttO 849 EnvFolORel0 850 EnvFolOlnSrcO 851 Lagi 0 852 Lag1InSourceO 853 Lag2 0 854 Lag2InSourceO 855 Lag3 0 856 Lag3InSourceO 857 Lag4 0 858 Lag4InSourceO 859 NoneO 0 860 NoneO 0 861 NoneO 0 862 NoneO 0 863 SeqOTrack1 864 SeqOTrack2 865 SeqOTrack3 866 SegOTrack4
98. r Mode Bypass or enable the effect Freq Speed of the modulation from 0 00Hz to 50 0Hz Depth Depth of the modulation effect from 0 to 100 Phase Phase 180 degrees Offset Shifts the center point of the frequency being swept from 0 127 InLevel Gain of the input signal Feedbck Amount of feedback to be applied from 0 100 Dry The amount of original unaffected signal passed to the output Wet The amount of effect sound passed to the output Phaser GRAPHIC DISPLAY Figure 68 Phaser Menu page 1 of 1 Mode Bypass or enable the effect Freq Speed of the modulation from 0 00Hz to 50 0Hz Depth Depth of the modulation effect from 0 to 100 Phase Phase 180 degrees Offset Allows you to specify the center point of the frequency be ing swept in Hertz The range is 0 00Hz to 20000 0Hz InLevel Gain of the input signal Feedbck Amount of feedback to be applied from 0 100 Dry The amount of original unaffected signal passed to the output Wet The amount of effect sound passed to the output Delay Figure 69 Delay Menu page 1 of 1 The Delay effect in Solaris is actually two different delay effects a normal stereo delay and a cross delay The standard stereo delay consists of two delay circuits left and right that have feedback loops into their own inputs The cross delay features two delay circuits whose feedback circuits are crossed ov
99. r is locked to that of the master oscillator and the Coarse and Fine frequency controls of the slave oscillator affect only how many cycles the slave plays relative to the master Sweeping the frequency of the slave oscillator cre ates the classic hard sync sound Synchronizing the oscil lator to Gate causes the oscillator to restart with each note on event Note that an oscillator cannot be synchronized to itself Phase Phase controls the start point of the waveform when it re ceives a sync ed signal If Gate is the sync source adjust ing the Phase will allow you to force the oscillator to start from that phase point for every time a key is pressed This is the same as for the Rotor s Phase control This is useful when you wish to guarantee that the phase of the oscillator will always restart at the same place when working on cre ating kick drum sounds for example otherwise repeated note events would sound different for each key if no Gate sync is used Another use would be if you want to use the Osc as an LFO and need the modulation to always start at a specific point say with a square wave at the bottom of the square For the LFO section Gate Sync is called Retrigger and is accessible via the rightmost button on the LFO panel Glide rate Exponential glide setting for the selected oscillator in the range 0 0ms 20 0sec Produces a smooth transition in pitch between two notes GLIDE ON OFF Glide on off
100. r right hand corner These indicate which page of the current functional group you are on out of how many total pages there are for that functional group For Preset Mode there are 3 such pages shown as 1 3 2 3 and 3 3 You can read these as page 1 of 3 page 2 of 3 page 3 of 3 You use the up down buttons to the left of the display to access these pages Note these are always working in wrap around mode Pros Filter Cati Catz J E Pac Dark La Hreesalo Lu brishl Figure 4 Preset Mode page 1 The first page of Preset Mode as shown in Figure 4 dis plays the preset name MIDI Bank and Program number and the Category logic and Filtering The bottom line of the Graphic Display will always show you current information when any knob is selected The initial data displayed when selecting a Preset is the preset name and the two pro grammed categories if there are any programmed shown as C1 and C2 PRESET MODE GRAPHIC DISPLAY Figure 5 Preset Mode page 2 The second page shown in Figure 5 allows you to assign 5 knobs as Performance Knobs for any preset parameter in the synth The third page shown in Figure 6 allows you to view 10 presets at a time to get a better overview of where you are in the bank Use the Data Wheel to scroll through the preset names here Note that the example shown has category filtering enabled so the list of presets displayed on page 3 is limited to those that match the selecte
101. sc 1 gt Mixer 1 input 1 Osc 1 gt Mixer 1 input 2 Osc 1 gt Mixer 1 input 3 Osc 1 gt Mixer 1 input 4 Classic synthesizer configuration The most standard configuration like the Minimoog and most other synthesizers Osc 1 gt Mixer 1 input 1 Osc 2 gt Mixer 1 input 2 Osc 3 gt Mixer 1 input 3 Osc 4 gt Mixer 1 input 4 Insert FX before the filters Mixer Insert FX Filter 1 Set VCA 1 s VCA1In to Filter 2 Set Filter 1 s Input1 to InsFX1 3 Set InsFX1 s Input1 to Mixer Insert FX after the filters Mixer Filter Insert FX 4 Set VCA 1 s VCA1In to InsFX o Set Filter 1 s Input1 to Mixer1 FLEXIBLE SIGNAL PATH 21 6 Set InsFX 1 s Input1 to Filter The Decimation and Bit Chop effects are even more noticeable when using them after the filter Set the Insert FX and play with the filter s cutoff frequency Feedback loop in mixer Mixer 1 can be routed to Mixer 1 and will have a feedback effect if there are other signals also coming into the Mixer This can be really effective try this Osc1 gt Mixer 1 input 1 Mixer 1 gt Mixer 1 input 2 As you adjust the Level of Input 2 you can control the overdriven sound of Osc 1 prior to the signal going into the Filter or InsFX This can give you a real fat sound when used judiciously You can also modulate the level of Input2 with an envelope or other controller such as Aftertouch Mod Wheel LFO Note etc so this approach can provide for some n
102. step to the next will be abrupt at full amount 127 each step is cross faded with the next providing smooth but constant changes in the output When the Rotor runs at audio rates the transitions happen so quickly that we hear the results as a unique waveshape itself one can change either the coarse and fine tunings of each input or the source material itself to create timbre changes You will also find that at audio rates the X fade amount makes the wave form less bright as you move from zero to max amount as the smoothing function takes off the rough edges of the resultant as it is increased One unusual way of generat ing new harmonic structures is to run the Rotor at audio rates tracking the keyboard This is almost like a granular approach in that you will hear small bits of each input at a rapid rate Rotor Parameters Main Mode Rotor Main mode comprises three pages of parameters accessed by pressing the Inc Dec buttons to the left of the text display Page 1 Parameters Fade Sunc Hr FIFE Figure 29 Rotor Main Mode page 1 Coarse Coarse tuning of the Rotor between 60 and 60 semitones This control allows the Rotor to operate as an audio rate oscillator The Clock Sync No Track and Low buttons on the Oscillators panel have the same effect on the Ro tors as the do on the standard Oscillators Osc 1 4 Refer to that section for an explanation of how these buttons affect the oscillator s freq
103. t can be swept using various modulation sources The wavetables in Solaris are the original Waldorf Microwave wavetables used with special permission from Waldorf See Table 21 for the full list of waveta bles The Wave parameter corresponds 1 1 with the wavetables listed in the table i e Wave 33 in the Wavetable oscillator is the SawSync 1 wavet able Determines which of the 64 waveshapes to 0 to 100 play from the wavetable chosen in the Wave parameter Parameter controls the pitch of the oscilla 60 to 60 tor in semitones Fine Fine tuning of the oscillator in percentage of 100 to 100 one semitone Main mode page 2 parameters Glide Exponential glide time for this oscillator 0 0 ms to 20 0 sec Table 20 Parameter Table for Wavetable WT Oscillator Wavetables 3 manes ro Transient 108 Sawsyes s1 12845 4 SarSweep 20 beer 36 Pulsynet s2 domy 5 enn 21 Rooie ar PPusyne2 58 Waverpt Z 2 a 2 2 2 2 2 MellowSaw 8 ClipSweep SinSync 2 Wavetrip4 92 Feedback i 11 1 6 19 1 25 ResoHams 41 SnSyc3 67 Malev 1 31 Table 21 Original Waldorf Wavetables 36 37 38 39 41 43 44 45 46 47 8 49 CEM Curtis Electromusic Oscillator Parameter Parameter Description Values Main mode page 1 parameters Type Type of oscillator Wave Waveform generated by the oscillator CEM OFF Saw Tri Tri Pulse S T P For waveforms what have variable sh
104. the Main pages and all possible modulation to that group under the Mod pages Typically there are 2 Main pages and 4 Mod pages per group although this does vary a bit Throughout this manual we will refer to a panel s Main Mode and Mod Mode Those modes or sets of menus are access by the sub group toggle button or by using Wrap as described below GENERAL NAVIGATION User Interface and Navigation There are several ways to step through the pages The user can decide to step through all pages with the Inc Dec buttons and then stop at the end or to be able to continu ously wrap around from the last to the first page ETa Figure 10 System Tab in Graphic Display This function is called Wrap and is set on the System tab as shown in Figure 10 The System tab is found in the softkeys sets on the graphic display by pressing the More button a few times Also here is Split which allows you to stay within the boundaries of either the Main or the Mod sub group This is handy when you want to switch quickly back and forth between two related pages say Shape in the Main pages and a modulation of Shape in the Mod pages If you want to quickly reach the topmost page of any object Oscs LFOs Mixers Filters VCAs Envelopes just quick ly double click that object s select button You can also use the object select buttons to do a copy amp paste operation simply hold down the button of the object you want to
105. ther electronic devices This equipment generates uses radio frequencies and if not installed and used according to the instructions found in the user manual may cause interference harmful to the operation of other electronic devices Compliance with FCC regulations does not guarantee that interference will not occur in all installations If this product is found to be the source of interference which can be determinated by turning the unit OFF and ON please try to eliminate the problem by using one of the following measures Relocate either this product or the device that is being affected by the interference Utilise power outlets that are on branch Circuitbreaker or fuse circuits or install AC line filter s In the case of radio or TV interference relocate reorient the antenna If the antenna lead in is 300 ohm ribbon lead change the lead in to coaxial type cable If these cor rective measures do not produce satisfactory results please contact the local retailer authorised to distribute this type of product The statements above apply ONLY to products distributed in the USA SOLARIS Version 1 191 FCC Information CANADA FCC INFORMATION CANADA The digital section of this apparatus does not exceed the Class B limits for radio noise emmissions from digital apparatus set out in the radio interference regulation of the Canadian Department of Communications Le present appareil nume rique nemet pas debruit radioelectriques depassa
106. ton that is configured for Arp Trans Playing C4 on the Solaris keyboard will play the pat tern in its original key Playing any other note on the keyboard will transpose the pattern Press the assignable button again turn it off to play a new arpeggiator pattern Table 18 Assignable Button modes Mode Each of the assignable buttons can be configured to func tion as Toggle buttons or Moment ary buttons MIDI MENU Free CF Space Free storage space on the inserted CompactFlash card Figure 88 Home Menu page 3 of 4 Transp ose Transposes Solaris 63 semitones PW Up Defines the range that the pitch wheel outputs in the upper half of its travel 63 semitones PW Down Defines the range that the pitch wheel outputs in the lower half of its travel 63 semitones BPM Beats Per Minute When not synced to an external MIDI clock this parameter can be used to set the internal tempo between 1 and 255 BPM VTintens Velocity Table Intensity 0 100 For the table shapes at 50 the table shape is linear At 0 it is logarithmic and at 100 it is exponential VTOff Velocity Table Offset This parameter is an offset which allows you at larger values to shift the zero point of the control signal from velocity ATintens Aftertouch Table Intensity 0 100 For the table shapes at 50 the table shape is linear At 0 it is logarithmic and at 100 it is exponential AT Off Aftertouch Tabl
107. ty meaning we could create even more chaos with this oscillator by maybe adding a third modulation source to the exponential Pitch control input or Dest DESTINATION BASED MODULATION Signal Path Black Lines Forward Signal Path Red Lines Feedback Signal Path gt 0 gt indicates Any Input Allowed 1 indicates Path Input Restriction Figure 24 Solaris Signal Path As Figure 24 illustrates Solaris has a very flexible signal path Flexible Signal Path The best way to understand how any particular patch is working is to start with the VCA and work your way backward The VCA s only have 2 pos sible inputs either the same numbered filter or the same numbered Insert FX Working backwards from there can help you understand the rest of the signal path back to the sound source Because the signal path of Solaris is so modular we ll use this section to describe some technigues you might find useful Boosting the signal of each oscillator by 6dB You can increase the signal of an oscillator by assigning it to more than one input on a single mixer For example Osc 1 gt Mixer 1 input 1 Osc 2 gt Mixer 1 input 2 Osc 1 gt Mixer 1 input 3 Osc 2 gt Mixer 1 input 4 Or MODULAR STYLE MODULATION 3 E i I i I i I i I r I I i I i I I I I I i F TR d Global Master Effects Volume JE I I I I I I Insert FX i nd s 3 I I I O
108. u will see dashes below Previ ous and Next and whichever key you are pressing as the Current parameter value Below these three parameters are Value Interpol and Value Again if the key table is empty these parameters will each have a value of 0 0 showing If there is a valid key table the display will show percentage values for any note played on the keyboard with Interpolated or Fixed val ues being adjustable by the user Notes that have been set in the table and which are above or below the current note being played will appear with their values in the Prev and Next fields Example Let s select note 36 lowest C on the Solaris and change the Interpol value to 5 0 adjust the knob below Interpol This label changes to Fixed signifying that note 36 now as a fixed value of 5 0 Figure 79 shows the cur rent state of the graphic display Now select note 77 F5 Set its Value to 10 7 Now play note 55 G3 You will see the following in the display KEY TABLES Figure 80 Key Table example Note in the lower right corner a parameter that says Active with a value of 5 0 This tells you that 2 notes have had their values assigned in the key table They are now fixed The display tells us that there is a fixed table value below the current key at note 36 the Previous note to the current one that s assigned a fixed value and another fixed value at note 77 the Next note above the current one that has
109. uency 26 ROTORS 1 2 Fine Fine tuning amount of the Rotor Allows fine adjustments of the Rotor s pitch over the range or 1 semitone X Fade This parameter controls the amount of cross fade applied between each of the four steps of the Rotor processor The higher the value the greater the amount of cross fade Sync When Sync is set to Gate the Phase parameter can be used to determine at which step in the Rotor s cycle it will reset with each new note on event Phase When Synch is set to Gate the Phase parameter can be used to control the starting point of the Rotor processor when new note on events are received Page 2 Parameters Trrul4 Fis InFulLz2 kOsc Z InFULI InFULS Hier 3 Fac i Figure 30 Rotor Main Mode page 2 Inputs 1 4 Page 2 of the Rotors Main mode controls allows you to as sign the inputs to the Rotor s four inputs Typically these in puts will be assigned to sound sources such as oscillators but they can be assigned to control signals as well opening the doors to expansive new modulation possibilities Page 3 Parameters Levell Level Level Fh bk KES Figure 31 Rotor Main Mode page 3 Rotor Parameters Mod Mode The Rotors also have four independent modulation sources available but the destination parameters are specific to the Rotor processors The Dest options are Pitch and XFade cross fade amount Parameter Description None No para
110. und In High mode the highest note played on the keyboard will sound In Last mode the most recently pressed key will have priority The early Minimoogs had a low note priority most synths now use last priority UniVoice This parameter determines how many of Solaris s voices should be assigned to a single note The more voices as signed the thicker and punchier the sound will be though polyphony will be affected if you are using PlayMode set to Poly There is an intelligent assignment that will allow you want to stack unison voices in polyphonic mode however By setting UniVoice to 3 for example each note you play will have 3 voices assigned to it The more voices you assign the lower your polyphony will be The current OS supports 10 voices so in this configuration you would have 3 voices of polyphony The UniTune parameter can be applied to in either mono or poly mode lf you want to play a chord stack on one note set this parameter to Chord ensure that PlayMode is set to Poly and the Unison button on the front panel is off Press and hold a chord then press the Unison button As long as the Unison button is on LED lit any notes you play will play back your stacked chord UniTune This parameter acts as a tuning spread 100 cents between the voices specified in UniVoice The larger the value the more detuned from each other the voices will become This can result in an extremely fat sound 46 H
111. uneO 628 Fil2KeycenterO 629 Fil2KeytrackO 630 Fil2InSrcO 631 Fil2XFade0 632 Fil3ModCMix1 634 Fil3ModAmount1 635 Fil3ModCMix2 636 Fil3ModAmount2 637 Fil3ModCMix3 638 Fil3ModAmount3 639 Fil3ModCMix4 640 Fil3ModAmount4 641 Fil3ModSource1 642 Fil3ModSource2 643 Fil3ModSource3 644 Fil3ModSource4 645 Fil3ModControl1 646 Fil3ModControl2 647 Fil3ModControl3 648 Fil3ModControl4 649 Fil3ModDest1 650 Fil3ModDest2 651 Fil3ModDest3 652 Fil3ModDest4 653 Fil3ModeO 654 Fil3Sel0 655 Fil3Vowel1 656 Fil3Vowel2 657 Fil3Vowel3 658 Fil3Vowel4 659 Fil3Vowel5 660 Fil3ResonanceO 661 Fil3Damp0 662 Fil3TuneO 663 Fil3KeycenterO 664 Fil3KeytrackO 665 Fil3InSrcO 666 Fil3XFadeO 667 Fil4ModCMix1 669 Fil4ModAmount1 670 Fil4ModCMix2 671 Fil4ModAmount2 672 Fil4ModCMix3 673 Fil4ModAmounts3 674 Fil4dModCMix4 675 Fil4ModAmount4 676 Fil4ModSource1 677 Fil4ModSource2 678 Fil4ModSource3 679 Fil4ModSource4 680 Fil4ModControl1 681 Fil4ModControl2 682 Fil4ModControl3 683 Fil4ModControl4 684 Fil4ModDest1 685 Fil4ModDest2 686 Fil4ModDest3 687 Fil4ModDest4 688 Fil4ModeO 689 Fil4Sel0 690 Fil4Vowel1 691 Fil4Vowel2 692 Fil4Vowel3 693 Fil4Vowel4 694 Fil4Vowel5 695 Fil4ResonanceO 696 Fil4Dampo 697 Fil4TuneO 698 Fil4KeycenterO 699 Fil4KeytrackO 700 Fil4InSrcO 701 Fil4XFadeO 702 Vca1ModeO 704 Vca1BoostO 705
112. well as famil iarizing you with the general layout of the synthesizer and tips and tricks for navigating its user interface few things to keep in mind Unlike every other synth on the market there are no presets or preset memory inside the Solaris What this means is that ALL preset data as well as the OS samples factory patterns and the Global init file re side on your CompactFlash CF card DO NOT LOSE YOUR CF CARD It is highly recommended you get a CF card reader and back up your card to a computer You do not need a CF card to get sound from the So laris without a CF card inserted a simple default patch using a Square wave should sound For most listening applications Outputs 1 amp 2 or the headphone out are all you need The factory presets are designed for listening from Outputs 1 amp 2 or the headphone out Outputs 1 amp 2 act as Left amp Right as well If you want to use the S PDIF output you must change a System setting Yes the power supply is outside of the synth This avoids noise in the audio and makes things simpler in the design So to get started plug in the power supply and audio cables insert your CF card and turn on the Solaris Also its always a good idea to have you system volume down when turning on gear The five text displays should say Booting and the graphics gfx display will eventually also show a number of opening credits screens the last of which is
113. will hear each discrete semi tone played between the two notes For example if you play C2 then C4 At 100 you hear the full range gliding If you set the Range to 50 the Glide will start from C3 up to C4 It is best to set PlayMode to Mono to hear the effect of glide settings GldTime Duration of the glide from 0 0ms to 10 0sec or 0 to 100 for Constant Rate glide mode Playmode Determines if the Solaris will play in polyphonic or mono phonic mode The Unison button on the front panel under the MIDI MENU 45 LFOS panel will override the PlayMode setting un less the UniVoice setting is Chord Legato Determines if a voice is retriggered when it is stolen for use in legato mode or not When Legato mode is Off only the most frequently pressed key will sound In Legato mode reassign or retrigger a key that is held down will re sound after another key is played and released Reassign mode reassigns the voice to the original note resulting in a legato effect Retrig mode retriggers the original note EgReset Shutdwn mode forces the envelopes to be reset to zero for each new note on event In Running mode the enve lopes continue running from wherever they are currently when a new key is pressed NotePri ority When PlayMode is set to Mono mode note priority deter mines which key pressed will have priority i e which note will be sounded In Low mode the lowest note played on the keyboard will so
114. will play whatever step it is currently active Each step retriggers the envelopes SEQUENCER SEQ No Gate Only the first step in the sequence triggers the envelopes Subsequent steps do not The sequencer does reset with each new key press so it will always start with the first step NG NR No Like No Gate only the first step in the se Gate No quence triggers the envelopes however the se R t quencer does not reset with new key presses eset Each new key press will start with whatever sequencer step is active Key Step Each key press plays the next active step in the sequence and retriggers the envelopes Steps are only triggered by key press Table 9 Sequencer Modes Division The division of the MIDI clock that determines the timing of each sequencer step SegA controls the MIDI clock division and swing for the other three sequencers The other sequencers will use whatever settings are made for SegA Pattern Solaris can store 64 sequencer patterns The values are 1 63 and User Like the Arp Patterns these are stored on the CF card in the Factory Seq folder The Solaris only ships with one pattern A software editor for sequencer and arpeggiator patterns is planned Please refer to the website for more information Swing Introduces a delay of every other or every even note trig gered evoking a swinging or rhythmic feel to the playback BPM The step sequencer can be synchronized to Solaris inter nal
115. y to the unit Please keep levels reasonable at all times Make sure that the equipment you connect the Solaris to matches the Solaris s requirements SAFETY PRECAUTIONS About this Manual Typographical Standards The following typographical standards are used in this manual When referring to a physical button or other control on the Solaris s front panel the name of the control is formatted like this When referring to a parameter the name of the param eter is formatted like this When referring to the value of a parameter the value is formatted like this When referring to a panels Main mode versus Mod ulation mode the mode name is formatted like this Sidebar notes hints etc are formatted like this This is a sample of how hints and notes are format ted When describing one of Solaris s panels or soft menus the name of the parameters are often used as section headings In those cases the name of the parameter is formatted like this This is a sample parameter heading 8 ABOUT THIS MANUAL TYPOGRAPHICAL STANDARDS Getting Started Quick Start This section is designed to get you up and running with Solaris as quickly as possible However Solaris is a very sophisticated device and I highly recommend you spend the time to thoroughly read the entire user guide The Get ting Started section is especially important as it introduces some concepts that are unique to Solaris as
116. you want to keep press the Store button above the numeric keypad LOADING SAMPLES Saue Prosram Los EES 5 Z m Hane a Cati Catz JE SIME Le SLrins Pad Peesaio Erishi Figure 7 Storing Presets page 1 This gives you the first Store screen as shown in Figure 7 and lets you select a new bank and preset location in which to store your preset If you just want to store it in the same location you don t need to change anything If however you want to listen to the new location to see if you dont want to keep what s there you can press Compare which will load the new location s preset and allow you to play it Compare will stay lit when you are listening to the Com pare buffer Turn it off when you are ready to store your ed ited preset You can also select category types here Simply scroll through both categories using the knobs below the Cat1 and Cat2 soft labels to select Figure 8 Storing Presets page 2 Press Store a second time and now you will be taken to the Naming page as shown in Figure 8 Each Preset name can be 25 characters long and you must use the Data Wheel and the Inc Dec buttons above it to select the posi tion and character you want to use Using the Inc Dec will shift the current letter position left or right through each of the 25 positions and scrolling the wheel will select through the entire character list Press Store a third time and this time you are done Turn on the Preset LED and Inc D

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