Diagram Flow

[ScofieldKid]

Thanks. I'll do 1 more with a bit of clean-up and add a text box.

It's actually easier to explain than it is to draw. Something like:

Any output is routable to any input in the signal path, including feedback. The only exceptions are the pre-or-post FX and AMPs; inputs to these must be from the local numbered path.

[scope4live]

That's awesome Brotha' Man Scofield..
I can try making a patch in Modular but I think I will need 8 x Modular IV Patches all in a project window with an insane amount of switches for audio and MIDI....

Coolness.

[ThreeFingersOfLove]

John,

I would like to ask:
1. How many modulations sources can modulate a filter? are their depths/offsets adjustable?

2. How many modulation sources can modulate an oscillator? are their depths/offsets adjustable?

All oscillators and filters have 4 independent modulation paths each. For each path you have the following structure:
Source - Amount - Control - Strength - Destination
The Mod Source list is quite extensive; it includes all audio sources and all control sources. The Amount is an initial amount; the Control and Strength act as a sidechain control of the initial amount. The list of Control Mod Sources for sidechain control do not include audio rate sources. Both the initial Amount and Strength parameters are bipolar.

Hi John,

thanks for the detailed explanation but I was wondering if you could clarify the parameters Control and Strength a bit?

Am I right to think that "Control" controls how much the mod amount is altered AFTER it occurs? If that's the case, then it must be a real-time controller like aftertouch or the mod-wheel, no?

What does the other do? Does the "Strength" parameter control how much "Control" is applied?

[John Bowen]

Let's say you want some kind of LFO modulation for your osc or filter cutoff, so you select an LFO as a Source and set the initial Amount to something - +5 semitones. But you really only want this to happen with Aftertouch, so now you select Aftertouch as a Control source, and dial up the strength to 100%. Now the LFO modulation will only be heard as you apply Aftertouch.

-John b.

[ScofieldKid]

OK. Here's a last one, with some of the lines cleaned up a bit. I'll go back and delete some of the previous ones.

[ThreeFingersOfLove]

Let's say you want some kind of LFO modulation for your osc or filter cutoff, so you select an LFO as a Source and set the initial Amount to something - +5 semitones. But you really only want this to happen with Aftertouch, so now you select Aftertouch as a Control source, and dial up the strength to 100%. Now the LFO modulation will only be heard as you apply Aftertouch.

-John b.

Thanks John,

that's what I had in mind. It's great to have this option!

Regards,
Yannis

[ScofieldKid]

So to the right of the Amp paths, I think we have an implied mixer that sums the 4 paths into what is called "Synth". Since the AMPs have PAN then "Synth" is a stereo channel. So the FX operate on the stereo input. (Correct me if any of that is wrong.)

If you only use, for example, one set of outputs Out 1/2, to use multiple FX, they have to be in series. This is because Out 1/2, for example, only has one item possible as input. So the most likely setup in the studio would be one pair of outputs as clean, and the other as FX. And so on. (Correct me if any of that is wrong.)

I just make this point to avoid what might be incorrectly implied by the diagram. And to make it clear that FX are global at input, hence the name, "Global FX", not a per-voice-fx-path.

[John Bowen]

So to the right of the Amp paths, I think we have an implied mixer that sums the 4 paths into what is called "Synth". Since the AMPs have PAN then "Synth" is a stereo channel. So the FX operate on the stereo input. (Correct me if any of that is wrong.)

If you only use, for example, one set of outputs Out 1/2, to use multiple FX, they have to be in series. This is because Out 1/2, for example, only has one item possible as input. So the most likely setup in the studio would be one pair of outputs as clean, and the other as FX. And so on. (Correct me if any of that is wrong.)

I just make this point to avoid what might be incorrectly implied by the diagram. And to make it clear that FX are global at input, hence the name, "Global FX", not a per-voice-fx-path.

This is correct. And technically, after the 4 AMP (now VCA) outputs and mix into a stereo 'synth' signal, there is another pair of VCAs that handle the overall voice output, and these VCAs are hardwired to Envelope 6. Then the Synth output is assigned in the Output page to any (or all) stereo outputs.
Don't forget you can also have several FX channels in series setup, so that you could have the clean synth output 1/2, the first FX channel (which has, say, 2 FX in series with the dry synth as input) coming out of 3/4, and then another FX channel that has the first FX channel as input, coming out of 5/6 with both FC channels in series, etc..

Also....very important to know, the Master Volume knob only affects the Outs of 1/2 at the moment. We are trying to decide if we need to do this for the S/PDIF, but it would introduce an additional converter for the analog pot to control the digital out, and right now this is a real problem.

[ScofieldKid]

Got it. Thanks for the explanation.

Good point about the other outs as well. Using a clean channel does not rob an FX slot. Good to know.

As for the volume only on outs 1/2, that makes sense as well. I think that anybody who is using the multiple outputs is going to have their own "knob" on their hardware interface or physical hardware mixer. The layout seems fine.

[mickeyl]

In my opinion, S/PDIF doesn't need a master volume.