MIN Owner’s Manual OUTPUT R L/MONO SU
Special Thanks DESIGN & DIRECTION • Glen Darcey PRODUCT MANAGER • Dominic Au ENGINEERING • Chen Jiejun (engine) • Xie Yingchen (software) • Zhang Huaihe (electronic) • Bob Liao (engine) • Banner Xu (software) • Chen Si (electronic) • Luo Liangsheng (electronic) • Li Qiang (VST) INDUSTRIAL DESIGN • Gao Chao • Long Ping TESTING • Zheng Wei Cheng • Boele Gerkes • Randy Lee • Ken “Flux” Pierce • Ed Ten Eyck • Ben Scheffler • Maria Zhang SOUND DESIGN • Drew Anderson • Glen Darcey • Boele Gerkes
Important Safety Instructions Save Your Ears! The product and its software, when used in combination with an amplifier, headphones or speakers, may be able to produce sound levels that could cause permanent hearing loss. DO NOT operate for long periods of time at a high level or at a level that is uncomfortable. If you encounter any hearing loss or ringing in the ears, please consult an audiologist. Precautions Include, but Are Not Limited to, the Following: 2.
Contents The RANDOM button . . . . . . . . . . . . . . . . . . . . . 17 The SHIFT button . . . . . . . . . . . . . . . . . . . . . . . . . 18 Important Safety Instructions . . 3 Welcome to Hydrasynth! . . . . . . . . . . 8 Master Control Section . . . . . . . . . . . . . . . . . . . 18 Main Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 EXIT button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 VOICE button . . . . . . . . . . . . . . . . . . . . . . . . . .
Amp module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 FX group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 The Amp Module . . . . . . . . . . . . . . . . . . . . 46 Voice module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Ribbon (keyboard only) . . . . . . . . . . . . . . . . . . . 31 LFO 2 Amount . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Modulation Sources . . . . . . . . . . . . . . . . . . . . . . 75 Modulation Destinations . . . . . . . . . . . . . . . . 76 How does Analog Feel? . . . . . . . . . . . . . . . . . . . 61 Stereo mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Warm mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 The CV / Gate Section . . . . . . . . . . . . . . 77 Voice Parameters: page 2 . . . . . . . . . . . . . . . . 61 Basic Concepts . . . . . . . . . . . . . . . . . . . .
Control Combinations . . . . . . . . . . . . . 92 Tempo Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Macro Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Safe Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 [INIT] + Button X . . . . . . . . . . . . . . . . . . . . . . . . . . 92 [INIT] + Control Button X . . . . . . . . . . . . . . . . . 92 [RANDOM] + Button X . . . . . . . . . . . . . . . . . . . 93 [SHIFT] + Button X . . . . .
Welcome to Hydrasynth! Everyone at Ashun Sound Machines would like to thank you for choosing one of our Hydrasynth instruments. We’re very proud of what we have created, and are confident they will take you into musical realms that have never been explored. Every aspect of these ground-breaking devices has been carefully considered, from the way the sounds are generated and processed, to the intuitive layout of the controls and displays.
Effects Hardware • Delay: five types, including Left-RightCenter and reverse • MIDI In/Out/Thru • USB type B port, class-compliant • All delays can sync to tempo • CV/Gate inputs and outputs for integration with modular synthesizers • Reverb: four types, with pre-delay and damping parameters • Headphone output(s) • Reverb lengths to 90 seconds, plus “Freeze” • Stereo 1/4” outputs • Sustain pedal input (polarity-sensing) • Independent Pre/Post FX: Chorus, Flanger, Rotary, Phaser, Lo-Fi, Tremolo, EQ
Quick Start Guide Inside the Box Your Hydrasynth was carefully packed at the factory with the following items: • The Hydrasynth • The power supply (12VDC / 1A) • This manual • Rack ears (Hydrasynth desktop only) Save Your Receipt! Ashun Sound Machines designed and constructed your Hydrasynth with extreme attention to detail. Our quality assurance personnel test each unit thoroughly before it goes out.
Make Some Noise! By now you’ve already played the instrument and tweaked the controls. Now let’s take a quick tour of some of the main features. To get started, press the Home button. This will exit any page and take the Hydrasynth to the top level of the patch. Select Patches Octave shift There are several ways to explore the patch banks inside the Hydrasynth. The simplest way is to turn the Patch knob (the big one in the middle), or use the left and right arrow buttons above the Home button.
Keyboard-specific controls The following controls are present on the top panel of the Hydrasynth keyboard, not the desktop model. However, these parameters are available for both units: see Arp parameters: page 2 (p. 67). Control Tempo Ratchet Chance Gate Function Turn this to adjust the tempo, or use the Tap Tempo button. Sets how many subdivisions of an arpeggiator step are possible (1, 2, 4, or 8). Determines the likelihood of a Ratchet event happening on a given arpeggiator step.
Check for Updates Be sure to visit www.AshunSoundMachines.com soon, and often! It’s your source for important things such as: • Tutorial videos to help you master the intricacies of the Hydrasynth • Firmware updates for your Hydrasynth • An interactive version of this manual • …and more! • Banks of new patches from our top-notch sound design team That’s Enough Reading for Now. We’ve covered the basics.
Overview The Hydrasynth represents a perfect balance of instant access, intuitive workflow, powerful features, and great sound, all with a single aim: to make the creation and performance of mindblowing music easier and more fun.
General Concepts Access buttons Control buttons The orange-lettered Access buttons are located in several areas of the top panel. All of the buttons in the Module Select section and many of those in the Main Systems and Master Control sections are Access buttons. Their purpose: Each Control knob is paired with a Control button. Their function also depends on the page that has been accessed. • On the Home page they can affect a Macro in one of four ways (Toggle, Trigger, Switch, or Reset).
Knob types The displays Selection knobs At the center of it all are two high-resolution OLED displays, also known as the Left display and the Right display. They serve different purposes: These are only found in the Arpeggiator section. A “selection knob” clicks between positions to select a value. Of these four, only the Swing parameter can be set to intermediate values (see Swing (p. 66)). Note: The keyboard model also has four variable knobs in its Arpeggiator section.
The HOME button The Home button is located in the center of the top panel. It provides a quick way to get back to the top level of the Hydrasynth, where the Macro controls are. This is known as the Home page. Initialize a Module You can reset the parameters for an entire Module using a similar method: • Hold [INIT]. • Press the Access button for the desired module. • Confirm the decision by pressing [INIT] again. All Notes Off Sometimes MIDI signals are disrupted and a note becomes stuck.
The SHIFT button you can save it like that or tweak its parameters until everything is just right. The Shift button is used in combination with various buttons and knobs to access secondary functions. When these are available the secondary functions are indicated with a row of orange text under the control.
PAGE Up / Down buttons These two buttons are lit if the selected module has more than one page. If one of those buttons is lit that means there are pages available in that direction. If both are lit then pages are available in both directions. If neither is lit, there are no additional pages to select. Access buttons can be used to flip between pages too, which works great if there are only a few pages.
Filter Controls the drive amount of Filter 1, for example, and then switch to Filter 2 and perform similar actions. However, for Filter 2 the third knob does not control the drive amount; instead it “morphs” the filter between the Low Pass, Band Pass, and High Pass types. 8 Sweeping the filter frequency of a sound is a great way to heighten the emotional impact of the music. This is especially true during an arpeggio or a sequenced passage. Hydrasynth offers several controls for exactly this purpose.
Chord mode (keyboard only) • All notes in the chord will be quantized to notes within the selected scale. (See Select a Scale (p. 63) in The Voice Module (p. 60).) A single key can play up to 8 notes at once by activating the [CHORD] button. But a chord must be created before the button can be used. • The chord is not transmitted over USB or MIDI. A slaved device will only receive the played note. To create a chord, hold [CHORD] and it will flash.
Rear Panel 18 19 20 21 22 23 24 25 26 27 Rear panel of the Hydrasynth desktop model is pictured Section 18 19 20 21 22 23 24 25 26 27 Name Phones output (desktop only) Outputs Sustain pedal input Expression pedal input MIDI connectors USB connector DC power connector Power cable guard Kensington lock Power switch Description Keyboard: see Front panel description above Left (mono), Right (for stereo) Polarity sensing on startup Polarity can be inverted in System Setup In, Out, Thru Type B for compute
MIDI Power The Hydrasynth has three 5-pin MIDI connectors to allow you to interface with other devices that might not have a USB port or CV / Gate connectors. Cable lock • MIDI Out sends data from the Hydrasynth to another MIDI device • MIDI In receives data from another MIDI device • MIDI Thru passes the data that arrives at the physical MIDI In jack to another MIDI device. It does not send the MIDI information generated by the Hydrasynth keyboard or pads.
Hydrasynth Desktop The Hydrasynth desktop model has all of the firepower of the keyboard model, even though there are some obvious physical differences. Aside from the size, the most prominent distinction is that the desktop model has RGB pads instead of keys. The pads provide some interesting options for interactive creativity, which will be the main focus of this chapter. Attaching the Rack Ears We’ve included rack ears with the Hydrasynth desktop model so you can put it into a rack if you prefer.
Changing the Pad Key We’ll describe this first before getting into the Pad Modes. In addition to selecting scales and Pad Modes it’s also possible to define the root key for the pads. The default key is C, but you can choose any note in the chromatic scale. The process is simple: 1. Hold [SHIFT] through the final step. 2. Press the top-row pad labeled [KEY]. The Left display shows the current Pad Key.
Pad Modes • Octave Row makes each row of pads into its own octave, with the root note assigned to the first and last pad in each row. The last pad in row 1 plays the same note as the first pad in row 2, etc. Each Pad Mode changes the pad colors visible on the Home page. Yellow pads normally play the root of the scale, although there are exceptions that will be described later. For example, when the Pad Mode is Chromatic only two pads are yellow: pads 1 and 13. In the key of C, those two pads play a C.
Pad Mode examples Chromatic: C Pad # 17-24 9-16 1-8 E G# C F A C# F# A# D G B D# G# C E A C# F A# D F# B D# G Pad Mode = Chromatic, Pad Key/Scale = C Chromatic; = root (yellow), # = red, all others = blue A Chromatic scale contains all 12 notes, so none of the pads are grey. Instead, red pads are the equivalent of the black keys on a piano, and blue keys are the equivalent of the white keys. The yellow pads are the root notes, which in this case play a C.
Fretboard: C Major x2 Pad # 17-24 9-16 1-8 a F C B f c c g d C G D D A E d a F E B f F C G Pad Mode = Fretboard, Pad Key/Scale = C Major; Voice Scale = Major = root (yellow), CAPS = in scale (blue), lower case = quantized to note in scale (grey) In this case the pads look the same, but the grey pads are forced to play notes within the Voice Scale. Pads that would otherwise trigger out-of-scale notes are quantized to a note within the scale.
Octave: C Major Pad # 17-24 9-16 1-8 E D C F E D G F E A G F B A G C B A D C B E D C Pad Mode = Octave, Pad Key/Scale = C Major; = root (yellow), in-scale notes = blue Octave: C Maj Pent Pad # 17-24 9-16 1-8 D G C E A D G C E A D G C E A D G C E A D G C E Pad Mode = Octave, Pad Key/Scale = C Chromatic; = root (yellow), # = red, all others = blue Pad Scale vs. Voice Scale The Pad Scale and the Voice Scale both affect the notes played by the pads.
Understanding the Modules The orange-lettered Access buttons select particular modules for editing, and can also be used to create new mod routes. They are arranged in the order of signal flow, from left to right: [Osc] > [Mixer] > [Filter] > [Amp] > [FX]. The front panel graphics indicate this, and also show the interactions and independence of the modules. There are two exceptions to the signal flow rule: • The Voice module, located below the Exit button.
Amp module FX group The Amp module contains only three parameters: Rounding out each patch is a healthy array of effects processors, from pitch effects to spatial emulations and much more. With these a raw sound can become sweet or angry, pure or distorted, straightforward or mangled. • LFO 2 Amount adjusts the amount and polarity of the effect LFO 2 has on the Amplitude of the patch. • Velocity controls the velocity response of the Amplitude stage.
Select Macro Destinations Modules that will When the Save button is held some of the Module buttons are lit. These are the ones that can be copied and pasted. There are limitations, of course; the parameters of an Oscillator cannot be pasted to one of the Filters, for example. Here’s a table that shows the possible combinations. When Hydrasynth is on the Home page the Control knobs and Control buttons are capable of the simultaneous manipulation of up to eight parameters each.
The Oscillator Group Oscillators are the foundation of a patch. They generate the most basic component of the sound, which is then shaped by other components such as Mutants, Filters, Envelopes, etc. Hydrasynth has 3 oscillators per voice. Oscillators 1 and 2 can operate in two different modes: Single and WaveScan. Oscillator 3 operates only in Single mode. The same waveforms are available in both modes, but the features of each mode are very different.
WaveScan mode This mode offers all of the same waveforms found in Single mode, but then allows you to select up to eight of them in a Wavelist. WaveScan will morph gradually between the positions in the Wavelist, using an LFO or some other source through the Mod Matrix. We’ll list the parameters first and describe them in detail later. Some are also present in Single mode: Parameter Range Wavelist Edit... (access) Semi Cents WaveScan Keytrack Description Press Control button 2 to access the list.
Mutants 1–4 Each of the Mutant modules is identical so we will describe them all at the same time. They are arranged in pairs: two for Oscillator 1 and two for Oscillator 2. Depending on the selected mode, the output of one of the Mutants in a pair can be fed into the next Mutant and/or into any other Mutant, including itself. In some modes the Mutants are dedicated to the oscillators with which they are paired. The first edit field of the Mutant module selects the mode.
WavStack Depth controls the amount of detuning between each of the five copies. Dry/Wet adjusts the balance between the unprocessed input and the mutated output. This mode stacks five detuned copies of the waveform on top of itself, which makes for a fat sound using only a single oscillator. Pro tip: Spreading out multiple voices with the StereoWidth parameter ([VOICE] page 1) can make the sound HUGE.
PWM parameter Range Ratio 0.250-64.000 in varying increments Depth 0-128 in increments of 0.1 Feedback 0-150% Custom Edit (access) (PW-ASM only) Dry/Wet 0-100% Description How many times PWM happens in a single cycle. Hold [SHIFT] to jump by whole numbers. Controls harmonic range of PWM Feeds the PWM output back into itself Press Control button 7 to access Warp points. (See PW-ASM [Warp] section.) Mix raw waveform + PWM result; 100% = pure Mutant PW-Orig 7.
Harmonic parameter Range Ratio 0.250-64.000 in varying increments Depth 0-128 in increments of 0.1 Feedback 0-150% Dry/Wet 0-100% Description Selects initial harmonic for emphasis. Hold [SHIFT] to jump by harmonics. Controls harmonic range Feeds the harmonic output back into itself; can tame effect due to phase cancellation Mix raw waveform + harmonic; 100% = pure Mutant Try this experiment to see how the Harmonic mutator affects different waveforms: 1. Initialize the patch by pressing [INIT] twice.
Parameter Pertains to... Range Source 1 RM Osc 1-3, Noise, Mutant 1-4, Mod In 1, Mod In 2 Source 2 RM Same as Source 1 RM Depth RM 0-128 in increments of 0.1 Ring Vol RM 0-128 in increments of 0.1 Noise Type Noise Noise Vol Noise White, Pink, Brown 0-128 in increments of 0.1 Description Select the first input source Select the second input source Depth of Ring Modulation RM volume. Parameter is shared with Mixer page 1, edit field 5; changing one also changes the other.
The Mixer Module This module has three pages with a few simple but important functions. We’ll refer to the oscillators, Ring modulator, and Noise generator as “the sources” to make the information easier to read. Page Feature 1 Source Level 1 Solo 2 2 3 Source Pan Filter Ratio Source Pan 3 Filter Ratio 3 Filter Routing Range 0.0-128.0 Description Individual levels for Osc 1-3, Ring modulator, and Noise generator On/Off First press: all 5 sources are active. Use Control buttons to solo a source.
Set the Pan Positions Osc 1-3 Pan To set the stereo placement of the oscillators, access [MIXER] and use the Page Down arrow to select page 2. In the top row are the pan positions for Oscillators 1-3. Use the appropriate Control knob to adjust the pan position of each item, and use [SHIFT] + Control knob X to fine-tune the value. Ring + Noise Pan To set the stereo placement of the Ring modulator and Noise generator, access [MIXER] and press the Page Down arrow twice to select page 3.
The Filters and their Controls Filters are second only to oscillators in defining the sound of a patch. If the oscillators were passengers in a car, for example, then the filters are the doors: Some open and close luxuriously to reveal the occupants; others have more grit and meet a different need. The Hydrasynth filters cover the range from a silky Lamborghini to a rugged Jeep, with all the sophistication and aggression implied by those extremes.
Control knob Parameter Range 2 Control (type = Vowel only) 0.0-128.0 3 Cutoff 0.0-128.0 4 5 Resonance ENV 1 amount 0.0-128.0 +/- 64.0 6 LFO 1 amount +/- 64.0 7 Vel Env +/- 64.
Keytrack This parameter scales the filter response across the keyboard, with C2 as the center note. A positive value means that notes above the center note increase the filter cutoff frequency, and notes below the center note decrease the filter cutoff frequency. A negative value means that notes above the center note decrease the filter cutoff frequency, and notes below the center note increase the filter cutoff frequency. There is a similar, separate parameter for Filter 2.
Filter 2 Filter 2 is our adaptation of a classic 2-pole state-variable filter. It is the only filter type offered by Filter 2, and it provides a perfect complement to Filter 1. The filters can be used in Series or Parallel. This setting is found on page 2 of Filter 1. Filter 2 parameters Control knob Parameter 1 Morph 2 3 4 5 6 7 8 Range 0.0-128.0 Description Adjusts filter: 0 = LP, 64 = BP, 128 = HP, with gradual changes (Sliding arrow) LP>BP>HP Arrow indicates filter character Cutoff 0.0-128.
The Amp Module The Amp module is relatively simple, and has only three parameters. Control knob Parameter Range 6 LFO 2 amount +/- 64.0 7 8 Velocity Amp Level Description Sets amount and polarity of LFO 2 amplitude modulation +/- 64.0 Adjusts amplitude velocity response 0.0-128.0 Controls pre-FX level of patch How the Parameters Interact All three of the parameters in the Amp module work together. The LFO 2 amount and Velocity parameters operate within the limits set by the Amp Level setting.
The Envelopes What’s an Envelope? An envelope defines the shape of a modulation: how it begins, how it ends, and how big it will be in the middle. Hydrasynth has 5 envelopes that can be used to shape any available parameter through the Mod Matrix. All 5 have identical parameters, so every description applies equally to all. Envelope features Looping envelopes ADSR plus Hydrasynth envelopes can loop a specific number of times or indefinitely.
Envelope parameters: page 1 Control knob Parameter Range 1 Attack BPM = Off: 0 ms to 36.0 seconds BPM = On: 0, 1/64T to 64’ (16 measures) 2 Decay 3 Sustain 4 Release 5 Delay 6 Hold 7 8 (blank) BPM Sync Description After the delay period, this is the length of time the envelope takes to reach its full amplitude. BPM = Off: 0 ms to 60.0 seconds After the hold period, this BPM = On: 0, 1/64T to 64’ (16 is the length of time the measures) envelope takes to reach its sustain level. 0.0 to 128.
Envelope parameters: page 2 Control knob Parameter Range 1 AtkCurve Log (-64) > Lin (0) > Exp (64) 2 DecCurve Log (-64) > Lin (0) > Exp (64) 3 (blank) 4 RelCurve Log (-64) > Lin (0) > Exp (64) 5 Legato Off, On 6 Reset Off, On 7 Freerun Off, On 8 Env Loop Off, 2-50, Infinite Description Defines the curve for the attack segment. Defines the curve for the decay segment. Defines the curve for the release segment. When On, an envelope won’t reset unless all notes have been released.
9. Play the 8th note and listen as the filter sweeps through all frequencies Freerun 12. Release the pedal. An envelope set to Freerun passes through all segments, even if the note is released before the end of the decay segment. If the note is held then the envelope proceeds to the sustain level and remains there until the note is released, after which the envelope proceeds through the release segment. 13. Press the Page Down arrow and set Reset to On. Envelope loop 10.
The LFOs What’s an LFO? LFO is an abbreviation for Low Frequency Oscillator. LFOs are the cause of familiar effects like vibrato and tremolo, but they can be used in very complex ways (as the presets will attest). Hydrasynth has 5 LFOs that can modulate any available parameter through the Mod Matrix. All 5 have identical parameters, so every description applies equally to all. LFO features • Independent LFO per voice Hydrasynth LFOs might be more flexible than any you have encountered.
5 Delay 6 Fade In 7 Phase BPM = Off: 0 ms to 32.0 seconds BPM = On: 0, 1/64T to 64’ (16 bars) BPM = Off: 0 - 5943 ms BPM = On: 0, 1/64T to 64’ (16 bars) 0° - 360° 8 Level 0.0 - 128.0 Length of time before LFO begins Length of time LFO takes to rise to maximum amplitude Defines starting point of LFO waveform Maximum amplitude of LFO There’s a quick way to set the LFO rate: While on page 1, hold [SHIFT] and then hold Control button 2 for the desired period of time. This works with BPM On or Off.
LFO parameters: page 2 Control Parameter knob 1 Steps (only visible when Wave = Step) 2 Smooth 3 One-Shot 8 Step Edit... (only visible when Wave = Step) Range Description 2-8 Specific LFO points can be defined 0-127 Slows waveform changes (hidden for Triangle waveform) Off, On On = LFO completes 1 cycle and stops (access) Enters the Step Edit page The first and last parameters are hidden for most waveform selections, so we’ll describe the other two first. 1.
Here are more ideas for using the Step LFO: • To hold a pitch for one or more steps, use the same value as previous step or the next one. • The maximum Step values are +/- 64.0, so the total range is a little wider than an octave above and below the root pitch. • For longer step sequences, use LFO Delay so LFO 2 comes in for the 2nd bar (set LFO 1 to One-Shot = On). • Try using one or more oscillators with a Step LFO and BPM set to ON. Different Rate values provide interesting rhythms.
The Effects The Hydrasynth has such a powerful synthesizer engine that it only made sense to pair it with an equally powerful effects section. There are four independent effect modules available, two of which provide awe-inspiring delay and reverb effects, while the other two are the aural equivalent of a set of Swiss Army knives. Any tool you need for your music, Hydrasynth has it. Some parameter names are shown below in [brackets]. These are available as mod destinations for Macros and the Mod Matrix.
Flanger Control knob 2 3 4 5 6 Mono/St [Dry/Wet] Description Selects preset template Controls the flanger rate Controls the flanger depth Sets initial phase of effect relative to input Feeds flanger back into itself (positive or negative polarity) Mono, Stereo Selects mono or stereo output 0.0-100.0% Blends unaffected and affected signals Parameter Preset [Lo-Speed] [Hi-Speed] Lo-Depth Hi-Depth Low/High Range 1-3 0.02-10.0 Hz 0.02-10.0 Hz 0-127 0-127 -/+ 63 [Dry/Wet] 0.0-100.
Lo-Fi Control knob 2 3 4 5 6 7 8 Parameter Range Preset 1-2 [Cutoff ] 160-20,000 Hz [Resonance] 1.0-12.0 Filter Type Thru, PWBass, Radio, Tele, Clean, Low Output - 6 / + 36 dB Sampling 44,100-2,756 Hz [Dry/Wet] 0.0-100.0% Description Selects preset Filter cutoff frequency Filter resonance Selects filter model Gain compensation control Sets downsampling rate Blends unaffected and affected signals Tremolo Control knob 2 3 4 5 6 Parameter Preset [Rate] [Depth] LFO shape Phase Range 1-3 0.02-10.0 Hz 0.
Compressor Control knob Parameter 2 Sidechain Range Off, BPM Duck, Tap, Mod In 1, Mod In 2 3 [Ratio] 1.0 :1 to 20.0 :1 4 [Threshold] -64.0 to 0.0 dB 5 6 Attack Release 1-400 ms 5-560 ms 7 8 Output [Dry/Wet] 0-512 0.0-100.
Reverb Types Hydrasynth provides 4 reverb types, each with distinct characteristics: • Hall • Room • Plate • Cloud Reverb Parameters All of the reverbs have identical parameters, so we’ll describe them once. Control knob Parameter 2 PreDelay 3 [Time] 4 [Tone] Range 0.5-250 ms 120 ms - 90 seconds, Freeze -/+ 64.0 6 7 8 [Hi Damp] [Lo Damp] [Dry/Wet] 0.0-128.0 0.0-128.0 0.0-100.
The Voice Module Technically the Voice module isn’t in the signal path, so it isn’t located in the Module Select section of the top panel. But its functions have a significant impact. Many settings related to the playability and performance of the patch are found here.
How does Analog Feel? Alter Another thing that makes an analog synthesizer seem so “alive” is its inherent instability. This unpredictability is an issue not only in the tuning of the oscillators but throughout the signal path. The Analog Feel parameter allows you to dial in as much of this behavior as you like, from “a little bit” to an amount that would summon a repair tech if you hadn’t done it on purpose. With this option the voices take turns spreading further and further from center.
4 5 6 7 8 Vibrato Rate BPM = Off: 0.30-10.
Voice Parameters: page 3 Control knob Parameter 1 Key Lock 2 4 Scale Scale Edit 8 Snap Range (Chromatic octave) Description Lock keyboard or pads to a specific key. Has no effect if Scale = Chromatic. Custom + 38 presets See Scales (p. 95) for contents (access) Enter Scale Edit page (visible when scale = Custom) Off, On Quicker attack, for sharp initial transients Key Lock This parameter locks the keyboard or pads to the key you select.
Ribbon Controller (keyboard only) The Ribbon controller has three modes of operation. Press the [Ribbon] button and use Control knob 1 to select the desired mode: • Pitch bend is like the pitch bend wheel, only horizontal. Wherever it is touched becomes the center point. Lock Global makes this true for all patches. • Mod Only routes the ribbon entirely through The Mod Matrix (p. 73), where it can be used in several ways as a modulation source.
The Ribbon can be in Pitch Bend mode or Theremin mode and be a mod source in the Mod Matrix at the same time. The Ribbon as a Mod Source There’s a separate chapter that describes how to use The Mod Matrix (p. 73), so you’ll want to read that too. But the way the ribbon interacts with the Mod Matrix deserves special coverage here. It actually provides three different mod sources, not just the one you see! 10.
The Arpeggiator Section A well-designed arpeggiator can make someone who’s new to music sound like a pro. Add a bit of music theory and some sound design chops to the mix and the results can be amazing. The presets make an ironclad case for that. An overview of the Hydrasynth arpeggiator features was provided in the Arpeggiator basics (p. 11) section of the Quick Start Guide. This included the similarities and differences between the controls of the keyboard and desktop models.
Mode • Increase Length to 5. The lowest note of the chord will appear in the second octave. Control knob 7 is used to specify the direction of the arpeggio and other behaviors. For the following descriptions we’ll use a 3-note chord with Octave Mode = Up and Range = 2. • Increase Length to 6, then 7, then 8. Gradually each note of the chord will appear in the second octave. • Up plays the notes from low to high in each octave and starts again from the bottom. • Increase Length to 9.
Additional Arp Features Latch and Sustain Latch Sustain [LATCH] LED status On Off Button lit constantly On On Flashing cycle: 0.8s lit, 0.2s unlit Off On Flashing cycle: 0.5s lit, 0.5s unlit Off Off Button dimly lit Press [LATCH] to activate Latch mode. This enables you to take your fingers off the keys or pads and use both hands to adjust parameters while an arpeggio is running. Use [SHIFT] + [LATCH] to activate Sustain mode. This works whether an arpeggio is running or not.
Mastering the Macros Macros are powerful, expressive tools for song creation and live performance. Every factory patch has up to 8 Macros that maximize their creative potential. Each Macro is a combination of one of the Control knob / button pairs and a list of destinations, sort of like a private Mod Matrix grouped around the Right display. In fact, Macros can even control the Mod Matrix mod routes. You can create and modify Macros to match your music and your style.
9. Hold a note and use Control knob 5 and Control button 5 to audition the Macro. All 8 routes will respond. 10. With these settings the knob sweeps an octave; the button jumps a whole step. The MacroBtn parameter on System Setting page 2 defines the behavior of the Macro buttons: If the setting is “Trigger” or “Reset” the button is a Trigger. When set to “Toggle” or “Switch,” the button behaves as a Toggle. The Macro knob/button pair you are editing will behave this way on the Home page.
Macro Button Response There’s a separate chapter for The System Setup Pages (p. 84), but this information affects how the Macro buttons behave on the Home page and while auditioning a Macro during editing. To access the Macro Button settings, press [SYSTEM SETUP] and press the Page Down arrow once to reach page 2. Use Control knob 4 to select one of the four options: Toggle, Trigger, Switch, and Reset. • Toggle: The Macro button toggles between the Button Value setting and the current Control knob value.
Preset Macro Name List These are the preset Macro names found on Macro Edit page 4. You can also create your own Macro names; see Name the Macro (p. 70).
The Mod Matrix Modular synthesizers use cables to make connections. Hydrasynth has a much neater solution: an easy-to-use internal patch bay with 32 sets of modulation sources and destinations. Creating Mod Routes There are two ways to create a new mod route in the Mod Matrix. The first one is to access the Mod Matrix page directly. Additional notes are entered below some steps in italics. The Whole Process 7. Scroll the top Control knob to change the destination parameter... 1.
Notes About Mod Routes • Only the first two parameters and the Wet/Dry mix of the Pre-/Post-FX can be modulated. Here are some concepts to keep in mind while working with Mod Routes: • Some modules only have one parameter that can be modulated, such as the Ring-Noise module; in this case, there is nothing else for the upper Control knob to select when that field is highlighted. • Some modules cannot be modulation sources, such as the Oscillators or the Mutants.
Modulation Sources These the mod sources available in the Hydrasynth. A few may need explanation; see below the chart.
Modulation Destinations These the potential mod destinations in the Hydrasynth. A few may need explanation; see below the chart.
The CV / Gate Section The seven CV/Gate connectors have a longer history in the music world than MIDI does! This is how the modules of early synthesizers were connected, using cables to carry the control voltages, gate triggers, and clock signals. And the resurgence of modular synths and Eurorack modules in the 21st century has brought these connection protocols back to the forefront of the music creation process for many musicians.
Compatibility There are several voltage standards that companies use, so the Hydrasynth allows you to set the voltage ranges to match the source device. Those are defined on System Setup pages 7-9. More later about that. Output Connectors The output connectors (Pitch, Gate, Mod 1, Mod 2, and Clock) convert data from the Hydrasynth into voltages, which can then be used to trigger notes and control parameters on an external device. Each of the five output connectors has a different purpose.
Esoteric Uses These are a few ideas that will take you beyond the basics of using the CV/Gate connectors. We’ll refer to Mod 1 in the following examples, but the statements apply equally to Mod 2. CV Attentuator Process Audio You can create a CV attenuator or CV booster by routing Mod In 1 to ModOut 1 in the Mod Matrix. The amount of boost or cut is determined by the mod route Depth setting. The best results require matching the Mod 1 input and output settings on CV – Mods: Page 9 (p. 90).
Patch Management The process of saving a patch and finding it later are closely related, so both are covered in this chapter. Using the Browser Whether you’re hunting for a specific patch or looking for something in a particular category, the Browser has several features that will help you quickly locate what you need.
Find by Category This sorts the patches by their categories (Arp, Bass, FX, etc.). The categories themselves are sorted in alphabetical order, and Control knob 3 is used to scroll through the categories. Note that Control knob 3 is only active when Find By Category is selected. Favorites are not selected from inside the Favorites Assign page; this will be explained shortly. So the first step is to select the desired patch on the Home page. After that, here’s how to add that patch to the Favorites list. 1.
Save the Patch Patch Protection There’s a Protect setting on System Setup that is on by default. So the first time the [SAVE] button is pressed the Left display might show the message “Protection is On!” This will need to be disabled before a patch can be saved. the setting will be saved. Note: This setting is remembered when power is turned off. If you know you’ll be using the Hydrasynth somewhere that a curious person might have access to it, it’s probably a good idea to turn Protect back to On.
Macro Options Choose a Color Control knob 4 lets you decide what will happen with the current settings of the Macro knobs and buttons when the patch is saved. This option returns all Macro knobs to zero and sets the Macro buttons to Off. As an added degree of personal touch, you can choose from 32 different colors for each patch when saving. The selection affects the LEDs under the Patch knob, the Pitch wheel, and the Mod wheel.
The System Setup Pages Operational Notes Navigation Saving the Settings The System Setup pages work the same way all other modules do, but here are some reminders: Press [EXIT] or any module button to save System Setup changes. The message “System saving...” will be shown in the Left display for about 1 second. Note that sound output is silenced while the settings are being saved. • To access the next or previous page, use the Page Down / Up arrows.
Master: Page 2 Control knob Function 1 Knob Mode 2 3 4 5 Settings Absolute, Pickup, Scale Knob Speed Slow, Medium, Fast Tempo Lock On, Off Macro Button Toggle, Trigger, Switch, Reset Safe Edit On, Off Description How Direct knobs edit values when moved Sets Control knob response speed Selects Global tempo or per-patch tempo Determines behavior of Macro Buttons Prevents accidental loss of edited patch Knob Mode Tempo Lock This setting governs the response of the Variable knobs (p.
Keys / Pads: Page 3 Control knob Function 1 Velocity 2 Velocity Curve 3 4 5 6 7 8 Settings On, Off Very Soft, Soft, Medium, Hard, Very Hard Aftertouch Delay 0-400 ms Aftertouch Fade 0-400 ms Aftertouch On, Off Aftertouch Curve Softer through Harder (6 settings) Aftertouch Offset - 4 to + 4 Aftertouch 0-400 ms Release Description Toggle velocity sensitivity Select velocity response (see description) (see description) Toggle aftertouch sensitivity [1] Select Aftertouch response (see description) (see descri
Clock Sync Local • INT RUN: selects Hydrasynth as the master tempo clock. Sync signals are sent to MIDI, USB, and the CV Clock output. When working with a DAW, setting Local to Off can prevent a MIDI loop. Most DAWs have the ability to prevent this also. • USB: selects the DAW as the clock master. Sync signals are sent to MIDI and the CV Clock output. Tempo cannot be changed from the Hydrasynth. Expression Pedal setup Press Control button 7 to access the pedal calibration page.
What is MPE? MPE stands for “MIDI Polyphonic Expression”. It’s a newer MIDI protocol used mainly by alternate controllers like Roli instruments, Haken Continuum, and LinnStrument. When active, the voices of your Hydrasynth break into individual channels so each note can have its own pitch bend, timbre and pressure control. Hydrasynth already supports polyphonic aftertouch, so MPE pressure is mapped automatically to Poly aftertouch.
Overflow Arp TX Two Hydrasynths can act like a single unit using Overflow mode. It’s simple: Connect a MIDI cable from the MIDI Out of one unit (the “master”) to the MIDI In of the other unit (the “slave”). Next, enable Overflow for both units. Connect the audio outputs of each unit to your sound system, set good levels for each, and then: Set this parameter to On if you want the Arpeggiator to transmit note on / note off commands over MIDI or USB.
CV – Clock: Page 8 These are the settings required to synchronize with most non-MIDI devices. Please refer to the specifications of other devices and match those settings on the Hydrasynth.
Calibration: Page 10 (keyboard) Control button Function 2 Calibrate Ribbon 3 Calibrate Wheels Range (access) (access) Description (see below) Full-range motion of each wheel Calibrate Ribbon Calibrate Wheels Keyboard model only: Press Control button 2 to access the calibration page and follow the instructions on Left display. Press and hold the ribbon above each C on the keyboard, including the lowest and highest keys. After each point has been calibrated the page will exit automatically.
Control Combinations [INIT] + Button X The following modules can be initialized by holding [INIT] and pressing the Access button. Button Amp Arp On Delay Env (1-5) Filter (1, 2) Button LFO (1-5) Macro Assign Mixer Mod Matrix - Button Mutant (1-4) Osc (1, 2, 3) Post-FX Pre-FX - Button Reverb Ribbon Ring-Noise Voice - [INIT] + Control Button X The following parameters can be initialized by holding [INIT] and pressing the appropriate Control button.
[RANDOM] + Button X The following modules can be randomized by holding [RANDOM] and pressing the Access button. Button Amp Arp On Delay Env (1-5) Filter (1, 2) Button LFO (1-5) Macro Assign Mixer Mod Matrix Mutant (1-4) Button Osc (1, 2, 3) Post-FX Pre-FX Reverb Ribbon Button Ring-Noise Voice < or > (select random patch) - [SHIFT] + Button X These shortcuts are available by holding [SHIFT] and pressing the button.
[SHIFT] + Control Knob X The following value jumps are available by holding [SHIFT] and turning the appropriate Control knob. Location Arp Arp Arp Browse Browse Patch Voice Macro Assign Mod Matrix Mod Matrix Osc X Osc X Control knob Tempo Length Phrase Patch Compare Save Patch # Pitchbend Edit Destination Module Source Destination Module Wave Semi Osc X Wavescan Mutant X Ratio Behavior Fine-tune by 0.
Scales Below are the notes of each scale relative to the key of C. An “x” means that note is in the scale; a dash means it is not.
Scale C C /D D D /E E F F /G G G /A A A /B B Algerian x - x x - x x x x - - x Gypsy x - x x - - x x x - x - Hungarian x - x x - - x x x - - x Ukranian x - x x - - x x - x x - Dim.
Hydrasynth Specifications Keyboard Desktop Dimensions: 80 x 35 x 10.3 cm (31.5 x 13.78 x 4.05 inches) Dimensions: 44 x 22.3 x 7 cm (17.32 x 8.78 x 2.76 inches) Weight: 10kg (22.05 lbs) Weight: 3.6kg (7.
Declaration of Conformity USA Important Notice: DO NOT MODIFY THE UNIT! instructions, may cause interferences harmful to the operation to other electronic devices. Compliance with FCC regulations does not This product, when installed as indicate in guarantee that interference will not occur the instructions contained in this manual, in a particular installation. If this equipment meets FCC requirements.
