Behringer DeepMind 12 User Manual

User Manual

DeepMind 12

True Analog 12-Voice Polyphonic Synthesizer with 4 FX Engines, 2 OSCs and LFOs per Voice, 3 ADSR Generators, 8-Channel Modulation Matrix, 32-Step Sequencer, Tablet Remote Control and Built-In WiFi

2 DeepMind 12 User Manual

Table of Contents

Thank you........................................................................ 2

Important Safety Instructions ...................................... 3

Legal Disclaimer ............................................................. 3

Limited warranty ............................................................ 3

About the DeepMind 12 ................................................. 4

1. Introduction ...............................................................5

2. Features ...................................................................... 5

3. Controls ...................................................................... 7

4. Program Management ............................................ 11

5. Playing Guide ........................................................... 15

6. Signal Path / Voice Structure ................................. 17

7. Menu System ............................................................19

8. Programming ........................................................... 36

9. E ects Reference Guide ..........................................79

10. Short-cuts ............................................................. 102

11. Applications ......................................................... 103

12. DAW MIDI Con guration .....................................108

13. System Block Diagram ........................................ 109

14. Connection Wiring Diagrams ............................. 111

15. Technical Speci cations ...................................... 112

16. MIDI Commands .................................................. 113

17. MIDI NRPN Commands ........................................ 117

18. Global Commands ...............................................120

19. MIDI SysEx Commands ........................................121

20. Firmware Update ................................................. 127

21. Troubleshooting ..................................................127

22. Bootloader Menu .................................................128

23. De nition of Terms .............................................. 129

24. Appendix 1 - Octave Shifting ............................. 133

25. Appendix 2 - ARP/SEQ/LFO Sync Timing ........... 133

Thank you

Thank you very much for expressing your con dence in BEHRINGER products by purchasing the DeepMind 12 analog polyphonic synthesizer—our True Analog 12-Voice Polyphonic Synthesizer with 4 FX Engines, 2 OSCs and LFOs per Voice, 3 ADSR Generators, 8-Channel Modulation Matrix, 32-Step Sequencer, Tablet Remote Control and Built-In Wi-Fi.

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Important Safety Instructions

Terminals marked with this symbol carry electrical current of su cient magnitude

to constitute risk of electric shock. Use only high-quality professional speaker cables with ¼" TS or twist-locking plugs pre-installed. Allother installation or modi cation should be performed only by quali edpersonnel.

This symbol, wherever it appears,

alertsyou to the presence of uninsulated

dangerous voltage inside the enclosure-voltage that may be su cient to constitute a risk ofshock.

This symbol, wherever it appears,

alertsyou to important operating and

maintenance instructions in the accompanying literature. Please read the manual.

Caution

To reduce the risk of electric shock, donot

remove the top cover (or the rear section). No user serviceable parts inside. Refer servicing to quali ed personnel.

Caution

To reduce the risk of  re or electric shock,

do not expose this appliance to rain and moisture. The apparatus shall not be exposed to dripping or splashing liquids and no objects  lled with liquids, suchas vases, shall be placed on the apparatus.

Caution

These service instructions are for use

by quali ed service personnel only. Toreduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions. Repairs have to be performed by quali ed servicepersonnel.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with dry cloth.

7. Do not block any ventilation openings. Install in

accordance with the manufacturer’s instruc tions.

8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including ampli ers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. Ifthe provided plug does not  t into your outlet, consult an electrician for replacement of the obsolete outlet.

10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

11. Use only attachments/accessories speci ed by themanufacturer.

12. Use only with the cart, stand, tripod, bracket, or table speci ed by the manufacturer, orsold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid

injury from tip-over.

13. Unplug this apparatus during lightning storms or when unused for long periods of time.

14. Refer all servicing to quali ed service personnel. Servicing is required when the apparatus has been damaged in any way, such as power supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has beendropped.

15. The apparatus shall be connected to a MAINS socket outlet with a protective earthing connection.

16. Where the MAINS plug or an appliance coupler is used as the disconnect device, the disconnect device shall remain readily operable.

17. Correct disposal of this product: This symbol indicates that this product must not be disposed of with household waste, according to the WEEE Directive (2012/19/EU) and

your national law. This product should be taken to a collection center licensed for the recycling of waste electrical and electronic equipment (EEE). The mishandling of this type of waste could have a possible negative impact on the environment and human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the e cient use of natural resources. For more information about where you can take your waste equipment for recycling, please contact your local city o ce, or your household waste collection service.

18. Do not install in a con ned space, such as a book case or similar unit.

19. Do not place naked  ame sources, such as lighted candles, on the apparatus.

20. Please keep the environmental aspects of battery disposal in mind. Batteries must be disposed-of at a battery collection point.

21. Use this apparatus in tropical and/or moderate climates.

LEGAL DISCLAIMER

MUSIC Group accepts no liability for any loss which may be su ered by any person who relies either wholly or in part upon any description, photograph, or statement contained herein. Technical speci cations, appearances and other information are subject to change without notice. All trademarks are the property of their respective owners. MIDAS, KLARK TEKNIK, LAB GRUPPEN, LAKE, TANNOY, TURBOSOUND, TC ELECTRONIC, TC HELICON, BEHRINGER, BUGERA and DDA are trademarks or registered trademarks of MUSIC Group IP Ltd. © MUSIC Group IP Ltd. 2017 All rights reserved.

LIMITED WARRANTY

For the applicable warranty terms and conditions and additional information regarding MUSIC Group’s Limited Warranty, please see complete details online at music-group.com/warranty.

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About the DeepMind 12

The DeepMind 12 is a True Analog 12-Voice Polyphonic Synthesizer with TC ELECTRONIC / KLARK TEKNIK FX and iPad Remote Control.

The DeepMind 12 was created to serve the creative needs of players, performers, artists, sound designers, engineers and producers.

The DeepMind 12 o ers all the features of a traditional analog polyphonic synthesizer, and adds incredible new features to enhance and expand the creative possibilities.

• Classic polyphonic synthesizer with 12 true analog oscillators for insanely fat

and authentic sounds.

• 4 simultaneous world-class TC ELECTRONIC and KLARK TEKNIK FX with over

30 algorithms including Reverb, Chorus, Flanger, Phaser, Delay and multiband Distortion.

• 12 voices with 2 OSCs per voice with oscillator sync mode 2 LFOs per voice

with 7 waveform shapes, key sync, MIDI sync and envelope auto-triggering.

• 3 ADSR generators per voice for control of VCF, VCA and MOD envelopes.

• Flexible 8-channel modulation matrix with 22 sources and 129 destinations

including e ects parameters.

• 32-step control sequencer with adjustable slew rate and MIDI sync.

• Full remote control via iPad*/PC/Mac and selected Android* Application over

USB, MIDI or built-in Wi-Fi for extended parameter control.

• CV/pedal input for connection to modular systems.

• Comprehensive MIDI implementation (including NRPN/CC control of all

parameters and bulk load/save).

• Integrated and con gurable Wi-Fi client / Access point allows easy and

secure connection to home network.

• 3-Year Warranty Program*.

• Designed and engineered in the U.K.

• 49 semi-weighted full-size keys featuring velocity sensitivity

and after-touch.

• Pure analog signal path with legendary IR3109-style VCFs and stereo VCAs.

• OSC 1 generates sawtooth and square/pulse waveforms with

pulse width modulation.

• OSC 2 generates square/pulse waveforms with tone modulation.

• Selectable dual slope 12/24 dB analog low pass  lter per voice with

adjustable resonance.

• Envelope faders seamlessly transform individual envelope segments

between linear, exponential and reverse exponential curves.

• Powerful unison and poly modes with detune, pan spread and drift

parameters featuring up to 12 voices per note.

• Global noise generator dramatically expands waveform generation.

• Incredible polyphonic portamento with  exible  xed rate,  xed time and

exponential pitch glide modes.

• Sophisticated arpeggiator with tap tempo button and user con gurable

pattern modes.

• Chord and Poly Chord memories enable polyphonic performances from

monophonic playing styles.

• Global variable 6 dB high pass  lter with bass boost switch.

• 26 sliders and one switch per function give direct and real-time access to all

important parameters.

• Spring-loaded pitch and assignable modulation wheels provide total

hands-on performance.

• LCD Display with encoder, navigation switches and data value fader for rapid

menu parameter editing and program selection.

• 1024 user program memories with "compare and match” feature to quickly

match all analog controls to values stored in program.

• Fully servo-balanced stereo outputs for highest signal integrity.

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1. Introduction

The DeepMind 12 is a True Analog 12-Voice Polyphonic Synthesizer with 4 FX Engines, 2 OSCs and LFOs per Voice, 3 ADSR Generators, 8-Channel Modulation Matrix, 32-Step Sequencer, Tablet Remote Control and Built-In Wi-Fi.

The DeepMind 12 was created to serve the creative needs of players, performers, artists, sound designers, engineers and producers.

The DeepMind 12 o ers all the features of a traditional analog polyphonic synthesizer, and adds incredible new features to enhance and expand the creative possibilities.

! This manual  rst describes the terminology used, so that

you understand the unit and its functions. Please read the manual carefully and keep it for future reference.

1.1 Before you get started

1.1.1 Shipment

The DeepMind 12 was carefully packed in the factory to guarantee safe transport. Nevertheless, we recommend that you carefully examine the packaging and its contents for any signs of physical damage, which may have occurred during transit.

2. Features

2.1 Voices

• Twelve independent Voices.

• Two discrete OSCs per voice.

• OSC 1 : Simultaneous Sawtooth and Pulse / Square function.

• OSC 2 : Square with Tone Mod wave shape function.

• Variable Pulse width (OSC1) Tone Mod (OSC2) manual and variable

modulation depth for each OSC.

• Hard sync option: oscillator 2 either syncs to oscillator 1 or can free run.

• Variable Pitch o set for OSC2 (+/- 1 octave) for harmonic richness.

• Three octave ranges per OSC, 16", 8", 4".

• OSC drift amount for controllable tuning instability.

• Unison modes (1,2,3,4,6,12 voice) with detune for huge sounds.

• Variable Oscillator 2 level.

2.2 Filters

• 2/4 pole resonant Midas Low-Pass Filter.

• Continuous High-Pass Filter frequency.

! If the unit is damaged, please do NOT return it to us, but

notify your dealer and the shipping company im mediately, otherwise claims for damage or replacement may not be granted.

1.1.2 Initial operation

Be sure that there is enough space around the unit for cooling purposes and, to avoid over-heating, please do not place the DeepMind 12 on high-temperature devices such as radiators or power amps.

* Blown fuses must only be replaced by fuses of the same

type andrating!

The console is connected to the mains via the supplied cable. It meets the required safety standards.

◊ Please make sure that all units have a proper ground connection.

For your own safety, never remove or disable the ground conductor from the unit or the AC power cord.

1.2 The product manual

The product manual is designed to give you both an overview of the DeepMind 12 analog polyphonic synthesizer, as well as detailed information on each of the controls and parameters. You will  nd an overview of the physical control elements in the next chapter.

• LP Filter can be driven into self-oscillation.

• Switchable Bi-polar  lter envelope depth.

• Variable Keyboard / Frequency tracking.

• Switchable +12 db Bass Boost for massive low end.

2.3 Envelopes

• Dedicated VCA, VCF and auxiliary (MOD) envelope Four-stage (ADSR) envelope generator with continuously variable curves for unique  exibility.

• Trigger modes (Key, Loop, Control Sequencer, LFO1, LFO2).

2.4 LFO

• Two LFOs per voice.

• Variable slew rate.

• Mono / Poly / Spread modes for linking and unlinking LFO phase across

voices.

• High maximum LFO rate for cross mod type e ects.

• Sine, Triangle, Square, Ramp Up, Ramp Down, Sample and Hold,

Sample and Glide.

• Key Sync on/o .

• Clock sync (internal or external MIDI clock).

1.3 Preparation

! Remember to turn your monitors / loudspeakers on last

when powering up your system, and turn your monitors / loudspeakers o  rst when powering down your system.

• Delay and Fade in Per LFO.

• High maximum LFO rate which can track note number via mod matrix for

cross mod type e ects.

2.5 VCA

• Stereo VCA per voice with overall pan spread control and individual voice

pan modulation.

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2.6 E ects

• Over 30 high grade studio quality chainable e ects.

• E ects from TC Electronic, Behringer X32 and Midas Consoles.

• 4 E ects per Program.

• True b ypass.

• Tap Tem po.

• Many e ect parameters are a destination in the Mod Matrix allowing endless

possibilities.

• 10 di erent E ects con gurations including shimmer routings with

feedback.

• TC-DeepVRB, Ambience, Room Rev, VintageRm, Hall Rev, Chamber Rev, Plate

Rev, Rich Plate, Gated Rev, Reverse, ChorusVerb, DelayVerb, FlangeVerb, 4Band EQ, Enhancer, FairComp, MulBndDist, RackAmp, EdisonEX1, Auto-Pan, NoiseGate, Delay, 3TapDelay, 4TapDelay, T-RayDelay, ModDlyRev, Chorus, Chorus-D, Flanger, Phaser, MoodFilter, Dual Pitch, RotarySpkr.

2.7 Mod Matrix

• 8 Mod matrix busses.

Modulation Sources (22):

• Pitch Bend, Mod Wheel, Foot Ctrl, Breath Controller, Pressure, LFO 1, LFO

2, VCA Envelope, VCF Envelope, Mod Envelope (Auxiliary Envelope), Note Number, Note Velocity, Ctrl Sequencer, LFO1 (unipolar), LFO2 (unipolar), LFO1 Fade, LFO2 Fade, Note O Velocity, Voice Number, CC X-Axis, CC Y-Axis, CC Z-A xi s.

Modulation Destinations (122):

2.10 Clock

• Master clock with tap tempo.

• BPM control and display.

• MIDI clock sync

2.11 Arpeggiator

• Variable Gate Time.

• Up to six octave range.

• 32 Preset and 32 User programmable rhythmic patterns with up to 32 steps

and rests.

• Variable swing function.

• Arpeggiator Modes :

• UP, DOWN, UP-DOWN ,UP-INV, DOWN-INV, UP-DN-INV, UP-ALT, DOWN-ALT,

RAND, AS-PLAYED, CHORD.

• User Pattern.

• Arp Clock options : 1/2, 3/8, 1/3, 1/4, 3/16, 1/6, 1/8, 3/32, 1/12, 1/16, 1/24,

1/32, 1/48.

• Hold switch latches held notes on.

2.12 Chord / Poly Chord

• Maps chords to trigger keys.

• Up to 12 notes per chord.

• Enough storage for 36x 6 note chords.

• LFO1 Rate, LFO1 Delay, LFO1 Slew, LFO2 Rate, LFO2 Delay, LFO2 Slew, OSC1+2

Pitch, OSC1 Pitch, OSC2 Pitch, LFO Depth, PWM Depth, Tone Mod Depth, OSC2 Pulse Modulation Depth, Portamento Time, VCF Frequency, VCF Resonance, VCF Envelope, VCF LFO, All Envelope Rates, All Envelope Attacks, All Envelope Decays, All Envelope Sustains, All Envelope Releases, Envelope (1-3) Rates, Envelope (1-3) Curves, Envelope (1-3) Attack, Envelope (1-3) Decay, Envelope (1-3) Sustain , Envelope (1-3) Release, Envelope (1-3) Attack Curve, Envelope ( 1-3) Decay Curve, Envelope (1-3) Sustain Curve , Envelope (1-3) Release Curve, VCA All, VCA Active, VCA Envelope Depth, LFO Pan Spread, VCA Pan, OSC2 Level, Noise Level, HP Frequency, Unison Detune, Modulation 1-8 Depth, E ects (1-4) All loaded FX Parameter(1-12).

2.8 Keyboard

• Full-sized, semi-weighted, 49-note keyboard with note on and o velocity,

and aftertouch.

• Backlit pitch and mod wheel.

• Spring-loaded pitch wheel with selectable range per program (1 to 24

semitones up and down).

• Transpose controls for an 8-octave range.

• Polyphonic Portamento.

2.9 PSU

• IEC mains connection - No Wall Wart.

2.13 Control sequencer

• Up to 32 steps and rests. Output routable via the mod matrix.

2.14 Editor

• Comprehensive Apple iPad, Apple MacOS and Windows PC editor.

2.15 Program Memory

• 1024 Programs arranged in 8 Banks of 128 Programs.

2.16 Input / Output

• Built in USB Midi Interface.

• USB for iPad/PC/Mac connection MIDI.

• USB for bidirectional MIDI communication.

• Flexible MIDI routing.

• Expression Pedal / CV (0-5v) in.

• Left and right balanced audio outputs (2 x 1/4” TRS).

• Headphone output (stereo, 1/4” TRS).

• MIDI IN, OUT, and THRU ports.

• Con gurable Wi-Fi client / Access point allows easy and secure connection to

home network.

• Wireless control with RTP (Real-Time Protocol) MIDI support.

7 DeepMind 12 User Manual

3. Controls

3.1 Top Controls

(14) (15) (16) (17)

(18) (19)

(5) (6) (7) (1) (3)

(20)

(2) (4) (8) (9) (10) (11) (12)

(13)

(20)

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(1) DISPLAY - this large backlit LCD screen shows the synthesizer status,

parameters, and the  ve main menus. The contrast and brightness are adjustable on the PANEL SETTINGS page of the GLOBAL menu.

(2) NAVIGATION - navigate within the display menus using the UP, DOWN, +/

YES and -/NO buttons.

(3) MENUS - these switches allow access to the display menus.

PROG MENU- the main display of the synthesizer. Shows the current

program, the currently adjusted parameter and a visual representation of the parameter and the three envelopes.

FX MENU - add up to four e ects from the list available. Change the e ects routing by selecting one of the ten MODEs available. Each of the e ects has individual controls for all parameters.

GLOBAL MENU - view and adjust settings for the synthesizer. There are  ve pages, CONNECTIVITY, KEYBOARD, PEDAL, PANEL and SYSTEM.

COMPARE MENU - in this menu, you can compare the current program with the stored program and see the di erence in physical fader positions.

WRITE MENU - in this menu, you can write the current program settings to the program library. You can also rename the program and set its category type.

(4) DATA ENTRY - selected parameters on the display are adjusted using the

rotary knob or the fader. The rotary knob has a click which allows very accurate control. The fader allows rapid adjustment across the full range.

MOD- this switch opens the modulation matrix on the display and allows up to 8 modulations to be created from the list of sources and destinations.

(5) ARP/SEQ - this area controls the arpeggiator and the control sequencer.

ON/OFF - when activated, this generates an arpeggio based on pressed

keys. Note - the control sequencer is turned on from its edit page only.

RATE - adjusts the rate of the arpeggiator / sequencer in beats per minute (BPM).

GATE TIME - adjusts the duration of the note played based on a percentage of the time between triggered notes.

CHORD - allows you to play any chord with a single key. The chord is given a root note and mapped across the keyboard.

POLY CHORD - allows you to play multiple chords from multiple keys. The chords are mapped to individual keys.

TAP/HOLD - tap this button in time with your performance to set the rate/ BPM, or press and hold to engage the HOLD function.

EDIT - this allows additional arpeggiator/control sequencer parameters to be edited from the main display.

(6) LFO 1 and 2- low frequency oscillators used to modulate or control other

parameters.

RATE- this sets the rate, or speed of the LFO.

DELAY TIME - the duration of time which will elapse before the LFO starts.

EDIT - this allows additional LFO parameters to be edited from the main

display.

LFO WAVEFORMs - these LEDs indicate the type and status of the waveforms produced by each LFO.

OSC 1 SQUAREWAVE- this switch turns the square wave output for OSC 1 on/o .

OSC 1 PWM - amount of pulse width modulation applied to the OSC 1 square wave.

OSC 1 SAWTOOTH- this switch turns the sawtooth output for OSC 1 on/o .

OSC 2 TONE MOD- amount of tone modulation applied to OSC 2.

OSC 2 PITCH- controls the base pitch of OSC 2.

OSC 2 LEVEL- controls the level of OSC 2.

NOISE LEVEL- controls the amount of white noise added to the oscillators.

EDIT- this allows additional OSC parameters to be edited from

the main display.

(8) POLY

- this area is used to control the polyphony of the synthesizer.

UNISON DETUNE - when voices are playing in unison, this adjusts the amount of detuning between the voices.

EDIT- this allows additional POLY parameters to be edited from the main display.

(9) VCF - the voltage controlled low pass  lter used to  lter high frequencies

from the sound of the synthesizer.

FREQ - adjusts the cut-o frequency of the  lter.

2-PO LE - changes the roll o slope of the  lter from the default 4-POLE

mode to a 2-POLE mode.

RES - adjusts the resonance of the  lter cut-o point.

EDIT - allows additional VCF parameters to be edited from

the main display.

ENV - adjusts the level of the VCF ENVELOPE which controls the  lter cut-o frequency.

INVERT - used to invert the polarity of the VCF envelope applied to the  lter cut-o frequency.

LFO - adjusts the depth of the selected LFO waveform applied to the  lter cut-o frequency.

KYBD - adjusts the amount of keyboard tracking to be applied to the  lter cut-o frequency.

(10) VCA - the voltage controlled ampli er used to control the output level.

LEVEL - controls the output level of the VCA.

EDIT - this allows additional VCA parameters to be edited from

the main display.

(11) HPF - the voltage controlled high pass  lter used to  lter low frequencies

from the sound of the synthesizer.

FREQ - used to adjust the frequency of the high pass  lter.

BOOST - this switch applies a +12 dB bass boost to the signal path

(12) ENVELOPE - these are the three envelopes used to modulate

other parameters.

A [ATTACK]- controls the attack time of the envelope.

D [DECAY] - controls the decay time of the envelope.

(7) OSC 1 & 2 - These analog full range oscillators create waveforms which are

the sound source of the synthesizer.

OSC 1 & 2 PITCH MOD - amount of pitch modulation applied to respective OSC.

S [SUSTAIN] - controls the sustain level of the envelope.

R [RELEASE] - controls the release time of the envelope.

VCA - selects the envelope used to control the voltage controlled ampli er.

9 DeepMind 12 User Manual

VCF - selects the envelope used to control the voltage controlled  lter.

MOD - selects the envelope used for user speci c modulation.

CURVES - changes the ADSR controls to a ect the associated curves for

each stage of the envelope.

(13) VOICES - these LEDs show which voices are active as keys are played.

(14) OCTAVE - these LEDs show the octave shift applied to the keyboard.

(15) PORTAMENTO - changes the slide time between played notes.

3.2 Rear Panel

(16) VOLUME - controls the output level of the synthesizer.

(17) OCTAVE UP/DOWN - raise or lower the keyboard’s pitch range in

steps of an octave.

(18) PITCH BEND WHEEL - this spring loaded wheel allows you to lower / raise

the pitch expressively.

(19) MOD WHEEL - used for expressive modulation of parameters.

(20) KEYS - 49 semi-weighted full-size keys featuring expressive velocity and

after-touch.

(22) (21)

(23) (24) (25) (26) (27) (28) (29) (30)

10 DeepMind 12 User Manual

Rear Panel

(21) POWER INPUT - connect using the supplied power cable only.

(22) POWER SWITCH - use this to turn the synthesizer on and o . Only turn it

on after all connections have been made.

(23) OUTPUT L / R - this is the main output of the synthesizer. It should be

connected to your audio interface or sound system. Remember to turn your monitors / loudspeakers on last when turning on your system and turn your monitors / loudspeakers o  rst when turning your system o .

(24) PHONES - the headphones output of the synthesizer follows the main

output. Connect your headphones here. Ensure the volume control is at minimum when putting on headphones or when turning the synthesizer on or o .

(25) SUSTAIN - this ¼" TS jack allows you to connect a sustain pedal, such as a

normally-open switch. The operation of this pedal can be customized using the GLOBAL / PEDAL SETTINGS menu.

(26) PEDAL/CV - this ¼" TRS jack allows you to connect an expression pedal.

The operation of this pedal can be customized using the GLOBAL / PEDAL SETTINGS menu.

(27) MIDI IN - this 5-pin DIN jack receives MIDI data from an external source.

This will commonly be an external hardware sequencer, a computer equipped with a MIDI interface, etc.

(28) MIDI OUT - this 5-pin DIN jack sends MIDI data to an external source. This

will commonly be an external hardware sequencer, a computer equipped with a MIDI interface, etc.

(29) MIDI THRU - this 5-pin DIN jack is used to pass through MIDI data received

at the MIDI INPUT. This will commonly be sent to another synthesizer or drum machine assigned to a di erent DEVICE ID, or MIDI Channel.

(30) USB PORT - this USB type B jack allows connection to a computer. The

DeepMind 12 will show up as a class-compliant USB MIDI device, capable of supporting MIDI in and out. The DeepMind 12 does not require any additional drivers to work with Windows, Android, MacOS and iOS devices.

USB MIDI IN - accepts incoming MIDI data from an application.

USB MIDI OUT - sends MIDI data to an application.

11 DeepMind 12 User Manual

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4. Program Management

This chapter covers the program management for the DeepMind 12 analog polyphonic synthesizer. It is important to understand how to manage your programs and maintain your library.

4.1 Program Library

Banks A-H

Programs 1-128

Editing Memory

The DeepMind 12 contains a total of 1,024 programs. There are 8 Banks (A-H) of 128 programs. All programs can be overwritten as required, please consult the chapter on restoring factory defaults if you need to return the DeepMind 12 program library to its original state.

All current changes from the stored program are stored in temporary "Editing Memory". The changes are also placed into "Backup Memory" which can be used to recover unsaved programs.

There are three methods of changing the current program:

• Step forwards/backwards through programs using the -NO and+YES

switches, or by stepping up and down through the banks using the BANK/UP and BANK/DOWN switches.

• Using the program browser.

• From an external device using a MIDI program change message.

4.2.1 Using the Navigation Switches

Pressing -NO or +YES will load the previous/next program in the bank.

Pressing BANK/UP to BANK/DOWN will change banks.

4.2.2 Using the Program Browser

To access the program browser, press and hold the PROG switch, then move the rotary knob (or press the GLOBAL switch).

Note: The DeepMind 12 Programs are stored in EEPROM memory and will be retained through a power cycle.

4.2 Selecting Programs

Press the PROG switch to open the PROG menu. This is also the screen which will be displayed when the DeepMind 12 is turned on.

The PROG (Programming) page will be displayed:

The PROG (Programming) page is the main display of the synthesizer. It shows the current program name, the category name, the currently adjusted parameter and a visual representation of the parameter plus the three envelopes.

Note: a help menu will appear while the PROG switch is held, showing additional guidance and commands:

The program browser will then appear:

When in program browser mode you can use the rotary knob to scroll through the list of programs. When you stop on a program it will be automatically loaded.

12 DeepMind 12 User Manual

•

4.2.3 Using MIDI Program Change messages

You can change the program using a MIDI program change message. This special MIDI message can be sent from your Digital Audio Workstation (DAW) or from an external MIDI device which is capable of transmitting program change messages.

For details on the message please consult the section on MIDI commands.

4.3 Program Categories

Each program is assigned to a category from the list of options below:

• NONE - No category information is stored.

• BASS - Used for bass sounds.

• PAD - Used for pad sounds.

• LEAD - Used for lead sounds.

• MONO - Used for monophonic sounds.

• POLY - Used for polyphonic sounds.

• STAB - Used for stab sounds.

• SFX - Used for sound e ects.

• ARP - Used for programs with the arpeggiator active.

• SEQ - Used for programs with sequencing.

• PERC - Used for percussion sounds.

• AMBIENT - Used for ambient or texture sounds.

• MODULAR -Used for programs with modular type programming.

• USER-1/4 - Used for user/project speci c sounds..

For information on how to assign a category, please consult the section on writing programs.

4.5 Default Program

In order to return to a  xed point when creating programs you recall a default program using the short-cut described here. The default program is con gured without modulation/e ects and uses basic settings in each of the sections.

To load the default program, press and hold the PROG switch, then press the COMPARE switch.

Note: a help menu will appear while the PROG switch is held, showing additional guidance and commands.:The default program will then be loaded.

4.6 Revert to Panel

When you load a program, all the physical controls on the DeepMind 12 may not match the position stored in memory. In order to send all the physical positions to the program (rather than moving each individually until you reach the stored value), follow the procedure below:

Warni ng: When you do this the sound/character of the program will often change radically as the multiple parameters are updated.

4.4 Browsing by Category

To access the program browser, press and hold the PROG switch.

Note: a help menu will appear while the PROG switch is held, showing additional guidance and commands:

To change programs, while you have the PROG switch held you can press the LEFT/RIGHT switches to select the PREVIOUS/NEXT programs within the category.

To change categories, while you have the PROG switch held you can press the UP/ DOWN switches to select the PREVIOUS/NEXT category.

Note: While the PROG switch is held you can still see the category changes displayed behind the pop-up menu.

To revert to the panel controls, press and hold the PROG switch, then press the WRITE switch.

Note: a help menu will appear while the PROG switch is held, showing additional guidance and commands:

The current program will then be updated with the positions of the physical controls on the DeepMind 12.

13 DeepMind 12 User Manual

4.7 Restoring Program Data

If you edit a program and forget to write it before selecting a new program don't panic - a backup of the program is stored in memory. Whenever this happens a pop-up menu will appear with a message saying "Press COMPARE to restore edits":

By pressing the COMPARE switch your previously editing patch will be re-instated.

You will then see another pop-up message reminding you to press WRITE to store your edits:

The third section is REPLACED BY which allows you to name the program to be written. You can use the -NO/+YES switches to step through each character of the name and use the UP/DOWN switches, the rotary knob, or the faders to change the character.

There are also two short-cuts for selecting characters indicated by text above the FX and GLOBAL switches:

a-A-0 - Pressing the FX switch will c ycle between lower-case, upper-case and numbers.

DEL - Pressing the GLOBAL switch will delete the currently selected character.

4.8 Writing Programs

To write a program to memory press the WRITE switch to open the WRITE PROGRAM menu.

The WRITE PROGRAM menu will then appear:

Note: These short-cuts only appear when you are editing the name of the REPLACED BY program.

To compare the current program with the intended program location you can press the COMPARE switch to listen to the di erence. To return to the current program, press the compare switch again.

Once you have selected the new location and named the program simply press the WRITE switch again to write the program.

At anytime you decide you do not want to write the program, you can press the PROG switch to return to the main programming display.

Note: If there is a program in the backup memory then you will see the message "COMPARE to clear backup".

In this menu you can use the -NO/+YES switches to navigate through the sections. The selected section will be highlighted by an inverted character (white on black).

The  rst section is the program location the current program will be saved. You can use the UP/DOWN switches, the rotary knob, or the fader to select the required BANK (A-H) and PROGRAM NUMBER (1-128).

The second section is the CATEGORY to select any of the available categories. Again you can use the UP/DOWN switches, the rotary knob, or the fader to select the required CATEGORY.

If you wish to listen to the intended program location as described earlier you will need to press the COMPARE switch to clear the backup memory. Once the backup has been cleared then the message will revert to "COMPARE to listen" and you can listen to the intended program location as normal.

4.9 Re-naming Programs

To rename a program simply follow the procedure for writing a program and keep the BANK and PROGRAM NUMBER the same.

14 DeepMind 12 User Manual

4.10 The COMPARE function

The COMPARE feature has two main functions:

Firstly you can use it to COMPARE the current (edited) program with the original program.

Secondly you can use it to COMPARE and/or match the current position of the physical faders on the surface with the original program. This is necessary when you wish to maintain the sound/character of the program.

To perform both functions simply press the COMPARE switch.

Note: If you have not edited the program (i.e. changed some parameters) when you press the COMPARE switch you will restore the backup as described in a previous chapter.

Firstly the sound/character will return to its original state so that you can compare your edits.

Note: If you do not want to match the fader positions you can simply press COMPARE again to return to programming.

Secondly, you now have the option to match the position of the physical faders to the positions stored in the original program.

There are four pages of faders in the COMPARE menu, to access the other pages use the +/- switches to select the previous/next pages.

Page 1 Shows the ARP/SEQ and LFO faders:

Page 2 shows the OSC faders:

You will then see a page of the COMPARE menu (page 1 is displayed below). The page shown will be the last page you used. If you have never used the COMPARE function since turning the DeepMind 12 on, it will default to page 1.

Each page of the COMPARE menu shows a section of the faders.

If the position of the fader matches the position of the stored value the fader will be black.

If the fader does not match the position it will be white with a superimposed arrow pointing in the direction it needs to move in order to approach the stored value.

There is also a white bar to show how far the fader needs to move in order to match the stored value.

Once the fader reaches the stored position it will turn black to indicate it is now matched.

Note: The pages will switch automatically when you begin to adjust any of the faders.

Page 3 shows the UNISON, VCF, HPF and VCA faders:

Page 4 shows the ENVELOPE faders:

Note: You can still select speci c envelopes to match the faders depending on your requirements.

15 DeepMind 12 User Manual

5. Playing Guide

This section describes the use of the DeepMind 12 for playing and performance. It covers all the main aspects of the synthesizer.

There are 64 physical controls on the DeepMind 12 made up of illuminated switches, faders, rotary knobs and wheels.

There are also many virtual controls/parameters and menu based controls within the software, please consult the section on programming for detailed information.

5.1 Display

(2) (3)

(1)

(4)

(6)

(7) (8) (9)

(5)

(10)

5.2 Keyboard (Velocity/Aftertouch)

The DeepMind 12 has 49 semi-weighted full-size keys featuring expressive velocity and after-touch.

The keyboard spans four octaves with the ability to shift octaves up or down to meet your playing requirements.

The aftertouch and velocity expression can have individual curves applied to their response in order to  ne tune your playing style/requirements.

The velocity is expressive in two ways:

The (NOTE) ON VELOCITY - i.e. The velocity that you strike the keys.

The (NOTE) OFF VELOCITY - i.e. The velocity that you release the keys.

The ON/OFF velocities can be set to a  xed value if required which will override the velocity of the strike and release values.

Note: The settings to adjust the response curves and  xed values can be found in the GLOBAL-KEYBOARD SETTINGS menu.

Note: You can also turn o the keyboard's LOCAL messages allowing you to play an external device, without a ec ting the DeepMind 12.

(11) (12)

The PROG (Programming) page is the main display of the synthesizer.

During playing the display can show the status of the synthesizer when the PROG switch is pressed. The PROG switch will be illuminated when you are in this mode.

Being able to see all this information on one screen allows you to quickly check any of the following parameters shown on the display:

(1) PROGRAM BANK ("A "in the example above).

(2) PROGRAM NUMBER ("1" in the example above).

(3) PROGRAM NAME ("Default Program" in the example above.

(4) PROGRAM CATEGORY ("NONE" in the example above).

(5) SEQ STATUS / MASTER BPM EXTERNAL / BPM ( "OFF", "MIDI","140.0" in the

example above).

(6) PARAMETER CONTROL ("POLY UNI" in the example above).

(7) CURRENT PARAMETER MIDI VALUE (255 in the example above).

(8) STORED PARAMETER VALUE (20 in the example above).

(9) CURRENT PARAMETER EXPLICIT NAME/VALUE ( "DETUNE +/-50.0cents" in the

example above).

(10) PARAMETER VISUALIZATION (the UNISON waveform in the example above).

(13)

5.3 Pitch Bend and Modulation Wheels

PITCH WHEEL - The pitch wheel allows you to lower or raise the pitch of the notes being played expressively.

The range of the PITCH BEND can be assigned in the second page of the POLY menu (accessed by pressing the POLY switch twice).

The pitch wheel is spring loaded and will naturally return to its centre point after you adjust it and release the wheel.

(11) VCA ENV VISUALIZATION (VCA ENV in the example above).

(12) VCF ENV VISUALIZATION (VCF ENV in the example above).

(13) MOD ENV VISUALIZATION (MOD ENV in the example above).

Note: The brightness and contrast of the display can be adjusted in the GLOBAL-PANEL SETTINGS menu.

For more detail on the PROG screen and the status of the synthesiser, please consult the programming section later in this manual.

MODULATION WHEEL - The modulation wheel allows you to apply any type of modulation or expression to a single (or multiple) parameters.

For traditional playing this can be used to create vibrato, or in a more creative way e.g. to open the  lter by assigning to the VCF FREQUENCY.

The wheels are illuminated so that they can be seen even in low light conditions. They can be  xed on, turned o or placed in AUTO mode which will increase the LED intensity as the wheel is moved.

For more detail on controlling advanced parameters relating to the PITCH WHEEL and the MODULATION WHEEL please consult the section later in this manual.

16 DeepMind 12 User Manual

5.4 Octave Shift (OCT UP/DOWN)

These switches allow you to raise or lower the keyboard’s pitch range in steps of one octave.

The LEDs above the switches labelled OCTAVE will show the current octave shift applied to the keyboard.

Pressing both switches together will reset to Oc tave 0 (no transpose).

5.5 Voice Indication

5.7 Volume

The volume knob controls the output level for both the main outputs and the headphones simultaneously. If you  nd the need to compensate the main output level, please do so using your gain stage on your mixer, audio interface or ampli er.

5.8 Pedal Input (Rear Panel)

The pedal input is a ¼ " TRS jack that allows you to connect an expression pedal.

The pedal input can be assigned to operate in one of  ve modes: FOOT CONTROL, MOD WHEEL, BREATH, VOLUME or EXPRESSION.

The operation of this pedal can be customized using the GLOBAL / PEDAL SETTINGS menu.

The DeepMind 12 has 12 independent voices. There are 12 LEDs above the keyboard showing the status of each voice.

When playing in traditional POLY mode the voice LEDs will light individually using the full polyphonic capabilities.

When playing in any of the UNISON or MONO modes the voice LEDs will light simultaneously depending on the number of voices allocated.

Note: The settings to adjust the polyphony and voice allocation can be found in the POLY-VOICE PARAMETERS menu.

5.6 Portamento

The PORTAMENTO function makes the pitch of a note glide up or down from the previously played note. The PORTAMENTO knob controls the time taken to transition from the previous note to the currently played note.

For more detail on controlling advanced parameters relating to the pedal input please consult the section later in this manual.

5.9 Sustain Input (Rear Panel)

The sustain input is a ¼" TS jack that allows you to connect a sustain pedal, such as a normally-open switch.

The sustain input can be assigned to operate in one of several modes. For more information please consult the PEDAL SETTINGS section later in this document.

The operation of this pedal can be customized using the GLOBAL / PEDAL SETTINGS menu.

For more detail on controlling advanced parameters relating to the sustain input please consult the section later in this manual.

5.10 Slide Fader Operation Modes

The knob ranges from 0 seconds (instant change of note, with no pitch gliding) to 10 secon ds.

The PORTAMENTO function can be tuned to your speci c playing requirements by way of 14 di erent modes.

The PORTAMENTO function can also be balanced between the OSCs, allowing you to set the ratio of PORTAMENTO applied to OSC 1 and OSC 2.

For more detail on controlling advanced parameters relating to PORTAMENTO please consult the section later in this manual.

The slide faders can operate in two modes: PASS-THRU or JUMP.

For more detail on controlling the way the slide faders respond when adjusted, please consult the section later in this manual.

Note: You can also turn o the faders LOCAL messages allowing you to control an external device, without a ec ting the DeepMind 12.

17 DeepMind 12 User Manual

6. Signal Path / Voice Structure

The signal path / voice structure from the OSCs to the main outputs is completely analog. The DSP e ects can be bypassed completely to maintain the analog path. When routed through the DSP e ects all sampling is done at 24-Bit 48 kHz. All internal DSP e ects are processed at 32/40-Bit  oating point resolution.

VCF Env VCA Env

OSC-1

Arpeggiator

Key Pitch

HPF BOOST

OSC-2

Noise

MODE

INSERT

BYPASS

SEND

VCF

ANALOG PATH

OFF

ON ON

DIGITAL PATH

ON ON

OFF

VCA

DIGITAL PATH

Volume

1234

ANALOG PATH

Main Outputs & Headphones

18 DeepMind 12 User Manual

Mod Matrix

The Modulation Matrix is a large scale digital routing matrix which allows a massive number of potential modulations. The matrix con guration is stored and recalled with the program data.

Control Sequencer

Modulation

Destinations

130 DESTINATIONS

LFO1&2

MOD Env

Modulation

Sources

22 SOURCES

22,880 Possible Modulations (All Automatable)

8x8 Mod Matrix

ROUTING LEVELS

MIDI Routing

The DeepMind 12 o ers extreme MIDI routing possibilities, allowing you to integrate the synthesizer with many di erent pieces of hardware and software.

Keyboard Data

Control Data

MIDI IN

USB

Wi-Fi

SOFT-THRUMIDI-CTRL

USB-CTRL

WIFI-CTRL

SOFT-THRUSOFT-THRU

USB>MIDI-THRU

WIFI>MIDI-THRU

MIDI>USB-THRU

WIFI>USB-THRU

MIDI>WIFI-THRU

MIDI THRU

MIDI OUT

USB

Wi-Fi

USB>WIFI-THRU

19 DeepMind 12 User Manual

•

7. Menu System

The DeepMind 12 Display allows you to access the detailed parameters, controls, options and features of the synthesizer.

Navigating the MENU system can be done by pressing the top level menu switches PROG, FX, GLOBAL, COMPARE and WRITE.

Note: The FX and GLOBAL menus have several pages, to access successive pages simply press the same switch again to cycle through the pages.

Note: The DeepMind 12 will always return you to the last page within a menu that was accessed. This way you can return to your last change without needing to cycle though the previous pages. Note: You can change this functionality using the REMEMBER PAGES option in the GLOBAL SETTINGS.

7.1.1 PROGRAM BANK

(1) ("A "in the example diagram) - There are 8 BANKS of PROGRAMs, each BANK

contains 128 program locations. The DeepMind 12 comes pre-loaded with 1024 programs from leading synthesizer programmers from around the world.

7.1.2 PROGRAM NUMBER

(2) ("1" in the example diagram) - There are 128 PROGRAMs in each BANK.

7.1.3 PROGRAM NAME

(3) ("Default Program" in the example diagram) - The PROGRAM name can use

up to 16 characters, including uppercase, lowercase, numbers and symbols.

Note: When you see the '*' symbol at the start of a PROGRAM name this indicates that the PROGRAM has been edited/changed from its stored state.

Once you complete your editing and WRITE the program, the '*' symbol will no longer be shown.

7.1.4 PROGRAM CATEGORY

(4) ("NONE" in the example diagram) - Each PROGRAM can be assigned to a one

of 17 categories. By assigning a category to a PROGRAM, it helps browsing for a particular type of sound much easier.

The available categories are listed here:

• NONE - No category information is stored.

• BASS - Used for bass sounds.

7.1 PROG (Programming Menu)

To access the PROG menu, press the PROG switch, the PROG switch will remain illuminated while you are in this menu.

The PROG (Programming) menu will then be shown:

(2) (3)

(1)

(4)

(6)

(5)

(10)

(7) (8) (9)

(11) (12)

(13)

• PAD - Used for pad sounds.

• LEAD - Used for lead sounds.

• MONO - Used for monophonic sounds.

• POLY - Used for polyphonic sounds.

• STAB - Used for stab sounds.

• SFX - Used for sound e ects.

• ARP - Used for programs with the arpeggiator active.

• SEQ - Used for programs with sequencing.

• PERC - Used for percussion sounds.

• AMBIENT - Used for ambient or texture sounds.

• MODULAR -Used for programs with modular type programming.

• USER-1 - Used for user/project speci c sounds.

• USER-2 - Used for user/project speci c sounds.

• USER-3 - Used for user/project speci c sounds.

• USER-4 - Used for user/project speci c sounds.

For information on how to assign a category, please consult the section on writing programs.

The PROG (Programming) page is the main display of the synthesizer.

During playing the display can show the status of the synthesizer when the PROG switch is pressed.

Being able to see all this information on one screen allows you to quickly check any of the following parameters shown on the display:

20 DeepMind 12 User Manual

•

7.1.5 SEQ STATUS, MIDI SYNC SOURCE, BPM VALUE

(5) It is important to note that on this line there are three separate pieces of

information:

• SEQ STATUS ("SEQ" in the example diagram) - This shows the status of

the CONTROL SEQUENCER. If the letters SEQ are inverted (white on a black background) then the CONTROL SEQUENCER is ON. If the letters SEQ appear as normal text the CONTROL SEQUENCER is OFF. Note: The CONTROL SEQUENCER ON/OFF control can only be adjusted from the CONTROL SEQUENCER MENU described later in this document.

• MASTER BPM SOURCE ("MIDI" in the example diagram) - The Master

BPM can be generated internally (shown as "INT"), or the DeepMind 12 can synchronize to an incoming MIDI clock signal from the MIDI IN socket (shown as "MIDI"), or USB ports (shown as "USB"). If the letters are inverted (white on a black background) then the clock is synchronised to the external source. If the letters appear as normal text the external source is not present and the DeepMind 12 will use its internal Master BPM until the external source is present. Note: The settings for the MIDI SYNC can be found in the EDIT page of the ARPEGGIATOR described later in this document.

• BPM VALUE ("BPM:120.0" in the example diagram) - The Arpeggiator,

Control Sequencer and Patterns use a system wide Master BPM (Beats Per Minute) Clock. The BPM is shown and will auto update if using an external synchronisation source.

7.1.6 PARAMETER CONTROL

(6) ("POLY UNI" in the example diagram) - This is a fader representation of the

parameter which is currently being adjusted (or was last adjusted). The name of the parameter is also shown:

If the position of the fader matches the position of the stored value the fader will be black.

7.1.7 CURRENT PARAMETER MIDI VALUE

(7) (255 in the example diagram) - This is the value of the parameter which is

currently being adjusted (or was last adjusted).

Note: The parameter is displayed here as a simple value (0-255) which allows you to quickly compare current and stored values. For explicit values please see the area at the bottom of the page discussed later in this chapter.

7.1.8 STORED PARAMETER VALUE

(8) (20 in the example diagram) - This is the stored value of the parameter

which is currently being adjusted (or was last adjusted).

The stored parameter is shown in reverse text (i.e. white on a black background)

7.1.9 CURRENT PARAMETER NAME/VALUE

(9) ("DETUNE +/-50.0cents" in the example diagram) - In this area you will see

more detailed information on the parameter being adjusted.

The enhanced information contains:

• A more detailed description of the parameter being adjusted.

• A more accurate value of the parameter being adjusted.

• The type of units used for the value (cents in the example above,

but could be Hz for frequency etc.).

7.1.10 PARAMETER VISUALIZATION

(10) (The UNISON waveform in the example diagram) - This area shows a

visualization of the parameter being adjusted (or last adjusted).

These visualizations are designed to:

• Help anyone with limited experience to achieve a deeper understanding of

each of the parameters while learning the synthesizer.

If the fader does not match the position it will be white with a superimposed arrow pointing in the direction it needs to move in order to approach the stored value.

When the fader does not match the position there is also a white bar to show how far the fader needs to move in order to match the stored value.

Note: If the physical fader position is close to the stored value the white bar can be obscured by the fader.

• Help the experienced player/sound designer/programmer to work quickly

and get visual con rmation about the adjustment being made.

7.1.11 VCA ENV VISUALIZATION

(11) (VCA ENV in the example diagram) - This area shows a visualization of the

VCA envelope. The full Attack, Decay, Sustain, Release and their respective curves are represented.

7.1.12 VCF ENV VISUALIZATION

(12) (VCF ENV in the example diagram)- This area shows a visualization of the VCF

envelope. The full Attack, Decay, Sustain, Release and their respective curves are represented.

7.1.13 MOD ENV VISUALIZATION

(13) (MOD ENV in the example diagram) - This area shows a visualization of the

MOD envelope. The full Attack, Decay, Sustain, Release and their respective curves are represented.

21 DeepMind 12 User Manual

7.2 FX (E ects Menu)

The on-board virtual FX Rack provides access to four true-stereo, multi-e ects processors including delay, chorus, dynamics and production-quality true-stereo reverbs.

You can select any combination of high-end simulations of legendary studio e ects.

7.2.1 FX OVERVIEW

To access the FX menu simply press the FX switch:, the FX switch will be illuminated when you are in this menu.

The display will then show the FX OVERVIEW menu:

7.2.2 SELECTING FX ROUTING

To select a routing make sure that the '<' symbol is highlighted next to the routing diagram, then you can either turn the rotary knob, or use the data entry fader to select from one of the following routings:

SERIAL 1-2-3-4 (M-1)

PARALLEL 1/2 SERIAL 3-4 (M-2)

PARALLEL 1/2 PARALLEL 3/4 (M-3)

PARALLEL 1/2/3/4 (M-4)

To navigate within the FX OVERVIEW menu, navigate within the display menus using the UP, DOWN, +/YES & -/NO switches.

Selected parameters on the display are adjusted using the rotary knob or the fader. The rotary knob has a click which allows very accurate control. The fader allows rapid adjustment across the full range.

The options available in the FX OVERVIEW menu are as follows:

FX ROUTING - At the top of the FX OVERVIEW menu you will see the FX ROUTING shown as a series of 4 boxes representing the individual e ects.

In order to expand the sonic possibilities of the DSP FX inside the DeepMind 12 there are several routing options for the four slots.

! Warning: The routings with feedback are highly creative,

but as they employ feedback loops, careful consideration should be made while using them. It is recommended to keep the VOLUME knob in a low position while experimenting.

FX MODE - This allows you to choose if the e ects are to be con gured in INSERT

MODE, SEND(and Return) MODE, or to BYPASS the e ects.

FX SLOTS - These are the four slots you can load e ects modules into.

MIX - The MIX parameter controls how much of the original sound is blended

with the e ected/processed sound for each FX slot.

PARALLEL 1/2/3 SERIAL 4 (M-5)

SERIAL 1-2 PARALLEL 3/4 (M-6)

SERIAL 1 PARALLEL 2/3/4 (M-7)

PARALLEL (SERIAL 1-2-3)/4 (M-8)

SERIAL 3-4 FEEDBACK4(1-2) (M-9)

LEVEL - The LEVEL parameter controls the output level of any e ects which are

con gured in parallel, or any e ects which are the last e ect before reaching the output stage.

To exit the FX menu press the PROG switch to return to the main programming screen.

Note: To reduce the possibility of excessive low frequency build up there is a 30 Hz High Pass Filter used in the feedback path for routing options which include feedback.

SERIAL 4 FEEDBACK4(1-2-3) (M-10)

22 DeepMind 12 User Manual

7.2.3 SELECTING FX MODE

To select an e ects MODE make sure that the '<' symbol is highlighted next to the e ects MODE symbol, then you can either turn the rotary knob, or use the data entry fader to select from one of the following routings.

INSERT - In this con guration the e ects slots are placed as INSERT e ects into the signal  ow of the synthesizer outputs.

SEND - In this con guration the synthesizer output signals are SENT to the e ects slots and the returned into the signal  ow of the synthesizer outputs.

BYPASS - In this con guration the e ects are bypassed.

7.2.4 SELECTING FX

When you stop on an e ect it is automatically loaded into the chosen slot.

Warni ng: If you have made edits to any of the parameters within an e ect you will be shown a pop-up warning dialog (unless dialogs are disabled in the GLOBAL MENU):

If you need to save your changes, press the -NO switch and then WRITE the PROGRAM as described in the chapter on writing programs.

If you don't need to save your changes, press the +/YES switch and continue selecting a new e ect.

7.2.5 CONTROLLING MIX / LEVEL

To adjust the MIX parameters make sure that the '<' symbol is highlighted next to the word MIX on the e ect slot you want to adjust. Then you can either turn the rotary knob, or use the data entr y fader to change the value.

To load an e ect into a slot, make sure that the '<' symbol is highlighted next to the slot you wish to use. Then you can either turn the rotary knob, or use the data entry fader to select from one of the following e ects:

No Name Type

1 TC-DeepVRB Reverb 2 Ambience Reverb 3 Room Rev Reverb 4VintageRev Reverb 5 Hall Rev Reverb 6 Chamber Rev Reverb 7Plate Rev Reverb 8 Rich Plate Reverb

9Gated Rev Reverb 10 Rever se R everb 11 ChorusVerb Reverb 12 DelayVerb Reverb 13 FlangeVerb Reverb 14 4Band EQ Proce ssing 15 E nhan cer Pr oce ssin g 16 Fai rComp Pro cessi ng 17 Mu lB ndD ist Pr oce ssi ng 18 Ra ckA mp Pr oces sing 19 Ed iso nEX 1 Pr oce ssi ng 20 Auto-Pan Processing 21 NoiseGate Processing 22 Delay Delay 23 3TapDelay Delay 24 4Tap Del ay Del ay 25 T-RayDelay Delay 26 DecimDelay Delay 27 ModDlyRev Delay 28 Chorus Creative 29 Chorus-D Creative 30 Flanger Creative 31 P hase r Cr eati ve 32 MoodFilter Creative 33 Dual Pitch Creative 34 RotarySpkr Creative

7.2.6 CONTROLLING LEVEL

To adjust the LEVEL parameters make sure that the '<' symbol is highlighted next to the word LEVEL on the e ect slot you want to adjust. Then you can either turn the rotary knob, or use the data entry fader to change the value.

Note: Not all e ects have a MIX parameter as it is only used on e ects which are marked as "Processing" types in the E ects List. Also, be aware that the MIX parameter seen on the FX OVERVIEW and the MIX parameter in the FX editing pages are the same parameter and are shown in both pages for convenience.

If the either the MIX or LEVEL parameter is not available you will see the "--" symbols in the FX OVERVIEW screen.

7.2.7 FX PAGES1-4

Each of the e ects pages show individual controls for each e ect slot. There are up to 12 parameters per slot, depending on the e ect which is loaded.

Note: To access successive FX pages simply press the same switch again to cycle through the pages.

7.2.8 ADJUSTING EFFECTS PARAMETERS

To navigate to the parameter you wish to adjust, use the UP/DOWN/+/- switches. The selected parameter will be highlighted in black and its detail shown on the bottom of the screen. To adjust a parameter you can either turn the rotary knob, or use the data entry slider.

Note: For detailed information on all e ects and their parameters please consult the EFFECTS LIBRARY sec tion later in this document.

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7.2.9 COPY/PASTE FX SETTINGS

If you need to copy e ects settings from a previously stored e ec t, please follow this procedure.

1) Ensure you have saved any edits you have made to your current program if required.

2) Load the program which has the e ects settings you intend to copy.

3) Navigate to the 1, 2, 3, 4  ow diagram near the top of the FX screen.

4) Press the FX switch to enter the FX page.

5) Press and hold the FX switch until you see the following message and the GLOBAL/WRITE switches are  ashing:

6) While continuing to hold the FX switch, press the GLOBAL switch to copy the e ects settings into memory.

7) Then load the program you intend to paste the e ects settings to.

8) Press the FX switch to enter the FX page.

9) Press and hold the FX switch until you see the following message:

7.2.10 MOVING EFFECTS

If you need to move an e ect to a di erent slot, please follow this procedure.

1) Ensure you have saved any edits you have made to your current program if required.

2) Press the FX switch to enter the FX page.

3) Navigate to the e ects slot you wish to move.

4) Press and hold the FX switch until you see the following message and the BANK UP/DOWN switches begin  ashing:

5) While continuing to hold the FX switch, you can move the e ects slot to another location using one of these methods:

• To move the slot to an adjacent upper slot press the BANK/UP switch.

• To move the slot to an adjacent lower slot press the BANK/DOWN switch.

• To move the slot to any other slot, turn the rotary knob.

You can continue to move the slot with any of the methods above, the new slot will be highlighted as shown below:

10) While continuing to hold the FX switch, press the WRITE switch to copy the e ects settings from memory into the program.

Note: All settings relating to e ec ts will be copied/pasted, these include FX routing, FX modes and all of the FX slots and their settings.

6) Once you release the FX switch the e ect will be moved to the new slot.

Note: All e ects parameters will be moved with the e ect.

24 DeepMind 12 User Manual

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GLOBAL (Global Menu)

Within the GLOBAL menu there are  ve pages:

• CONNECTIVITY - All settings relating to connectivity and communication

with external devices including backup and restore functions.

• KEYBOARD SETTINGS - All settings relating to the keyboard including

aftertouch and velocity.

• PEDAL SETTINGS - All settings relating to the pedal inputs.

• PANEL SETTINGS - All settings relating to panel (local), faders, dialogs,

menu functionality, and display brightness and contrast.

• SYSTEM SETTINGS - All system settings, including versions, fan speed,

calibration, and backup.

This chapter covers each of the pages in detail.

Note: To access successive GLOBAL pages simply press the GLOBAL switch again to cycle through the pages. There is a help message on the bottom of each screen to show you what the next menu will be if you press the GLOBAL switch again.

To access the GLOBAL menu simply press the GLOBAL switch, the switch will remain illuminated while you are in this menu:

The display will then show the GLOBAL menu.

Note: The  rst time you access the GLOBAL menu after turning on the DeepMind 12, you will see the CONNECTIVITY page. Whenever you access the GLOBAL menu after that point, you will be returned to the last page you visited within the menu system. This feature is reset when the unit is powered o .

Note: The page location memory func tion can be turned o using the REMEMBER PAGES function in the PANEL SETTINGS menu.

7.2 .11 CON NE CT IV IT Y

MIDI SETTINGS MENU - This menu contains settings for the MIDI sockets on the rear of the DeepMind 12.

To access the MIDI SETTINGS menu, make sure that the '<' symbol on the MIDI SETTINGS line is highlighted. Then press the +/YES switch, you will now see the MIDI SETTINGS menu.

• MIDI-CTRL - This option sets the MIDI CONTROLLER communication mode

for the DeepMind 12 MIDI sockets on the rear of the synthesizer. You can choose O (No controller messages will be sent), Cc (Continuous Controller) or NRPN (Non-Registered Parameters).

Note: Both MIDI and NRPN data is always received and actioned.

Note: For more information on controlling the DeepMind 12 via MIDI,

please consult the section on MIDI later in this document.

• PROG-CHANGE - This option sets the PROGRAM CHANGE communication

mode for the DeepMind 12 MIDI sockets. You can choose from the following options:

RX - Program change messages will be received only.

TX - Program changes will be transmitted only.

RX-TX - Program changes will be transmitted and received.

NONE - No program change messages will be sent or received.

• RX-CHANNEL - This option sets the MIDI channel that will be used to

RECEIVE MIDI messages. The CHANNEL can be any number from 1-16.

In this menu there are all the settings relating to connectivity and communication with external devices including backing up and restoring programs and data.

To navigate the options in the CONNECTIVITY menu, use the UP, DOWN, switches.

Selected parameters are adjusted using the -NO/+YES switches, the rotary knob or the fader. The rotary knob has a click which allows very accurate control. The fader allows rapid adjustment across the full range.

DEVICE ID - This is MIDI Device Identi er (ID) which is used to identify the device. This is important when multiple devices are present in a system, and ensures that the device in question responds to the system exclusive messages which are solely for the device in question.

The DEVICE ID can be any number from 1-16.

To change the DEVICE ID, make sure that the '<' symbol next to the DEVICE ID number is highlighted. Then you can either turn the rotary knob, or use the data entry slider.

• TX CHANNEL - This option sets the MIDI channel that will be used to

TRANSMIT MIDI messages. The CHANNEL can be any number from 1-16

• SOFT-THRU - This option enables PASS-THRU mode from the MIDI INPUT

socket to the MIDI OUTPUT socket. The options are On or O .

• MIDI>USB-THRU - This option enables PASS-THRU mode from the MIDI

INPUT socket to the USB host. The options are On or O .

• MID>WIFI-THRU - This option enables PASS-THRU mode from the MIDI

INPUT socket to the WIFI connection. The options are On or O .

To exit this menu press the GLOBAL switch to return to the CONNECTIVITY menu.

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USB SETTINGS MENU- This menu contains settings for the USB port on the rear of the DeepMind 12.

To access the USB SETTINGS menu, make sure that the '<' symbol on the USB SETTINGS line is highlighted. Then press the +/YES switch, you will now see the USB SETTINGS menu..

• USB-CTRL - This option sets the MIDI CONTROLLER communication mode for

the DeepMind 12 USB port on the rear of the synthesizer. You can choose O (No controller messages will be sent), Cc (Continuous Controller) or NRPN (Non-Registered Parameters.

Note: Both MIDI and NRPN data is always received and actioned.

Note: For more information on controlling the DeepMind 12 via USB-MIDI,

please consult the section on MIDI later in this document.

• PROG-CHANGE - This option sets the PROGRAM CHANGE communication

mode for the DeepMind 12 USB host port. You can choose from the following options:

WIFI SETTINGS MENU- This menu contains settings for the WIFI connection of the DeepMind 12.

To access the WIFI SETTINGS menu, make sure that the '<' symbol on the WIFI SETTINGS line is highlighted. Then press the +/YES switch, you will now see the WIFI SETTINGS menu

• WIFI-CTRL - This option sets the MIDI CONTROLLER communication mode

for the DeepMind 12 WIFI connection. You can choose O (No controller messages will be sent), Cc (Continuous Controller) or NRPN (Non-Registered Parameters.

Note: Both MIDI and NRPN data is always received and actioned.

Note: For more information on controlling the DeepMind 12 via WIFI-MIDI

please consult the section on MIDI later in this document.

• PROG-CHANGE - This option sets the PROGRAM CHANGE communication

mode for the DeepMind 12 WIFI connection. You can choose from the following options:

RX - Program change messages will be received only.

TX - Program changes will be transmitted only.

RX-TX - Program changes will be transmitted and received.

NONE - No program change messages will be sent or received.

• RX-CHANNEL - This option sets the MIDI channel that will be used to

RECEIVE MIDI messages. The CHANNEL can be any number from 1-16.

• TX CHANNEL - This option sets the MIDI channel that will be used to

TRANSMIT MIDI messages. The CHANNEL can be any number from 1-16.

• USB>MIDI-THRU - This option enables PASS-THRU mode from the USB port

to the MIDI-THRU socket. The options are On or O .

• USB>WIFI-THRU - This option enables PASS-THRU mode from the USB port

to the WIFI host. The options are On or O .

To exit this menu press the GLOBAL switch to return to the CONNECTIVITY menu.

RX - Program change messages will be received only.

TX - Program changes will be transmitted only.

RX-TX - Program changes will be transmitted and received.

NONE - No program change messages will be sent or received.

• RX-CHANNEL - This option sets the MIDI channel that will be used to

RECEIVE MIDI messages. The CHANNEL can be any number from 1-16.

• TX CHANNEL - This option sets the MIDI channel that will be used to

TRANSMIT MIDI messages. The CHANNEL can be any number from 1-16.

• WIFI>MIDI-THRU - This option enables PASS-THRU mode from the WIFI

connection to the MIDI-THRU socket. The options are On or O .

• WIFI>USB-THRU - This option enables PASS-THRU mode from the WIFI

connection to the USB host. The options are On or O .

To exit this menu press the GLOBAL switch to return to the CONNECTIVITY menu.

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NETWORK SETTINGS MENU- This menu contains settings for the WiFi connection of the DeepMind 12.

The DeepMind 12 supports the Real-Time MIDI (RTP) protocol for use with network devices/applications.

To access the NETWORK SETTINGS menu, make sure that the '<' symbol on the NETWORK SETTINGS line is highlighted. Then press the +/YES switch, and you will now see the NETWORK SETTINGS menu:

There are three modes for the NETWORK connection:

• O - Network connection is disabled.

• Client - This mode allows the DeepMind 12 to act as a client so that it can

connect to an access point.

• Access Point (Software Enabled Access Point) - The DeepMind 12 can create

an access point which will allow clients/devices to connect to it.

The default mode for the NETWORK connection is O . This mode persists across power cycles.

Client Mode - When Client mode is selected, additional options are displayed:

When editing any of the details, the dialog allows you to enter alphanumeric characters and also shows CANCEL, DELETE, CAPS LOCK and INSERT options. Once you have changed the details to your requirements, press the OK switch to con rm the settings.

• IP - Shows the IP address assigned to the DeepMind12 by the DHCP server

running on the Access Point it is connected to.

Access Point Mode - When this mode is selected, additional options are displayed:

In Access Point mode, you will need to enter the details of the access point you wish to create.

To navigate the options in Access Point mode, use the UP and DOWN switches.

In order to change any of the parameters make sure that the '<' symbol is on the respective line, and press the +YES switch to edit.

• ENABLE - This shows the current state of the Access Point connection - there

are 7 states: Disabled, Enabling, Enabled, Disabling, Connecting, Connected, and Disconnecting. It is possible to enable the AP using the YES switch, and disable the AP using the NO switch. Once the AP is enabled, the connection status of any client that connects to the DeepMind12 will be shown as either Connecting, Connected, or Disconnecting. It is possible to reject a client that has already connected, by pressing NO.

To navigate the options in Client mode, use the UP and DOWN switches.

In order to change any of the parameters, make sure that the '<' symbol is on the respective line, and press the +YES switch to edit.

• ENABLE - This shows the current state of the Client Mode connection - there

are 4 states: Disconnected, Connecting, Connected, and Disconnecting. It is possible to initiate a connection using the YES switch, and cancel a connection using the NO switch.

• SSID and Password - These are the SSID and Password strings the

DeepMind12 uses to connect to the desired network. Editing the values of these strings will bring up a text editing pop up dialog.

• SSID and Password - These are the SSID and Password strings the

DeepMind12 uses to create the Access Point network. Editing the values of these strings will bring up a text editing pop up dialog:

• IP - Shows the IP address the DeepMind12 uses for the Access Point.

• Channel - This shows the Wireless channel used by the Access Point.

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SYSEX EXPORT MENU- This menu contains settings for the EXPORT menu of the DeepMind 12.

Note: Backing up your data is an important factor when working with the DeepMind 12. It allows you to keep a safe copy of your programming, manage settings depending on your use, and share your work with others.

To access the SYSEX EXPORT menu, press the GLOBAL switch until the CONNECTIVITY menu appears. Make sure that the '<' symbol on the EXPORT line is highlighted. Then press the +/YES switch, you will now see the SYSEX EXPORT menu.

• DESTINATION - This option sets the communication mode for the DeepMind

12 SYSTEM EXCLUSIVE (SysEx) messages.

Midi - SysEx messages will be transmitted from the MIDI sockets on the rear of the synthesizer).

USB - SysEx messages will be transmitted to the USB host.

WiFi - SysEx messages will be transmitted to the WiFi connection.

7.2.12 KEYBOARD SETTINGS

Note: To access successive GLOBAL pages just press the GLOBAL switch again to cycle through the pages.

In this menu there are all the settings relating to keyboard.

To navigate the options in the KEYBOARD SETTINGS menu, use the UP and DOWN, switches.

In order to change any of the parameters make sure that the '<' symbol on the respective line is highlighted.

LOCAL - This option turns LOCAL CONTROL for the DeepMind 12 keyboard , aftertouch, pitch wheel and modulation wheel On and O . It is sometimes useful to turn LOCAL CONTROL o when using the DeepMind 12 to control other hardware/software synthesizers, e ects and/or applications.

• DUMP TYPE - This option sets the type of data which be exported. You can

choose from the following:

Prog - A single PROGRAM.

Bank - An entire BANK of 128 PROGRAMs.

EditProg -The PROGRAM in the EDIT BUFFER, i.e. the program you are

currently working on.

Glob - The GLOBAL settings, useful if you need di erent settings depending on your location/activity/requirements).

UserPat - Any one of the 32 USER PATTERNs from the Arpeggiator.

EditPat -The current PATTERN stored in the EDIT BUFFER, i.e. the PATTERN

which is assigned in the program you are currently working on.

AllPat - All user PATTERNs.

All - All Banks, Programs, Patterns, and Global Settings.

CalData - The data from the calibration routine.

• DUMP BANK - You can select the appropriate BANK here, from one of the 8

available (A-H). This option is only available when exporting.

• SOURCE - You can select the appropriate PROGRAM or PATTERN here. This

option is only available when exporting.

• SYSEX DUMP (EXPORTING) - Pressing the +/YES switch while this option is

selected will initiate the EXPORT based on the selected options.

OCTAVE - This option allow you to adjust the OCTAVE setting for the keyboard. The OCTAVE setting a ects the whole keyboard.

The default setting is 0, which means if you play the lowest note it will be a C2.

The OCTAVE can be adjusted from -2 to +2, allowing you to use the 49 keys to access the full eight octaves (98 keys).

Please refer to Appendix 1 - Octave Shifting at the end of this document for a diagram.

FIXED-ON-VEL - This option  xes the NOTE ON VELOCITY at a set value, so that regardless of how hard you strike the note, the value will always be the same. The higher the value, the higher the volume of the note. The value can range from 0-127. When this option is set to O , the NOTE ON VELOCITY will be dependant upon how hard you strike the note.

Note: The NOTE ON VELOCITY sensitivity can be adjusted in the VCA edit page. Please refer to the VCA section later in this document for more details.

FIXED-OFF-VEL - This option  xes the NOTE OFF VELOCITY at a set value, so that regardless of how fast you release the note, the value will always be the same. The higher the value, the higher the volume of the note. The value can range from 0-127. When this option is set to O , the NOTE OFF VELOCITY will be dependant upon how fast you release the note.

Note: The NOTE OFF VELOCITY is only available within the MOD MATRIX as a MODULATION SOURCE. It is not used elsewhere in the synthesizer. Please refer to the MOD MATRIX section later in this document for more details.

To exit this menu press the GLOBAL switch to return to the CONNECTIVITY menu.

To exit the CONNECTIVITY menu press the PROG switch to return to the main programming screen, or press GLOBAL to cycle to the KEYBOARD SETTINGS menu.

28 DeepMind 12 User Manual

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VEL CURVE - You can adjust the response curve for the VELOCITY here. The Hard setting will reduce the dynamic range of played notes. The Soft setting will increase the dynamic range of played notes.

Velocity Sensitivity Curve Settings

Hard

Med

Velocity

Soft

Slow Fast

Strike Speed

The default setting is Soft.

AFT-CURVE - You can adjust the response curve for the AFTERTOUCH here. The Hard setting will reduce the dynamic range of key pressure. The Soft setting will educe the dynamic range of key pressure.

7.2.13 PEDAL SETTINGS

In this menu there are all the settings relating to PEDAL/CV and SUSTAIN inputs on the rear of the DeepMind 12.

To navigate the options in the PEDAL SETTINGS menu, use the UP and DOWN switches.

In order to change any of the parameters make sure that the '<' symbol on the respective line is highlighted.

AfterTouch Sensitivity Curve Settings

Hard

Med

Velocity

Soft

Soft Hard

Key Pressure

The default setting is Soft.

Note: The DeepMind 12 keyboard sends "Channel Aftertouch", meaning the MIDI message created is common to all keys.

WHEEL-LEDS - Both the PITCH WHEEL and the MODULATION WHEEL have the possibility to be illuminated, depending on your requirements. You can control the illumination mode here by selecting one of the following options:

Auto - In this mode, the illumination will get brighter as the respective wheel is moved, reaching its brightest point at the end of its travel.

PEDAL/CV - This option allows you to choose the PEDAL/CV MODE from the following options:

The PEDAL/CV input can work with a t ypical foot pedal, where the voltage is supplied by the DeepMind 12 and fed back at a level which is dependant on the position of the pedal. The further the pedal is pressed, the higher the voltage.

The PEDAL/CV input can also work with a CV (Control Voltage) input from any source with a 0 to +5V output e.g. the Control Voltage from a modular synthesizer.

Note: For wiring diagrams and pin connections information please consult the guide later in this document.

The PEDAL input takes the voltage from the connector and turns it into a control signal. The control signal can be mapped to any of the following:

• Foot-ctrl - The Foot-Ctrl (Foot Controller) is available as a modulation source

in the MOD MATRIX.

• Mod-Wheel - Here the PEDAL input is mapped to the MODULATION WHEEL

which is available as a modulation source in the MOD MATRIX.

• Breath - Here the PEDAL input is mapped to the BREATH controller which is

available as a modulation source in the MOD MATRIX.

On - In this mode the illumination is  xed on.

O - In this mode the illumination is turned o .

The default setting is Auto.

To exit this menu press the PROG switch to return to the main programming screen, or press GLOBAL to cycle to the PEDAL SETTINGS menu.

• Volu me - Here the PEDAL input is mapped to the VOLUME controller.

• Expression - Here the PEDAL input is mapped to the EXPRESSION controller.

The default setting is Foot-ctrl.

SUSTAIN - This option allows you to choose the SUSTAIN MODE from the

following options:

The SUSTAIN input can work with a switched input which is either open when pressed, or closed when pressed.

29 DeepMind 12 User Manual

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Gate Functionality - The SUSTAIN input can also be used with a GATE signal from a CV and GATE interface or a modular synthesizer. This functionality requires the GATE signal to operate between +5V and 0V.

Note: For wiring diagrams and pin connections information please consult the guide later in this document.

• Norm-Open Here when the connected switch is pressed the notes are held

in the SUSTAIN stage of all ENVELOPEs. In this mode the correct operation is designed for a switch whose contacts close when pressed.

• Norm-Closed Here when the connected switch is pressed the notes are held

in the SUSTAIN stage of all ENVELOPEs. In this mode the correct operation is designed for a switch whose contacts open when pressed.

• Tap -N. O Here the SUSTAIN input is mapped to the TAP function so when

the switch is pressed a signal is sent to the Master BPM Generator. In this mode the correct operation is designed for a switch whose contacts close when pressed.

• Tap -N.C Here the SUSTAIN input is mapped to the TAP function so when

the switch is pressed a signal is sent to the Master BPM Generator. In this mode the correct operation is designed for a switch whose contacts open when pressed.

• Arp+Gate Here the SUSTAIN input is mapped to the ARPEGGIATOR notes, so

when a GATE input from a CV & GATE interface, or a modular synthesizer is connected, the gate signal will step though the notes of the ARPEGGIATOR. In this mode the ARPEGGIATOR note duration is set by length of time that the gate signal is high (+5V).

• Arp-Gate Here the SUSTAIN input is mapped to the ARPEGGIATOR notes, so

• Seq+Gate Here the SUSTAIN input is mapped to the CONTROL SEQUENCER

steps, so when a GATE input from a CV & GATE interface, or a modular synthesizer is connected, the gate signal will move though the steps of the CONTROL SEQUENCER. In this mode the CONTROL SEQUENCER will transition to the next step each time a positive edge (a transition from 0V to 5V) is received.

• Seq-Gate Here the SUSTAIN input is mapped to the CONTROL SEQUENCER

steps, so when a GATE input from a CV & GATE interface, or a modular synthesizer is connected, the gate signal will move though the steps of the CONTROL SEQUENCER. In this mode the CONTROL SEQUENCER will transition to the next step each time a negative edge (a transition from 5V to 0V) is received.

• Arp&Seq+Gate Here the SUSTAIN input is mapped to the ARPEGGIATOR

notes, and to the CONTROL SEQUENCER steps. When a GATE input from a CV & GATE interface, or a modular synthesizer is connected, the gate signal will step though the notes of the ARPEGGIATOR, and also move though the steps of the CONTROL SEQUENCER. In this mode the ARPEGGIATOR note duration is set by length of time that the gate signal is high (+5V). Also in this mode the CONTROL SEQUENCER will transition to the next step each time a positive edge (a transition from 0V to 5V) is received.

• Arp&Seq-Gate Here the SUSTAIN input is mapped to the ARPEGGIATOR

notes, and to the CONTROL SEQUENCER steps. When GATE input from a CV & GATE interface, or a modular synthesizer is connected, the gate signal will step though the notes of the ARPEGGIATOR, and also move though the steps of the CONTROL SEQUENCER. In this mode the ARPEGGIATOR note duration is set by length of time that the gate signal is low (0V). Also in this mode the CONTROL SEQUENCER will transition to the next step each time a negative edge (a transition from 5V to 0V) is received.

The default setting is Norm-Open.

To exit this menu press the PROG switch to return to the main programming screen, or press GLOBAL to cycle to the PANEL SETTINGS menu.

7.2.14 PANEL SETTINGS

PANE L-LOC AL - This option turns LOCAL CONTROL for the DeepMind 12 panel controls (including all faders, non menu edit switches and portamento knobs) On and O . It is sometimes useful to turn LOCAL CONTROL o when using the DeepMind 12 to control other hardware/software synthesizers, e ects and/or applications.

The default setting is On.

FADER MODE - This option allows you to choose the mode in which the faders respond when you initially move a fader which has a di erent physical position to the stored value. You can choose one of the following options:

• Pass-thru - In this mode, when the fader is moved, it will need to "Pass-

thru" the stored value before it will start to change.

• Jump - In this mode, when the fader is moved the value of the parameter

will "Jump" to the physical position of the fader.

The default setting is Jump.

INFO DIALOGS - This option allows you to disable the pop-up dialogs and messages which are designed to aid you while learning how the DeepMind 12 operates. The default setting is Enable.

CYCLE TO PROG - When this option is turned On, the menu cycle function will return you to the programming screen. When this option is O , the menu cycle function will return you to the  rst menu page. The default setting is On.

REMEMBER PAGES - With this option turned on your position in any menu will be remembered so that you return to the same position you lef t. When this option is o , any access of a menu will always position you in the  rst menu page. The default setting is On.

BRIGHTNESS - This option allows you to control the brightness of the display. The range is 0-100, with 0 being dim and 100 being the brightest setting. This is useful if you are operating in low light conditions and want to protect your vision, or if you are working under strong lighting conditions and want to maximise viability.

The default setting is 100.

CONTRAST - This option allows you to control the contrast of the display. The range is 0-14, with 0 being least contrast and 14 being the most contrast. This is useful to compensate for di erent viewing angles, and/or light conditions.

The default setting is 10.

To exit this menu press the PROG switch to return to the main programming screen.

30 DeepMind 12 User Manual

7.2.15 SYSTEM SETTINGS

Note: To access successive GLOBAL pages just press the GLOBAL switch again to cycle through the pages.

In this menu are all the SYSTEM SETTINGS of the DeepMind 12. These include VERSION NUMBERS of the hardware/ rmware, set tings for the fan speed and access to the CALIBRATION routines.

To navigate the options in the SYSTEM SETTINGS menu, use the UP and DOWN switches.

In order to change any of the parameters make sure that the '<' symbol on the respective line is highlighted.

HOST-VER - This is the version number of the host  rmware.

VOICE-VER - This is the version number of the voice circuit board.

DSP-VER - This is the version of the DSP  rmware.

BOOT-VER - This is the version of the bootloader used to initialize the synthesizer.

7.2 .16 C AL IB R ATE

This menu allows you to perform CALIBRATION of the VOICES, MOD WHEEL, PITCH WHEEL, AFTERTOUCH and PEDAL INPUT.

To navigate the options in the CALIBRATION menu, use the UP, DOWN, switches.

In order to start a calibration routine make sure that the '<' symbol on the appropriate CALIBRATE line is highlighted and press the +/YES switch.

The DeepMind 12 has 12 voices. Each voice has its own LFO, OSC, VCF, ENV and VCA stages.

The CALIBRATION routine is used for the Voice checking, OSC wave shapes, VCF self-oscillation, Pulse Width modulation and the VCA bias.

VCF - Unlike many other synthesizers, the DeepMind 12 is capable of accurate pitch tracking even when the  lter resonance is pushed to (and past) the point where the  lter starts to self-oscillate. When using this selfoscillating feature of the VCF as a sound source, the VCF calibration ensures the correct response when playing the entire scale of the keyboard.

WIFI-VER - This is the version of the WiFI.

FAN-SPEED - This allows you to adjust the fan speed. The fan speed is adjustable

from 0 (o ) to 255 (maximum). Adjust the fan speed to suit your listening conditions and preference. If the local temperature is high, please make sure that the fans are not turned o . The DeepMind 12 is equipped with 2 fans, one internal and one at the rear. At an approximate setting of 40 the internal fan is running and the rear fan is o .

The DeepMind 12 VCFs are calibrated at the factory during production. However, because its  lters are voltage controlled and can be a ected by extremes of temperature, you may need to use the built-in calibration function to  ne tune them occasionally. Calibration may also be required after a  rmware upgrade or when being requested to do so by an authorised Behringer support technician.

OSC - The DeepMind 12 OSCs are calibrated at the factory during produc tion. The oscillators are discrete analog circuits but they are digitally controlled. Compared to a Voltage Controlled oscillator (VCO), the OSC has far superior stability, especially when they have a very high frequency, low-jitter master clock sources, as used in the DeepMind 12. This stage calibrates the slope of the sawtooth waveform to ensure even volume and pulse-width across the full range of the synthesizer.

This means that the OSCs should never need re-calibrating except for after a  rmware upgrade or being requested to do so by an authorised Behringer support technician.

31 DeepMind 12 User Manual

CALIBRATE VOICES

Overview of the calibration routines:

ALL - This will initiate all of the routine.

VOICE CHECK - This performs a series of functionality tests on each voice.

VCF - This routine puts the voice into self oscillation and tunes to 1 kHz in order to

calibrate the resonance of the VCF for that voice. The routine then puts the voice into self oscillation and checks the tuning at 50 Hz, 220 Hz, 880 Hz and 10 kHz to ensure the VCF is performing as expected. The test is repeated for all voices.

OSC - This routine adjusts the slope of the sawtooth at octave intervals. This ensures the precision of the slope so that it performs as designed. The test is repeated for all voices.

PW - This routine adjusts the pulse width (mark to space ratio) of the pulsewave. This ensures the precision of the ratio so that it performs as designed. The test is repeated for all voices.

VCA - The Voltage Controlled Ampli er (VCA) uses a bias voltage to set its operating level. This bias voltage is balanced so that the VCA responds as designed. The test is repeated for all voices.

CAL MOD WHEEL

To calibrate the MOD WHEEL, please use the following process:

Note: During the calibration the GLOBAL, -NO and +/YES switches will be  ashing. If at any time you want to cancel the calibration routine, you can press the -/NO switch. No previous calibration data will be changed if you do cancel the routine. To con rm the calibration at each stage press +/YES as described below.

First move the MOD WHEEL to its minimum position (shown on the panel)

In order to start the calibration routine make sure that the '<' symbol on the CAL MOD WHEEL line is highlighted and press +/YES.

You will see the following display showing a bar representing the MOD WHEEL value. Also on this screen you can see the stored calibration data above the bar and the current value below the bar.

Then move the MOD WHEEL to its maximum position (shown on the panel).

You will see the following display showing the new position of the MOD WHEEL and the associated values:

In order to start the calibration routine make sure that the '<' symbol on the appropriate CALIBRATE line is highlighted and press the +/YES switch.

Note: The calibration run time is shown on the bottom of the screen so that you can plan your work around any of the calibration phases.

The calibration routine will then start. Throughout the tests you will see various waveforms being played. It is safe to turn down the volume while the calibration routine is running.

Note: There is the option while the calibration is running to mute the signal using the BANK/DOWN switch and un-mute using the BANK/UP switch.

Once the calibration routine is complete you will see a summary of the test results as shown below:

Note: During the calibration the GLOBAL and -/NO switches will be  ashing. If at any time you want to cancel the calibration routine, you can press the -/NO switch. No previous calibration data will be changed if you do cancel the routine.

Note: To cancel the routine you can press the -/NO switch.

To con rm the CALIBRATION of the MOD WHEEL, press the +/YES switch: The calibration data will then be stored for the MOD-WHEEL and you will be returned to the CALIBRATE menu. From here you can perform another calibration from the menu, or press the GLOBAL switch again to return to the SYSTEM SETTINGS menu.

CAL PITCH WHEEL

To calibrate the PITCH WHEEL, please use the following process:

In order to start the calibration routine make sure that the '<' symbol on the CAL PITCH WHEEL line is highlighted and press +/YES.

You will see the following display showing a bar representing the PITCH WHEEL value. Also on this screen you can see the stored calibration data above the bar and the current value below the bar:

32 DeepMind 12 User Manual

Then move the PITCH WHEEL to its maximum position (shown on the panel).

You will see the following display showing the maximum position of the PITCH WHEEL and the associated values:

Then move the PITCH WHEEL to its minimum position (shown on the panel).

You will see the following display showing the maximum position of the PITCH WHEEL and the associated values:

CAL AFTERTOUCH

To calibrate the KEYBOARD AFTERTOUCH please use the following process:

In order to start the calibration routine make sure that the '<' symbol on the CAL AFTERTOUCH line is highlighted and press +/YES.

You will see the following display showing a bar representing the current AFTERTOUCH value (0% for no pressure). Also on this screen you can see the stored calibration data above the bar and the current value below the bar:

Then apply pressure to any one of the keys (or multiple keys) until the value stops increasing.

To con rm the CALIBRATION of the PITCH WHEEL press the +/YES switch and you will be moved on to the PITCH CENTRE page:

At this point move the PITCH WHEEL within the dead zone where you don't feel the tension of the spring. This is ensure that no pitch information is sent while the pitch wheel is not being touched. You will see the following display showing a guide to assist you:

You will see the following display showing the maximum position of the AFTERTOUCH and the associated value:

Note: To cancel the routine you can press the -/NO switch.

To con rm the CALIBRATION of the AFTERTOUCH press the +/YES switch: The calibration data will then be stored for the AFTERTOUCH and you will be returned to the CALIBRATE menu. From here you can perform another calibration from the menu, or press the GLOBAL switch again to return to the SYSTEM SETTINGS menu.

Note: To cancel the routine you can press the -/NO switch.

To con rm the CALIBRATION of the PITCH CENTRE press the +/YES switch: The calibration data will then be stored for the PITCH CENTRE and you will be returned to the CALIBRATE menu. From here you can perform another calibration from the menu, or press the GLOBAL switch again to return to the SYSTEM SETTINGS menu.

33 DeepMind 12 User Manual

CALIBRATE PEDAL

To calibrate the PEDAL please use the following process:

In order to start the calibration routine make sure that the '<' symbol on the CAL CALIBRATE PEDAL line is highlighted and press +/YES.

You will see the following display showing a bar representing the current PEDAL value (0% for no pressure). Also on this screen you can see the stored calibration data above the bar and the current value below the bar:

Then press the pedal until the value stops increasing.

You will see the following display showing the maximum position of the PEDAL input and the associated value:

7.2.17 BACKUP (backup Menu)

The last item in the SYSTEM SETTINGS menu is BACKUP.

Pressing +/YES when “BACKUP -->” is selected, will bring up the BACKUP MENU. (The "RESTORE BANK" lines only appear after the  rst backup is done).

Pressing /YES when “BACKUP PROGRAMS” is selected, will bring up a con rmation dialog:

Note: To cancel the any routine you can press the -/NO switch, you will see the following message:

To con rm the CALIBRATION of the PEDAL input press the +/YES switch: The calibration data will then be stored for the PEDAL and you will be returned to the CALIBRATE menu. From here you can perform another calibration from the menu, or press the GLOBAL switch again to return to the SYSTEM SETTINGS menu.

Pressing YES again, copies all Banks of programs from EEPROM to  ash, and overwrites the “factory default” data.

Pressing +/YES when any of the RESTORE-BANK-A to RESTORE-BANK-H lines is selected, will bring up a con rmation dialog:

Pressing YES again will restore the selected bank from  ash.

34 DeepMind 12 User Manual

7.3 COMPARE (Compare Menu)

The COMPARE feature has two main functions:

Firstly you can use it to COMPARE the current (edited) program with the original program.

To perform both functions simply press the COMPARE switch.

Note: If you have not edited the program (i.e. changed some parameters) when you press the COMPARE switch you will restore the backup as described in a previous chapter.

Firstly the sound/character will return to its original state so that you can compare your edits. Note: If you do not want to match the fader positions you can simply press COMPARE again to return to programming.

Secondly, you now have the option to match the position of the physical faders to the positions stored in the original program.

Page 1 Shows the PORTAMENTO rotary and the ARP/SEQ/LFO faders:

Page 2 shows the OSC faders:

Page 3 shows the UNISON, VCF, HPF and VCA faders:

Each page of the COMPARE menu shows a section of the faders .

If the position of the fader matches the position of the stored value the fader will be black.

If the fader does not match the position it will be white with a superimposed arrow pointing in the direction it needs to move in order to approach the stored value.

There is also a white bar to show how far the fader needs to move in order to match the stored value.

Once the fader reaches the stored position it will turn black to indicate it is now matched.

Note: The pages will switch automatically when you begin to adjust any of the faders.

There are four pages of faders in the COMPARE menu, to access the other pages use the +/- switches to select the previous/next pages.

Page 4 shows the ENVELOPE faders:

Note: You can still select speci c envelopes to match the faders depending on

your requirements.

35 DeepMind 12 User Manual

7.4 WRITE (Write Menu)

To write a program to memory press the WRITE switch to open the WRITE PROGRAM menu.

The WRITE PROGRAM menu will then appear:

In this menu you can use the -NO/+YES switches to navigate through the sections. The selected section will be highlighted by an inverted character (white on black).

The second section is the CATEGORY to select any of the available categories. Again you can use the UP/DOWN switches, the rotary knob, or the fader to select the required CATEGORY.

To compare the current program with the intended program location you can press the COMPARE switch to listen to the di erence. To return to the current program, press the compare switch again.

Once you have selected the new location and named the program simply press the WRITE switch again to write the program.

At anytime you decide you do not want to write the program, you can press the PROG switch to return to the main programming display. Note: If there is a program in the backup memory then you will see the message "COMPARE to clear backup".

7.5 Re-naming Programs

To rename a program simply follow the procedure for writing a program and keep the BANK and PROGRAM NUMBER the same.

There are also two short-cuts for selecting characters indicated by text above the FX and GLOBAL switches:

a-A-0 - Pressing the FX switch will c ycle between lower-case, upper-case and numbers.

DEL - Pressing the GLOBAL switch will delete the currently selected character.

Note: These short-cuts only appear when you are editing the name of the

REPLACED BY program.

36 DeepMind 12 User Manual

8. Programming

8.1 CHORDS/ARP/SEQ/SYNC SETTINGS

The ARP/SEQ section controls all parameters relating to the internal ARPEGGIATOR, CONTROL SEQUENCER and PATTERN editing. This section also contains the controls for CHORD and POLY CHORD programming.

CHORD / POLY CHORDS - You can program a single chord to be mapped across the entire keyboard, or multiple chords to individual keys/notes.

ARPEGGIATOR - The DeepMind 12 ARPEGGIATOR allows you to play a pattern based on the individual keys being held. The patterns note order can be selected from a number of modes. The tempo of the ARPEGGIATOR can be sourced from either an internal or external clock. The clock can be divided from the Master BPM allowing you to select di erent timing structures.

The ARPEGGIATOR also has a looping pattern editor which allows you to adjust velocity and gate values for each step. The pattern editor has 32 "Fixed Presets" allowing you to start using the patterns quickly and 32 "User Presets" so that you can store your own unique patterns. The patterns can be up to 32 steps long allowing a large range of creative possibilities.

8.1.1 CHORD SWITCH

The DeepMind 12 CHORD switch allows you to program a chord to memory. That chord is then transposed across the full range of the keyboard.

CHORD SCREEN UPPER SECTION

On the upper section of the CHORD screen there is a visual representation of the four physical octaves of the keyboard. The words next to the keyboard describe what is shown (NOTE or TRIG). The bracket shows the zoom position for the lower section. The number in the top left hand corner shows the MIDI note number.

CHORD SCREEN LOWER SECTION

On the lower section of the CHORD screen there is a visual representation of the keyboard which is zoomed to the two octaves represented by the vertical brackets on the top section. The letter T shows the last played trigger key. The small indicator dots on the keys show the currently played notes during recording.

CHORD SCREEN SOFT KEYS

There is also a clock swing feature which allows you to  ne tune the swing (or "groove") to your speci c requirements.

The ARPEGGIATOR can be set to synchronize with the  rst key you strike, or synchronised with the Master BPM clock (internal or external).

CONTROL SEQUENCER - The DeepMind 12 CONTROL SEQUENCER is not part of the ARPEGGIATOR. The CONTROL SEQUENCER is a modulation source in the same way an LFO or ENVELOPE is. The CONTROL SEQUENCER allows you to create a pattern which can be used to modulate other parameters. The tempo of the CONTROL SEQUENCER can be sourced from either an internal or external clock. The clock can be divided from the Master BPM allowing you to select di erent timing structures.

The CONTROL SEQUENCER has a looping editor which allows you to adjust the values for each step. The modulation waveform that is produced can have negative or positive values. The CONTROL SEQUENCER can be up to 32 steps long allowing a large range of creative possibilities.

There is also a clock swing feature which allows you to  ne tune the swing (or "groove") to your speci c requirements.

The CONTROL SEQUENCER can be set to synchronize with the  rst note you strike, or synchronised with the Master BPM clock (internal or external).

For more information on using the CONTROL SEQUENCER as a modulation source please consult the MOD MATRIX section later in this document.

CLOCK NOTES - One the great advantages of having a Master BPM is that the LFOs, ENVELOPES, and many EFFECTS parameters of the DeepMind 12 can be synchronised to the BPM.

At the bottom of the CHORD page you will see three areas which indicate the software function of the PROG, GLOBAL and WRITE switches.

PROG switch - Always perform the EXIT function and return you to the PROG screen.

GLOBAL switch - Only used to RECORD a new CHORD. Otherwise the area above the switch is used to show the status of the CHORD programming function i.e. Armed, Learning, or Press Trigger.

WRITE switch - Used to DELETE the chord, but only once a chord is programmed (otherwise this area will be blank and the switch will not be illuminated)

Note: The CHORD is stored in persistent memory and will be retained through a power cycle.

Note: The CHORD memory can also be cleared using the bootloader menu described later in this document.

37 DeepMind 12 User Manual

CHORD PROGRAMMING - To program a chord, press the CHORD switch (or the RECORD soft switch if replacing an existing chord). The CHORD switch will begin double  ashing and you will then see the screen with the message "Armed" as shown below:

2X FLASHING FAST

While the message "Armed" is shown, hold the keys of the chord down and you will then see the screen with the message "Learning" below:

2X FLASHING FAST

The screen will now show the following:

ILLUMINATED

Now playing any key on the keyboard will play the CHORD you have programmed. The CHORD will be transposed from the root note to the key that you are playing.

RECORDING A NEW CHORD - To record a new chord (and overwrite the exisiting chord), press the RECORD soft switch. The existing chord will be deleted and you will see the message "Armed" indicating that the synthesizer is ready to program a new CHORD.

DELETING THE CHORD - To delete the chord press the DELETE soft switch. The chord will be deleted and you will see the message "Armed" indicating that the synthesizer is ready to program a new CHORD.

At this point you can add additional notes to the chord. Once you have all the keys required held down simultaneously you can release them all. The chord will then be ready to be assigned and the CHORD switch will  ash slowly.

Note: The CHORD size is limited to 12 notes.

You will see a message to "Press Trigger" as shown below:

FLASHING SLOW

Now press the root note key for the chord to be transposed up or down from. Once you press a key, the chord you played will have its root note assigned to that key. The CHORD switch will then stay illuminated (no  ashing) and the CHORD mode will be active for the entire keyboard (including any OCTAVE shift applied).

Note: In CHORD mode you can only play one key/CHORD at a time. I.e. when you hold a key down then press another key, the CHORD will be played from the last pressed key only.

2X FLASHING FAST

EXITING THE CHORD SCREEN - Press the EXIT soft switch to exit the CHORD page. This will return you to the PROG screen but CHORD mode will still be active and the CHORD switch will be illuminated.

EXITING CHORD MODE - Press the CHORD switch again to turn o CHORD MODE, the switch will no longer be illuminated.

Note: When the keyboard local control is on, all chords will be sent to any connected devices. When keyboard local control is o only the trigger note will be sent to any connected devices. When the trigger notes are received the DeepMind 12 will play respective chords based on incoming trigger notes.

38 DeepMind 12 User Manual

8.1.2 POLY CHORD SWITCH

The DeepMind 12 POLY CHORD switch allows you to program multiple chords to memory. The chords can be assigned to any of the 49 physical keys.

POLY CHORD SCREEN UPPER SECTION

On the upper section of the POLY CHORD screen there is a visual representation of the four physical octaves of the keyboard. The words next to the keyboard describe what is shown (NOTE or TRIG). The bracket shows the zoom position for the lower section. The number in the top left hand corner shows the MIDI note number. The number in the top right hand corner indicates how much of the available memory has been used.

POLY CHORD SCREEN LOWER SECTION

POLY CHORD PROGRAMMING - To program a chord, press the POLY CHORD

switch (or the RECORD switch if replacing or adding an existing chord). The POLY CHORD switch will begin double  ashing and you will then see the screen with the message "Armed" as shown below :

2X FLASHING FAST

While the message "Armed" is shown, hold the keys of the chord down and you will then see the screen with the message "Learning" below:

2X FLASHING FAST

On the lower section of the POLY CHORD screen there is a visual representation of the keyboard which is zoomed to the two octaves represented by the vertical brackets on the top section. The letter T is shown on all trigger keys, i.e. the keys which are programmed to play a chord when pressed. The small indicator dots on the keys show the currently played notes in the selected chord or during recording.

POLY CHORD SCREEN SOFT KEYS

At the bottom of the POLY CHORD page you will see three areas which indicate the software function of the PROG, GLOBAL and WRITE switches.

PROG switch - Always performs the EXIT function and returns you to the PROG screen.

GLOBAL switch - Used to RECORD (add or overwite) a new POLY CHORD. Otherwise the area above the switch is used to show the status of the POLY CHORD programming function i.e. Armed, Learning, or Press Trigger.

WRITE switch - Used to DELETE a chord, but only once a chord is programmed (otherwise this area will be blank and the switch will not be illuminated) Note: The CHORD is stored in persistent memor y and will be retained through a power cycle.

Note: The POLY CHORD size is limited to 12 notes.

You will see a message to "Press Trigger" as shown below:

FLASHING SLOW

Now press the root note key for the chord to be assigned to. Once you press a key, the chord you played will be assigned to that key. The POLY CHORD switch will then stay illuminated (no  ashing) and the POLY CHORD mode will be active for the entire keyboard (including any OCTAVE shift applied).

The screen will now show the following:

Note: The CHORD memory can also be cleared using the bootloader menu described later in this document.

ILLUMINATED

Now playing any of the trigger keys will play the chords assigned to the respective keys.

39 DeepMind 12 User Manual

RECORDING / ADDING A NEW POLY CHORD - To record/add a new chord , press the RECORD soft switch. You will see now see the message "Armed" indicating that the synthesizer is ready to program a new CHORD.

Each of the keys which have been assigned to trigger a chord, will be marked with the letter T as shown below:

DELETING A POLY CHORD - To delete a chord you  rst need to select the trigger key. This can be done using the rotary knob, the -/NO and +/YES switches, or by pressing the trigger key for the chord you wish to delete.

The selected key will be highlighted by a dotted line as shown above. When the key is selected press the DELETE soft switch. The chord will be deleted and the letter T will no longer be shown. You will also see the message "Armed" indicating that the synthesizer is ready to record a new CHORD.

8.1.3 ARP ON/OFF SWITCH

The ON/OFF switch in the ARP/SEQ section turns the ARPEGGIATOR function ON and OFF. When the ARPEGGIATOR is switched ON and you hold down one or more keys the ARPEGGIATOR will start playing. When you release all keys the ARPEGGIATOR will stop playing.

ARPEGGIATOR

ON/OFF

Note: The ON/OFF switch only a ects the ARPEGGIATOR, it does not a ect the CONTROL SEQUENCER.

The default ON/OFF setting is OFF.

8.1.4 TAP/HOLD SWITCH

EXITING THE POLY CHORD SCREEN - Press the EXIT soft switch to exit the POLY CHORD page. This will return you to the PROG screen but POLY CHORD mode will still be active and the POLY CHORD switch will be illuminated.

EXITING POLY CHORD MODE - Press the POLY CHORD switch again to turn o POLY CHORD MODE, the switch will no longer be illuminated.

Note: In POLY CHORD mode you can play a sequence of chords using the trigger keys while playing individual notes using unassigned keys.

Note: You can use the rotary knob and/or the -NO and +/YES switches to scroll the zoomed view up and down the keyboard. This is useful when you want to see any playing notes which are outside of the current zoom position.

Note: The number of POLY CHORDs you can program is limited, depending on the number of notes used in each POLY CHORD. There is enough space for 216 notes, e.g. 36 x 6 note POLY CHORDs.

TAP=FLASH

HOLD=ON

The TAP/HOLD switch has two functions:

TAP - When you strike the TAP switch successively the DeepMind 12 will calculate the Master BPM value from the tempo of your tapping. After 5 taps the BPM will update to the tempo of your tapping.

The BPM is calculated on an average of the last 5 taps, so you can continue tapping until you feel the displayed tempo is correct.

Note: If you are using an external sync source the TAP/HOLD switch will  ash at the rate of the external source.

The supported TAP TEMPO range for both internal and ex ternal sources is from

20.0-275.0 BPM

HOLD - When you press and hold the TAP/HOLD switch for more than 1 second, the switch is illuminated and HOLD mode is active. In this mode when you press any key it will be held on and the ARPEGGIATOR will continue playing.

If you press a key and hold it down, you can add other notes to the ARPEGGIATOR. Once you release all keys the ARPEGGIATOR will continue to play until you press another key.

Note: The HOLD switch can also be used without the ARPEGGIATOR function. When the ARPEGGIATOR is o and the HOLD switch is pressed it will hold and played notes in their SUSTAIN phase of all ENVELOPEs. This can be useful during sound design when you want to work on the sustained content of a program and operate the surface controls with both hands.

To turn HOLD mode o press and hold the TAP/HOLD switch again for more than 1 second, the switch is no longer illuminated and HOLD mode is no longer active.

The default HOLD setting is OFF.

40 DeepMind 12 User Manual

8.1.5 ARP RATE FADER

The RATE fader controls the Master BPM RATE of the ARPEGGIATOR. The Master BPM is used by the ARPEGGIATOR, CONTROL SEQUENCER and is also used in any parameters which can be linked to the Master BPM, such as the LFO, Envelopes and some E ect parameters.

Decreasing the value will make the Master BPM RATE slower, and increasing the value will make the Master BPM rate faster as shown below:

MASTER BPM (RATE)

FAST

MED

SLOW

8.1.6 ARP GATE TIME FADER

The GATE TIME fader controls the length of the note as shown below.

With the fader in the middle position, the GATE TIME is equally split so that the note length is exactly half of a step. Decreasing the value will make the GATE TIME shorter, and increasing the value will make the GATE TIME longer as shown below:

GATE TIME

LONG

EQUAL

SHORT

The Master BPM RATE range is from 20.0 to 275.0 BPM. The default Master BPM RATE value is 120.0 BPM.

The fader position, current value and stored value for the ARP RATE fader is shown on the PROG screen. There is also a visualization of the ARP RATE as shown below:

Note: The GATE TIME FADER on the front panel, and the GATE TIME PARAMETER in the PATTERN EDITOR both a ect the length of the notes.

With the GATE TIME FADER at maximum the note length matches the full length of the PATTERN GATE TIME.

When the GATE TIME fader is in the middle then the note length is half of the PATTERN GATE TIME.

The GATE TIME range is from 0 to 255, with 0 being no note and 255 being a full note. The default GATE TIME value is 128, which represents half of a step.

The fader position, current value and stored value for the ARP GATE TIME fader is shown on the PROG screen. There is also a visualization of the ARP GATE TIME period, using the width of two consecutive notes as shown below:

41 DeepMind 12 User Manual

•

8.1.7 EDIT ARP/SEQ SWITCH

The DeepMind 12 ARPEGGIATOR allows you to play a pattern of notes based on the individual keys being held. This section covers in detail all the parameters related to the ARPEGGIATOR.

To enter the EDIT page for the ARPEGGIATOR & CONTROL SEQUENCER press the EDIT switch.

FLASHING=EDIT

The EDIT switch will then start  ashing and the ARPEGGIATOR menu will then appear:

OCT - This option allows you to choose how many OCTAVES the ARPEGGIATOR will cycle through. The OCTAVE range is from 1 to 6. If you only choose one OCTAVE the ARPEGGIATOR will simply cycle the notes based on the root note and the MODE. If you choose more than one OCTAVE the ARPEGGIATOR will cycle through the notes/MODEs for each OCTAVE sequentially.

The default value is 2 OCTAVES.

ARPEGGIATOR OCTAVES

1 OCTAVE

2 OCTAVES

3 OCTAVES

4 OCTAVES

5 OCTAVES

6 OCTAVES

MODE - This option allows you to select the note order for the arpeggiator from one of the options below:

• UP - Notes are played from the lowest to the highest, then repeated.

ARPEGGIATOR MODE - UP

Note: In the ARP/SEQ EDIT menu there are three pages (ARPEGGIATOR, CONTROL SEQUENCER and SYNC SETTINGS). This section covers the ARPEGGIATOR menu. To cycle through the pages use consecutive presses of the EDIT switch. The bottom line of the screen will show guidance to the next page.

To navigate the options in the ARPEGGIATOR menu, use the UP, DOWN, switches.

KEY SYNC - This option allows you to turn KEY-SYNC (Key Synchronisation) On and O . When KEY-SYNC is On, the arpeggiator will start playing at soon as you strike the  rst note (when no keys are pressed). When KEY-SYNC is O , the arpeggiator will start playing using the Master BPM (internal or external) and ARP CLOCK (after division) as its timing source. The default value is O .

ARPEGGIATOR KEY SYNC

ARP CLOCK

ARP NOTES (KEY SYNC OFF)

KEY PRESS

ARP NOTES (KEY SYNC ON)

• DOWN - Notes are played from the highest to the lowest, then repeated.

ARPEGGIATOR MODE - DOWN

• UP-DOWN - Notes are played from the lowest to the highest, then from the

highest to the lowest, then repeated. There is no repetition at the highest and lowest notes.

ARPEGGIATOR MODE - UP/DOWN

42 DeepMind 12 User Manual

•

• UP-INV - Notes are played from the lowest to the highest, then the chord is

inverted and the notes are played from the lowest to the highest. This is then repeated. There is no repetition at the highest and lowest notes.

• UP-ALT - Notes are played as lowest, then highest, then next lowest, then

next highest and so on until the notes have all been played. This is then repeated. There is no repetition at the highest and lowest notes.

ARPEGGIATOR MODE - UP/INV

• DOWN-INV - Notes are played from the highest to the lowest, then the

chord is moved to its 2nd inversion and lowered one octave then the notes are played from the highest to the lowest. This is then repeated. There is no repetition at the highest and lowest notes.

ARPEGGIATOR MODE - DOWN/INV

ARPEGGIATOR MODE - UP/ALT

• DOWN-ALT - Notes are played as highest, then lowest, then next highest,

then next lowest and so on until the notes have all been played. This is then repeated. There is no repetition at the highest and lowest notes.

ARPEGGIATOR MODE - DOWN/ALT

• RAND - The notes are played at random.

• UP-DN-INV -Notes are played from the lowest to the highest, then the chord

is moved to its 1st inversion and the notes are played from the lowest to the highest. Next the chord is moved to its 2nd inversion and the notes are played from the highest to the lowest. Then the chord is moved back to the 1st inversion and the notes are played from the highest to the lowest. This is then repeated. There is no repetition at the highest and lowest notes.

ARPEGGIATOR MODE - UP/DOWN/INV

ARPEGGIATOR MODE - RANDOM

• AS PLAYED - The notes are played by the ARPEGGIATOR in the order that you

play the notes. This is then repeated. There is no repetition at the highest and lowest notes.

123

ARPEGGIATOR MODE - AS PLAYED

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• CHORD -The notes are played together for each step of the ARPEGGIATOR.

ARPEGGIATOR MODE - CHORD

The default mode of the ARPEGGIATOR is UP.

HOLD - This option is the same as the HOLD switch on the sur face when the

ARPEGGIATOR is switched on. The switch will follow any changes made here, and changes on the surface will be re ected here. The default HOLD mode is OFF.

CLOCK DIVIDER - This option allows you divide the Master BPM in a number of ways to produce the ARPEGGIATOR CLOCK.

Note: When the SUSTAIN input is set to any of the GATE modes in the PEDAL SETTINGS the value will be replaced by "(Gate)" to indicate that the CLOCK DIVIDER is not used and the ARPEGGIATOR notes are controlled by the GATE input.

You can select one of the division modes from the list below:

Note: For a timing diagram please consult the section later in this document.

RATIO DESCRIPTION

1/2 Half note

SWING - This option allows you to adjust the swing (or groove) of the ARPEGGIATOR.

When applying SWING, every other step is delayed by an amount set by the swing value. The swing value represents the ratio of time between two steps. I.e. When the swing is at 50% there will be equal timing between the steps. When wanting to adjust the SWING timing to fall where a triplet would, you should set the SWING to 66%.

You can use the SWING parameter to add timing element which can help create propulsive rhythms, or laid back styles which can help give the sequence of notes movement, or allow it to breath, or make room for other parts of the mix.

SWING SETTING

NO SWING (50%)

TRIPLET SWING (66%)

FULL SWING (75%)

The SWING RATE range is from 50 to 75. The default SWING value is 50.

Note: When the SUSTAIN input is set to any of the GATE modes in the PEDAL SETTINGS the value will be replaced by "(Gate)" to indicate that the SWING is not used and the ARPEGGIATOR notes are controlled by the GATE input.

PATTE RN - The ARPEGGIATOR has a looping PATTERN function which can dynamically control the VELOCITY and GATE TIME values for each step.

3/8 Dotted quarter note

1/3 Third note (Half note triplets)

1/4 Quart er note

3/16 Dotted eighth note

1/6 Sixth note(Quarter note triplets)

1/8 Eighth no te

3/32 Dotted sixteenth note

1/12 Twelfth note (Eighth note triplets)

1/16 Six teen th not e

1/24 Twenty-fourth note (Sixteenth note triplets)

1/32 Thirty-second note

1/48 Forty-eighth note (Thirty-second note triplets)

The default value is 1/16 (sixteenth note).

RATE(BPM) - This option is the same as the RATE fader on the surface. Any changes on the surface will be re ected here.

The Master BPM RATE range is from 20.0 to 275.0 BPM. The default RATE value is

120. 0 BPM.

Note: When the SUSTAIN input is set to any of the GATE modes in the PEDAL SETTINGS the value will be replaced by "(Gate)" to indicate that the RATE is not used and the ARPEGGIATOR notes are controlled by the GATE input.

When the ARPEGGIATOR starts playing and a PATTERN is selected, the VELOCITY and GATE TIME values from the PATTERN editor will be applied to the notes of the ARPEGGIATOR. The PATTERN will continue to cycle while the ARPEGGIATOR is playing.

You can set the PATTERN LENGTH to match the ARPEGGIATOR notes, or use a di erent PATTERN LENGTH to create variations and movement. E.g. When using DOWN-INV 6 notes are played during each cycle of the ARPEGGIATOR. With a PATTERN LENGTH setting of 4, you will hear the pattern moving through the ARPEGGIATOR cycle.

The pattern editor has 32  xed "Preset Patterns" allowing you to start using the patterns quickly and 32 "User Patterns" so that you can store your own unique patterns. The patterns can be up to 32 steps long allowing a large range of creative possibilities.

Pattern Memory

Preset Patterns 1-32

Locked - Can be edited but not overwritten Can be edited and saved

User Patterns 1-32

ARP PATTERN SELECTION - To select an ARPEGGIATOR PATTERN, make sure that the '<' symbol on the PATTERN line is highlighted. The default setting is O , to select a PATTERN (Preset or User) use the rotary knob, or the fader.

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ARP PATTERN EDITING - To use the PATTERN EDITOR make sure that the '<' symbol on the PATTERN line is highlighted. Then press the +/YES switch and the PATTERN EDITOR will then be displayed.

If no PATTERN is selected it will look like this:

If a PATTERN is selected it will look something like this:

(2) STEP INDICATORS - The STEP values are shown at the top of the screen. The

current step can be selected using the rotary knob, each click will move the selection forward or backward one step. The current step number is displayed in the header and the step is highlighted in black and indicated using a dotted rectangle.

Note: When the ARPEGGIATOR is ON and running, you will see a PATTERN POSITION POINTER (PPP) under the step being played. The PPP is a small black bar which is updated in real-time.

Note: To duplicate steps, start by. selecting the step to duplicate, hold the PROG switch then navigate to the target step and release the PROG switch.

(3) VELOCITY - The VELOCITY of each step is shown by the height of the bar

within the step. To adjust the velocity for a step, press the PROG switch (under the VEL text) to enter VELOCITY editing mode. When you are in VELOCITY editing mode the virtual switch will be reversed (white on black).

The controls for the PATTERN EDITOR are as follows:

(1)

The height of the bar indicates the current velocity setting.

PAT TERN STEP VELOCITY

VELOCITY

(3) (7)(4) (5) (6)

Note: The parameter being edited is selected using the switches directly under the tabs at the bottom of the screen.

(1) PATTERN NAME - The PATTERN name is displayed at the top of the screen.

The pattern can be changed by pressing the -NO/+YES switches.

Note: If a PATTERN is edited a * will be displayed by its name to indicate that editing has been done and is not yet saved.

Note: Navigating away from edited pattern allows you to return to it without losing changes. However, if you begin to edit a di erent pattern, your edits to the original PATTERN will be lost.

The VELOCITY for each step can then be changed by using the UP/DOWN switches or using the data entry fader.

(4) GATE - The GATE TIME of each is shown by the width of the bar within each

step. To adjust the GATE TIME for a step, press the FX switch (under the GATE text) to enter GATE TIME editing mode. When you are in GATE TIME editing mode the virtual switch will be reversed (white on black).

45 DeepMind 12 User Manual

The GATE TIME for each step can then be changed by using the UP/DOWN switches or using the data entry fader.

PAT TERN STEP GATE TIME

GATE TIME

Note: To tie steps start by selecting the step you want to tie to the next one, hold the FX switch, then turn rotary knob clockwise. You can tie several steps together by continuing to rotate the rotary knob without having to release the FX switch. To remove the tie, select the note that is tied to previous, hold FX switch, turn rotary knob anti-clockwise. You can also do this with several steps in the same way as creating a tie.

Note: The GATE TIME FADER on the front panel, and the GATE TIME PARAMETER in the PATTERN EDITOR both a ect the length of the notes.

With the GATE TIME FADER at maximum the note length matches the full length of the PATTERN GATE TIME.

With the GATE TIME fader is in the middle then the note length is half of the PATTERN GATE TIME.

(7) SAVE/IMPORT -This switch allows you to SAVE the current PATTERN, or

IMPORT a PATTERN. When you press the WRITE switch (under the SAVE/ IMPORT text) you will be presented with two options:

You can now use the -/NO and +/YES switches to selec t SAVE or IMPORT, or the EDIT ARP/SEQ switch to exit the dialog. All three switches will  ash to show that they are the available options:

NO=SAVE YES=IMPORT EDIT=CANCEL

(5) LENGTH - To adjust the LENGTH of the pattern (the number of steps), press

the GLOBAL switch (under the LEN text) to enter LENGTH editing mode. When you are in LENGTH editing mode the virtual switch will be reversed (white on black).

The LENGTH of the PATTERN can then be changed by using the UP/DOWN switches or using the data entry fader.

(6) COMP - This switch allows you to COMPARE the current status of the

PATTERN being edited against the stored PATTERN. To use the PATTERN COMPARE function, press the COMPARE switch (under the COMP text) to enter COMPARE mode. When you are in COMPARE mode the virtual switch will be reversed (white on black).

SAVE - This will save your edits into the currently selected location. This will overwrite the PATTERN stored in the current location.

Note: You can only SAVE into USER PATTERN locations, as the PRESET PATTERNS are protected.

IMPORT - Selecting IMPORT will open a read only version of the PATTERN EDITOR page, so that you can preview the pattern which will be imported into the current location. Parameters cannot be edited in this page.

To select a PATTERN to IMPORT use the -/NO and +/YES switches. To IMPORT a PATTERN press the WRITE switch (under the IMPORT text). To cancel the IMPORT, press the PROG switch (under the BACK text).

CANCEL - This will cancel the SAVE/IMPORT function and return you to the PATTERN EDITOR.

Note: The COMP switch is only available when a USER PATTERN is selected.

Note: The SAVE/IMPORT switch is only available when a USER PATTERN is

selected.

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Note: If you have edited a PATTERN and then go to select another PATTERN without saving your changes you will be presented with a warning message that unsaved edits will be lost. You can press +/YES to allow the change, or -/NO to cancel the change.

To exit the PATTERN page press the ARP/SEQ EDIT switch to return to the main ARPEGGIATOR/CONTROL SEQUENCE/SYNC SETTINGS menu.

To exit the ARPEGGIATOR/CONTROL SEQUENCE/SYNC SETTINGS menu press the EDIT switch again (or press the PROG switch) to return the main display.

8.1.8 EDIT CTRL SEQUENCER

The CONTROL SEQUENCER allows you to create a pattern which can be used to modulate other parameters. This section covers in detail all the parameters related to the CONTROL SEQUENCER.

For more information on using the CONTROL SEQUENCER as a modulation source please consult the MOD MATRIX section later in this document.

To enter the EDIT page for the ARPEGGIATOR & CONTROL SEQUENCER press the EDIT switch.

CLOCK DIVIDER - This option allows you divide the Master BPM in a number of ways to produce the CONTROL SEQUENCER CLOCK. You can select any of the options from the following table:

Note: For a timing diagram please consult the section later in this document.

RATIO DESCRIPTION

4Four bars

3Three bars

2Two bars

1One bar

1/2 Half note

3/8 Dotted quarter note

1/3 Third note (Half note triplets)

1/4 Quar ter note

3/16 Dotted eighth note

1/6 Sixth note(Quarter note triplets)

1/8 Eighth note

3/32 Dotted sixteenth note

1/12 Twelf th note (Eighth note triplets)

1/16 Sixteenth note

3/64 Dotted thirty-second note

1/24 Twenty-fourth note (Sixteenth note triplets)

FLASHING=EDIT

In the ARP/SEQ EDIT menu there are three pages, this section covers the CONTROL SEQUENCER menu. To cycle through the pages use consecutive presses of the EDIT switch. The bottom line of the screen will show guidance to the next page.

To access the CONTROL SEQUENCER menu directly you can press the ARP/SEQ EDIT switch twice. The CONTROL SEQUENCER menu is then shown:

To navigate the options in the CONTROL SEQUENCER menu, use the UP, DOWN, switches.

ENABLE - This option turns the CONTROL SEQUENCER function On and O .

1/32 Thirty-second note

3/128 Dotted sixty-fourth note

1/48 Forty-eighth note (Thirty-second note triplets)

1/64 Si xty-fourth n ote

The default value is 1/16.

Note: When the SUSTAIN input is set to any of the GATE modes in the PEDAL SETTINGS the value will be replaced by "(Gate)" to indicate that the CLOCK DIVIDER is not used and the CONTROL SEQUENCER steps are controlled by the GATE input.

LENGTH - This option allows you to adjust the length (number of steps) of the CONTROL SEQUENCE. This can also be adjusted within the SEQUENCE EDITOR.

The default value is 6.

SWING - This option allows you to adjust the swing (or groove) of the CONTROL SEQUENCER.

The SWING RATE range is from 50 to 75. The default SWING value is 50.

Note: When the SUSTAIN input is set to any of the GATE modes in the PEDAL SETTINGS the value will be replaced by "(Gate)" to indicate that the SWING is not used and the CONTROL SEQUENCER steps are controlled by the GATE input.

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SLEW-RATE - This option allows you to adjust the SLEW RATE of the CONTROL SEQUENCER. The SLEW RATE is the rate at which the value changes from one step to the next. With a high slew rate you will get a sloped transition between steps, and with a SLEW RATE of 0, you will get an instantaneous change from one step to the next.

CONTROL SEQUENCER SLEW RATE

170

255

The SLEW RATE range is from 0-255, with 0 being no change and 255 full smoothing.

The controls for the SEQUENCE EDITOR are as follows:

(1) (2)

(3) (4) (5) (6)

Note: The parameter being edited is selected using the switches directly under the tabs at the bottom of the screen.

(1) TITLE - The top bar shows the text "SEQUENCE EDITOR".

(2) STEP INDICATORS - The STEP values are shown at the top of the screen. The

current step can be selected using the rotary knob, each click will move the selection forward or backward one step. The current step number is displayed in header and the step is highlighted in black and indicated using a dotted rectangle.

The default SLEW RATE setting is 0.

KEY/LOOP - The KEY/LOOP mode controls how the CONTROL SEQUENCER looping and key synchronisation operate. The choices are as follows:

• Loop On - This option makes the CONTROL SEQUENCE loop continuously

but does not restart when keys are pressed. This mode is useful when using the CONTROL SEQUENCER in conjunction with the ARPEGGIATOR and the SEQUENCE LENGTH is longer than the ARPEGGIATOR CLOCK DIVIDER.

• Key Sync On - This option will force the SEQUENCE to restart when a key is

pressed. Note in this mode the CONTROL SEQUENCER will not loop.

• Key&Loop On - This option makes the CONTROL SEQUENCE loop

continuously and also forces a reset when keys are pressed.

SEQUENCE EDITING - To use the SEQUENCE EDITOR make sure that the '<' symbol on the SEQUENCE line is highlighted. Then press the +/YES switch and the SEQUENCE EDITOR will then be displayed:

Note: When the CONTROL SEQUENCER is ON and running, you will see a SEQUENCE POSITION POINTER (SPP) under the step being played. The SPP is a small black bar which is updated in real-time.

Note: To duplicate steps start by selecting the step to duplicate, hold the PROG switch, then navigate to target step and release the PROG switch.

(3) VALUE - The VALUE of each step is shown by the height of the bar within the

step. To adjust the value for a step, press the PROG switch (under the VALUE text) to enter VALUE editing mode. When you are in VALUE editing mode the virtual switch will be reversed (white on black).

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The height of the bar indicates the current value setting.

SEQUENCE STEP VALUE

VALU E

The VALUE for each step can then be changed by using the UP/DOWN switches or using the data entry fader.

(4) LENGTH - To adjust the LENGTH of the SEQUENCE (the number of steps),

press the GLOBAL switch (under the LEN text) to enter LENGTH editing mode. When you are in LENGTH editing mode the virtual switch will be reversed (white on black).

The LENGTH of the SEQUENCE can then be changed by using the UP/DOWN switches or using the data entry fader.

(5) COMP - This switch allows you to COMPARE the current status of the

SEQUENCE being edited against the stored SEQUENCE. To use the SEQUENCE COMPARE function, press the COMPARE switch (under the COMP text) to enter COMPARE mode. When you are in COMPARE mode the virtual switch will be reversed (white on black).

8.1.9 ARP SETTINGS

To access the ARP SETTING menu directly you can press the ARP/SEQ EDIT switch three times. The ARP SETTINGS menu is then shown

To navigate the options in the SYNC SETTINGS menu, use the UP, DOWN, switches.

CLOCK - This option allows you to select the Master BPM clock source for the DeepMind 12 ARPEGGIATOR, CONTROL SEQUENCER, LFOs, ENVELOPEs and certain time based FX parameters.

• Internal - The Master BPM clock is generated internally and uses the RATE

fader to control the tempo.

• MIDI (Auto) - The Master BPM clock is sourced from the MIDI IN socket and

uses the RATE fader to control the CLOCK DIVIDER. If no MIDI clock is present at the MIDI IN socket, the DeepMind 12 will AUTO revert to the internally generated clock.

• USB Auto - The Master BPM clock is sourced from the USB port and uses

the RATE fader to control the CLOCK DIVIDER. If no MIDI clock is present at the USB port, the DeepMind 12 will AUTO revert to the internally generated clock.

(6) SAVE -This switch takes you to the WRITE PROGRAM dialog (i.e. the normal

use of the WRITE switch).

To exit this menu press the ARP/SEQ EDIT switch to return to the main ARPEGGIATOR/CONTROL SEQUENCE/ARP SETTINGS menu.

To exit the ARPEGGIATOR/CONTROL SEQUENCE/ARP SETTINGS menu press the EDIT switch twice, (cycling past the ARP SETTINGS menu to exit), or press the PROG switch to return the main display.

The default CLOCK setting is MIDI(Auto).

ARP-TO-MIDI - This option sends the notes played by the ARPEGGIATOR to all MIDI sources. This allows you to record the ARPEGGIATOR note sequence.

The default ARP-TO-MIDI setting is O .

Note: When an external source (MIDI or USB) is used you can nudge the sync point back and forward by using the -NO/+YES switches when "ARP RATE" is selected in the ARPEGGIATOR menu. This allows you to o set the synchronisation if required when working with other hardware/software and associated latencies.

Note: Please ensure that you do not create any MIDI loops in your DAW MIDI routing, as feeding back the ARPEGGIATOR notes will cause unpredictable results.

ARP-PARAMS - This option controls how the ARPEGGIATOR is linked.

• PROGRAM - In this mode the ARPEGGIATOR is stored with the program.

• GLOBAL - In this mode the ARPEGGIATOR keeps its current settings and

status even when you change programs. This can be useful for creating a sequence and then browsing programs while the ARPEGGIATOR continues to play the same notes/pattern/sequence.

Note: The CONTROL SEQUENCER remains una ected by this option.

Note: When switching from GLOBAL to PROGRAM mode, the current settings

are preserved and are used in place of the settings contained in the selected program.

To exit the ARPEGGIATOR/CONTROL SEQUENCE/ARP SETTINGS menu press the EDIT switch again (or press the PROG switch) to return the main display.

49 DeepMind 12 User Manual

8.2 LFO (1&2)

Note: The operation of LFO1 and LFO2 is identical and therefore only described once in this section.

The Low Frequency Oscillator (LFO) creates signals which are used to modulate or control other parameters. LFOs are traditionally used to add vibrato by modulating the pitch, tremolo by modulating the amplitude or a ripple e ect by modulating the  lter cut o frequency. The DeepMind 12 LFO uses traditional shapes such as sinusoidal and ramping, but also o ers advanced LFO shapes such as sample and hold, and sample and glide.

The LFOs are also MOD MATRIX sources and can be applied to any of 130 destinations allowing for a huge amount of options to enhance your sound design.

The LFOs can also be used to trigger any of the ENVELOPES, for more detail please consult the ENVELOPE section later in this document.

The DeepMind 12 o ers an LFO speed which can reach into audio frequencies, opening another door to creative modulation possibilities.

Note: The LFO RATE can extend beyond the rate set by the fader when the LFO1 RATE MOD MATRIX DESTINATION is modulated by a MOD MATRIX SOURCE. The maximum rate when controlled via the MOD MATRIX is 1280 Hz. When the NOTE NUMBER is used as the source for modulation you can create cross modulation type e ects.

Note: When the ARP-SYNC is on, the LFO RATE fader no longer controls the RATE directly but chooses a time division of the Master BPM RATE as described in the EDIT LFO section.

The fader position, current value and stored value for the LFO RATE fader is shown on the PROG screen. There is also a visualization of the waveform as shown below:

8.2.2 LFO DELAY TIME FADER

8.2.1 LFO RATE FADER

The LFO RATE fader controls the speed of the LFO.

Decreasing the value will make the LFO RATE slower, and increasing the value will make the LFO RATE faster as shown below:

LFO RATE

FAST

MED

SLOW

The DELAY TIME fader controls the amount of delay before the LFO starts.

When the LFO waveform starts it is faded in over a period of time. If you think of the time to reach the full LFO waveform as 100%, then 40% of that time is used for the delay period where no waveform is produced and 60% of that time is used for the fade duration.

LFO DELAY TIME

NONE

MED

NO LFO FADE IN

SLOW

NO LFO FADE IN

The DELAY TIME range is from 0.00s to 6.59s. The default DELAY TIME value is

0.00s.

The LFO RATE range is from 0 to 255, with 0 being 0.041 Hz (24.1 s) and 255 being

65.4 Hz (15.3 ms) The default LFO RATE value is 0.

50 DeepMind 12 User Manual

The fader position, current value and stored value for the LFO DELAY TIME fader is shown on the PROG screen. There is also a visualization of the waveform as shown below:

8.2.3 LFO WAVEFORMS INDICATORS

The LFO EDIT switch will then start  ashing and the LFO EDIT menu is then shown:

To navigate the options in the LFO EDIT menu, use the UP, DOWN, switches.

SHAPE - This option allows you to select one of the waveform shapes from the following options (shown with their respective visualization waveforms from the PROG display).

Sine - A mathematically correct sinusoidal waveform.

The LFO waveform shape setting is always shown on the LEDs.

The LFO waveform shape in use will have an illuminated LED next to it.

The LED will glow to show the status of the waveform as shown below:

LFO WAVEFORM INDICATORS

FULL BRIGHTNESS

HALF BRIGHTNESS

OFF

8.2.4 LFO EDIT MENU

To access the LFO EDIT menu press the LFO EDIT switch.

FLASHING=EDIT

Tri ang le - A symmetrical triangular waveform.

Square - A symmetrical square waveform.

Ramp Up - An up ramping triangular waveform.

Ramp Down - An up ramping triangular waveform.

Smp&Hold (Sample and Hold) - A random stepped waveform which

transitions instantly from step to step.

Shortcut Note: To change the LFO waveform shape press and hold the LFO EDIT switch. While holding the switch you can use the LFO RATE fader to set the LFO waveform shape.

Smp&Glide (Sample and Glide) - A random stepped waveform which glides from step to step.

The default LFO SHAPE setting is Triangle.

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RATE - This option is the same as the LFO RATE fader on the surface. Any changes on the surface will be re ected here.

The LFO RATE range is from 0 to 255, with 0 being 0.05371 Hz (18.6 s) and 255 being 85 Hz The default LFO RATE setting is 0.

Note: When the ARP-SYNC is ON, the RATE parameter is not shown, but CLOCK-DIVIDE instead. This shows values based on time division of the Master BPM RATE as shown below:

Note: For a timing diagram please consult the section later in this document.

RATIO DESCRIPTION

4Four bars

3Three bars

2Two bars

1One bar

1/2 Half note

3/8 Dotted quarter note

1/3 Third note (Half note triplets)

1/4 Quar ter note

3/16 Dotted eighth note

1/6 Sixth note(Quarter note triplets)

ARP SYNC - This option allows you to turn ARP-SYNC (Arpeggiator Synchronisation) On and O . When ARP-SYNC is On, the LFO waveform will synchronize to the Master BPM. When ARP-SYNC is o the LFO will run at the rate set by the LFO RATE fader/parameter.

LFO ARP SYNC

LFO (ARP SYNC OFF)

ARP CLOCK

LFO (ARP SYNC ON)

The default ARP-SYNC setting is O .

SLEW-RATE - This option allows you to smooth out the transitions of the LFO waveform. The SLEW RATE reduces the rate of change of the LFO waveform shape.

LFO SLEW RATE

170

255

1/8 Eighth note

3/32 Dotted sixteenth note

1/12 Twelf th note (Eighth note triplets)

1/16 Sixteenth note

3/64 Dotted thirty-second note

1/24 Twenty-fourth note (Sixteenth note triplets)

1/32 Thirty-second note

3/128 Dotted sixty-fourth note

1/48 Forty-eighth note (Thirty-second note triplets)

1/64 Si xty-fourth n ote

KEY SYNC - This option allows you to turn KEY-SYNC (Key Synchronisation) On and O . When KEY-SYNC is On, the LFO waveform generation will be reset as you strike a note (keeping in mind the LFO DELAY TIME is also part of the waveform generation). When KEY-SYNC is O , the LFO will free run.

LFO KEY SYNC

LFO (KEY SYNC OFF)

KEY GATE

The SLEW RATE range is from 0-255, with 0 being no change and 255 full smoothing.

The default SLEW RATE setting is 0.

PHASE - As each voice has independent LFOs, this option allows you to control the phase relationship between the LFO waveforms.

• POLY - All voices use an independent LFO. This is the default mode.

• MONO - All voices use a common LFO.

• SPREAD - With a setting of 1 there is a 1 degree shift between the LFOs for

each voice. As you begin to increase the SPREAD value the phase of the LFO for each consecutive voice will be shifted by the amount of SPREAD applied. I.e. with a 90 degree setting, the  rst voice will always be at 0 degrees, and each consecutive voice will be shifted by an additional 90 degrees. So with 4 voice UNISON, voice 1 would be at 0 degrees, voice 2 would be at 90 degrees, voice 3 would be at 180 degrees and voice 4 would be at 270 degrees.

LFO PHASE SPREAD (UNISON 4 SHOWN)

180

225

LFO (KEY SYNC ON)

The default KEY-SYNC setting is O .

VOICE 1 LFO VOICE 2 LFO VOICE 3 LFO VOICE 4 LFO

The PHASE range is from 1-254 degrees.

The default PHASE setting is POLY.

To exit the LFO EDIT menu press the EDIT switch again (or press the PROG switch). to return the main display.

52 DeepMind 12 User Manual

8.3 OSC

The Oscillators (OSCs) have a completely analog implementation. The signal path of the waveform is purely analog circuitry. The pitch of these analog oscillators is controlled digitally to ensure superior tuning accuracy and stability across the entire range of playable notes.

OSC 1 - This dual oscillator generates two di erent waveforms - one SAWTOOTH, and one SQUARE. The waveforms can be used independently or together to create harmonically rich content.

Features include pitch modulation of both the sawtooth and square waveforms, and pulse width modulation of the square waveform.

OSC 2 - This single oscillator generates a SQUARE waveform.

Features include pitch o set, independent level control, pitch modulation and tone control modulation of the square waveform.

NOISE - This generates a NOISE waveform. The NOISE generator is a completely analog implementation and produces pink noise with a gentle roll o of lower frequencies.

The diagram below shows the waveforms obtained with LFO control of OSC 1:

OSC 1 PITCH MODULATION (LFO AS SOURCE)

OSC 1 (SAW)

LFO (SIN)

PITCH MOD

OSC 1 (SQR)

LFO (SIN)

PITCH MOD

As you increase the amount of PITCH MODULATION the variance in the pitch of oscillator will increase resulting in larger increases and decreases as demonstrated in the diagram below. The PITCH MODULATION will a ect both the SAWTOOTH and SQUARE waveforms produced by OSC 1.

OSC 1 PITCH MODULATION AMOUNT (LFO AS SOURCE)

OSC 1 (SQR)

8.3.1 OSC 1 PITCH MOD FADER

The OSC 1 PITCH MOD fader controls the amount of PITCH MODULATION applied to the OSC1 waveforms. The PITCH MODULATION SOURCE is selected in the OSC EDIT page described later in this section. Pitch modulation is often used to create a vibrato e ect, but can be used in many other ways. The range of modulation is very wide, allowing both traditional and creative modulations.

LFO (SIN)

PITCH MOD LOW

PITCH MOD MED

PITCH MOD HIGH

The OSC 1 PITCH MOD range is from 0.00cents to 36.0 semitones. The default OSC 1 PITCH MOD setting is 0.00cents.

The OSC 1 PITCH MOD fader has a non-linear response which gives more resolution at smaller settings, to allow delicate or  ne use of the modulation. The response of the OSC 1 PITCH MOD fader is shown below:

PITCH MOD Fader Response

Controlling the frequency using an external signal is a form of frequency modulation (FM), however as FM is more commonly used to describe the use of an audio oscillator modulating another audio oscillator the use of the term PITCH MODULATION is preferred in this instance.

Note: Because the DeepMind 12 LFO can reach well into the audio range (1280 Hz) it is possible to create traditional frequency modulation (FM) when the LFO is used as the source for PITCH MODULATION of the OSCs.

Modulation Depth (semitones)

010

Fader Position

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The fader position, current value and stored value for the OSC 1 PITCH MOD fader is shown on the PROG screen. There is also a visualization of the modulation as shown below. The arrows indicate the polarity of the modulation..

Note: for ENVELOPE sources the arrow will only point in the UP direction indicating that the modulation will be positive from the base pitch.

Note: for Uni-polar LFO sources the arrow will only point in the UP direction indicating that the modulation will be positive from the base pitch.

8.3.2 OSC 1 PWM FADER

The OSC 1 PWM fader controls the PULSE WIDTH of the OSC 1 SQUARE waveform, or the depth of PULSE WIDTH MODULATION (PWM) applied to the OSC1 SQUARE waveform. The PWM SOURCE is selected in the OSC EDIT page described later in this section. When the PWM source is set to MANUAL, the fader controls the PULSE WIDTH. When the PWM source is set to any of modulation sources the fader controls the depth of PULSE WIDTH MODULATION.

PWM adds harmonic structure to the sound and is often used to create a phasing/ movement e ect, or used when creating string type sounds and sonic drones.

The pulse wave (aka rectangle wave) is often described as more"narrow sounding" than a fully symmetrical square wave. As the pulse width modulation is increased the "thinner" or "more hollow" the sound will become. Very high values of PWM played at very low frequencies will start to sound like clicks, pops or thumps.

The default source for the pitch modulation is LFO1. For more information on selecting the OSC 1 pitch modulation source please consult the section later in this document.

As you increase the PULSE WIDTH the ratio of the positive cycle to the negative cycle (also jointly known as duty cycle) will increase. The PULSE WIDTH MODULATION does not a ect the SAWTOOTH waveform.

PULSE WIDTH MODULATION

50%

75%

99%

The OSC 1 PWM range is from 50.0% (symmetrical square-wave) to 99.0% (short pulsewave). The default OSC 1 PWM setting is 50.0%.

With a PULSE wave, the harmonic content changes depending on the pulse width. It is characterized by a lack of the nth harmonic series when the pulse width is 1/n. The example below does not have 3rd, 6th, or 9th harmonics because the pulse width is 1/3 (33%).

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The characteristics of the PULSE waveform are shown below:

PULSE WAVE

OSC (33% PULSE)

HARMONIC CONTENT

f 2nd 7th 8th

4th 5th

The fader position, current value and stored value for the OSC 1 PWM fader is shown on the PROG screen. There is also a visualization of the modulation as shown below.

Note: Whenever two waveforms are shown, the top waveform represents the summed output of the OSCs and the bottom waveform shows the parameter being adjusted.

The summed output shows 4 cycles and the parameter being adjusted shows a single cycle allowing you to see the detail of the changes you are making while adjusting the parameter.

Note: When an ENVELOPE is used as a PWM source, the arrows indicate the range of modulation as shown below. In this mode the PWM fader is used to adjust the amount of modulation from 0 to +/- 49%:.

8.3.3 SAWTOOTH WAVEFORM SWITCH

ON=SAWTOOTH

This switch controls the SAWTOOTH waveform output for OSC 1.

The SAWTOOTH waveform has a rasping, buzzy and hard sound. Classic synthesizer basses, strings, brass and pad sounds are often created using sawtooth waveforms. The large range of harmonic content makes the SAWTOOTH waveform a good candidate to start with when creating a program that you want to sound "fat".

Note: When an LFO is used as a PWM source, the arrows indicate the range of modulation as shown below. In this mode the PWM fader is used to adjust the amount of modulation from 0 to +/- 49%..

The SAWTOOTH waveform contains a fundamental sine wave and all of its integral harmonic sine waves at a  xed ratio.

The characteristics of the SAWTOOTH waveform are shown below:

SAWTOOTH WAVE

OSC (SAW)

HARMONIC CONTENT

f 2nd 3rd 4th 5th 6th 7th 8th 9th 10th

The SAWTOOTH waveform output can be On/O . The default program setting is On.

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Note: The OSC 1 SAWTOOTH waveform output can be used independently or in combination with the OSC 1 SQUARE waveform output.

There is also a visualization of the SAWTOOTH waveform as shown below:

8.3.4 SQUARE WAVEFORM SWITCH

ON=SQUARE

This switch controls the SQUARE waveform output for OSC 1.

Note: The OSC 1 SQUARE waveform output can be used independently or in combination with the OSC 1 SAWTOOTH waveform output.

There is also a visualization of the SQUARE waveform as shown below:

8.3.5 OSC 2 PITCH MOD FADER

The SQUARE waveform has a hollow sound, which does not sound as rich as a sawtooth waveform due to the lack of even harmonics. Traditionally it is often used to emulate a clarinet because of its similarit y to the output of the instrument. However in modern electronic music it is commonly used to thin, nasal or cavernous sounds.

The SQUARE waveform contains a fundamental sine wave and its odd numbered harmonics at a  xed ratio. The level of each harmonic is the same as sawtooth wave. I.e. the content of nth harmonic is 1/n, except there are no even numbered harmonics present.

The characteristics of the SQUARE waveform are shown below:

SQUARE WAVE

OSC (SQR)

HARMONIC CONTENT

f 3rd 5th 7th 9th

The OSC 2 PITCH MOD fader controls the amount of PITCH MODULATION applied to the OSC 2 SQUARE waveform. The PITCH MODULATION SOURCE is selected in the OSC EDIT page described later in this section. Pitch modulation is often used to create a vibrato e ect, but can be used in many other ways. The range of modulation is very wide, allowing both traditional and creative modulations.

Controlling the frequency using an external signal is a form of frequency modulation (FM), however as FM is more commonly used to describe the use of an audio oscillator modulating another audio oscillator the use of an LFO signal the term PITCH MODULATION is preferred in this instance.

The diagram below shows the waveforms obtained with LFO control of OSC 2.

OSC 2 PITCH MODULATION

OSC 2

LFO (SIN)

PITCH MOD

The SQUARE waveform output can be On/O . The default program setting is On.

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As you increase the amount of PITCH MODULATION the variance in the pitch of oscillator will increase resulting in larger increases and decreases as demonstrated in the diagram below:.

OSC 2 PITCH MODULATION AMOUNT (LFO AS SOURCE)

OSC 2

LFO (SIN)

PITCH MOD LOW

PITCH MOD MED

PITCH MOD HIGH

The OSC 2 PITCH MOD range is from 0.00cents to 36.0 semitones. The default OSC 2 PITCH MOD setting is 0.00cents.

The OSC 2 PITCH MOD fader has a non-linear response which gives more resolution at smaller settings, to allow delicate or  ne use of the modulation. The response of the OSC 2 PITCH MOD fader is shown below:

PITCH MOD Fader Response

Note: for ENVELOPE sources the arrow will only point in the UP direc tion indicating that the base modulation will be positive from the base pitch.

Note: for Uni-polar LFO sources the arrow will only point in the UP direction indicating that the base modulation will be positive from the base pitch.

The default source for the pitch modulation is LFO1. For more information on selecting the OSC 1 pitch modulation source please consult the section later in this document.

8.3.6 OSC 2 TONE MOD FADER

Modulation Depth (semitones)

010

Fader Position

The fader position, current value and stored value for the OSC 2 PITCH MOD fader is shown on the PROG screen. There is also a visualization of the waveform as shown below. The arrows indicate the polarity of the waveform.

The OSC 2 TONE MOD fader controls the TONE MODULATION of the OSC 2 SQUARE waveform, The TONE MOD SOURCE is selected in the OSC EDIT page described later in this section. When the TONE MOD source is set to MANUAL, the fader controls the TONE MODULATION. When the TONE MOD source is set to any of the modulation sources the fader controls the depth of TONE MODULATION.

TONE MODULATION can be used in many ways e.g. to create a double phasing e ect, or used when creating complex string type sounds. The harmonic structure of the OSC changes considerably when using TONE MODULATION, and the results can often have a metallic quality.

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As you increase the amount of TONE MODULATION the positive and negative parts of the cycle are split by a pulse. The further you increase the fader, the width of the pulse increases.

TONE MODULATION

50%

62.5%

75%

87.5%

100%

60%

100%

The TONE MOD range is from 50%(symmetrical square-wave) to 100% (pulse interrupt is 60% of half cycle). The default TONE MOD setting is 50%.

The fader position, current value and stored value for the TONE MOD fader is shown on the PROG screen. There is also a visualization of the waveform as shown below

8.3.7 OSC 2 PITCH FADER

The OSC 2 PITCH fader controls the PITCH of the OSC 2 SQUARE waveform. The pitch can be tuned to match the pitch of OSC1, o set slightly to create a wider sound, or o set more to create harmonic overtones.

As you increase/decrease the PITCH fader the pitch of the oscillator will increase/ decrease.

OSC 2 PITCH

0 (KEY PITCH)

-12 SEMITONES

Note: for ENVELOPE sources the arrow will only point in the UP direction indicating the range of modulation. In this mode the TONE MOD fader is used to adjust the amount of modulation from 0 to +/- 49%

Note: for Uni-polar LFO sources the arrow will only point in the UP direction indicating the range of modulation. In this mode the TONE MOD fader is used to adjust the amount of modulation from 0 to +/- 49%.

+12 SEMITONES

The OSC 2 PITCH range is from -12.0 semitones to +12.0 semitones. The default OSC 2 PITCH setting is 0 semitones.

The fader position, current value and stored value for the OSC 2 PITCH fader is shown on the PROG screen. There is also a visualization of the pitch setting as shown below:

Note: The centre of the line shown on the visualization highlights the  ne resolution that is available around the centre point. Here the units of adjustment will change from semitones to cents

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8.3.8 OSC 2 LEVEL FADER

The OSC 2 LEVEL fader controls the LEVEL of the OSC 2 SQUARE waveform. The level setting can be used to adjust balance between OSC 1 and OSC 2.

OSC 2 LEVEL

0FF

-12.0 dB

0.0 dB

8.3.9 OSC SYNC SWITCH

ON=SYNC ACTIVE

This switch controls the synchronisation of the OSCs.

The OSC 1 pitch is set by the keys that you play, and the OSC 2 pitch may be tuned to (or detuned from) this frequency. By applying hard synchronisation of OSC 2 to OSC1, every time the OSC 1 cycle starts again, the OSC 2 will be re-triggered, regardless of its position. If OSC 2 is tuned to a lower frequency than OSC 1 it will be re-triggered before it completes an entire cycle, and if it is tuned to a higher frequency it will be re-triggered during a later cycle. This ensures that the OSCs are playing at the same frequency, however the irregular cycle of OSC 2 can create complex timbres and rich harmonies.

OSC SYNC EXAMPLE 1 - OSC2 LOWER FREQUENCY THAN OSC1

OSC 1 (SQR) MASTER

OSC 2 SYNC OFF

The balance between OSC 1 and and OSC 2 when when used together allows you to increase the sonic palette of the program. Combing oscillators can be done to create new waveforms and the harmonic structure of the program. By slightly detuning the oscillators you can create bigger, thicker sounds. Detuning in small and equal increments will not make a noticeable di erence to the base pitch of the sound, but as you increase the amount of detuning it will start to become noticeable. Detuning can be done in musical intervals e.g. a  fth, or a seventh, to add harmony to a pad sound or even an entire octave to give a bass program a deeper sound.

The OSC 2 LEVEL can be set to O , or its operational range is from -48 to 0.0 dB.

The default OSC 2 LEVEL setting is 0 .

The fader position, current value and stored value for the OSC 2 LEVEL fader is shown on the PROG screen. There is also a visualization of the waveform as shown below.

Note: It is important to note that the visualization shows the combination of OSC 1 and OSC 2.

OSC 2 SYNC ON

OSC SYNC EXAMPLE 1 - OSC2 HIGHER FREQUENCY THAN OSC1

OSC 1 (SAW) MASTER

OSC 2 SYNC OFF

OSC 2 SYNC ON

OSC SYNC EXAMPLE 1 - OSC2 LOWER THAN 1/2 OF OSC1

OSC 1 (SQR) MASTER

OSC 2 SYNC OFF

OSC 2 SYNC ON

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Note: If OSC 2 is lower than 1/2 of the frequency of OSC 1 then there will be no output from OSC 2 when SYNC is ON because the waveform will never reach its negative cycle.

The OSC SYNC option can be On/O . The default program setting is O .

There is also a visualization of the SYNC waveform as shown below

8.3.10 NOISE LEVEL FADER

8.3.11 OSC EDIT SWITCH (OSC 1)

To access the OSC EDIT menu press the OSC EDIT switch.

FLASHING=EDIT

The OSC EDIT switch will then start  ashing and the OSC 1 EDIT menu is then shown:

To navigate the options in the OSC 1 EDIT menu, use the UP, DOWN, switches.

The NOISE LEVEL fader controls the LEVEL of the NOISE signal.

The noise generator is implemented using analog circuitr y and creates pink noise with a low frequency roll-o designed speci cally for the DeepMind 12. The noise generator is commonly used with non-pitched sounds or non-pitched components of a sound e.g. a snare drum or an atmospheric sound.

Pink noise contains equal amounts of energy in each oc tave. As human hearing is roughly logarithmic, this type of noise sounds as if it has an equal amount of all frequencies and produces a rushing sound similar to that of a waterfall.

The NOISE LEVEL can be set to O , or its operational range is from -48.1 dB to

0.0 dB. The default NOISE LEVEL setting is 0 .

The fader position, current value and stored value for the NOISE LEVEL fader is shown on the PROG screen. There is also a visualization of the noise signal as shown below:

Note: At this point if you wish to access the OSC 2 EDIT menu, press the EDIT switch again.

Shortcut Note: To change any of the OSC Modulation sources press and hold the OSC EDIT switch. While holding the switch you can use any of the following faders to set the source for the respective parameter

8.3.12 OSC 1 MENU

The following options are available in the OSC 1 EDIT menu:

RANGE - This option allows you selects the base pitch of the OSC as follows:

16' - The lowest note on the keyboard (C) is tuned to 16.35 Hz.

8' - The lowest note on the keyboard (C) is tuned to 32.7 Hz.

4'- The lowest note on the keyboard (C) is tuned to 65.4 Hz.

The default setting for the RANGE is 8'.

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P. M O D - S R C - This option allows you to select the source for the amount of PITCH MODULATION from the following:

• LFO-1 - Bipolar use of the LFO 1 waveform.

• LFO-2 - Bipolar use of the LFO 2 waveform.

OSC 1 PITCH MODULATION (LFO AS SOURCE)

OSC 1 (SAW)

LFO (SIN)

PITCH MOD

OSC 1 (SQR)

LFO (SIN)

PITCH MOD

There is also a visualization of the modulation as shown below. The arrows indicate the polarity of the modulation.

• LFO-1(Uni) - Unipolar use of the LFO 1 waveform.

• LFO-2(Uni) - Unipolar use of the LFO 1 waveform.

Note: In any of the Unipolar (Uni) modes the waveform is only used for positive modulation. This is useful when you want the note to play at the original frequency and modulation uses that as a reference point (Unipolar), rather than have the note modulated to positive and negative o sets (Bipolar).

OSC 1 PITCH MODULATION (BIPLOAR/UNIPOLAR LFO AS SOURCE)

OSC 1 (SAW)

LFO (SQR) BIPOLAR

OSC 1 WITH PITCH MOD

OSC 1 (SQR)

LFO (SQR) UNIPOLAR OSC 1 WITH

PITCH MOD

The default setting for the P.MOD-SRC is LFO-1.

Note: In the visualization for Uni-polar LFO sources the arrow will only point in the UP direction indicating that the modulation will be positive from the base pitch.

• ENV-1 - Unipolar use of the ENV 1 envelope.

• ENV-2 - Unipolar use of the ENV 2 envelope.

• ENV-3 - Unipolar use of the ENV 3 envelope.

OSC 1 PITCH MODULATION AMOUNT (ENVELOPE AS SOURCE)

OSC 1 (SQR)

ENVELOPE

PITCH MOD

ATTACK DECAY

SUSTAIN

RELEASE

Note: In the visualization for ENVELOPE sources the arrow will only point in the UP direction indicating that the modulation will be positive from the base pitch.

AFT>P.MOD - This option controls how much PITCH MODULATION is increased by AFTERTOUCH pressure. This allows you to expressively control the PITCH MODULATION and its e ect using key pressure

The AFT>P.MOD range is from 0-255, and the default setting is 0 (O ).

WHEEL>P.MOD -This option controls how much PITCH MODULATION depth is increased by the MOD WHEEL position. This allows you to expressively control the PITCH MODULATION and its e ect using the MOD WHEEL.

The AFT>P.MOD range is from 0-255, and the default setting is 0 (O ).

PWM-SRC - This option allows you to select the source for the amount of PULSE WIDTH MODULATION from the following:

• MANUAL - In this mode the PWM fader is used to manually adjust the PULSE

WIDTH.

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• LFO-1 - Bipolar use of the LFO 1 waveform. In this mode the PWM fader is

used to adjust the amount of modulation from 0 to +/- 49%.

• LFO-2 - Bipolar use of the LFO 2 waveform. In this mode the PWM fader is

used to adjust the amount of modulation from 0 to +/- 49%.

OSC 1 PULSE WIDTH MODULATION (LFO AS SOURCE)

OSC 1 (SQR)

LFO (SIN)

PWM

Note: When an LFO is used as a PWM source, the arrows indicate the range of modulation as shown below:

P.MOD MODE - This option allows you to select which oscillators are controlled by the OSC 1 PITCH MOD fader.

Note: It is useful to have both OSCs responding for e ects like tremolo.

• OSC1+2 -Both OSCs have PITCH MODULATION applied to them.

• OSC1 - Only OSC 1 has PITCH MODULATION applied to it.

KEY-DN-RESET - This option allows you to reset the phase of oscillator waveform to start from its reset point each time a key is pressed.

OSC 1 KEY DOWN RESET

OSC 1 (SAW)

KEY-DN-RESET OFF

KEY-DN-RESET ON

KEY PRESS KEY PRESS KEY PRESS

The default setting for KEY-DN-RESET is O .

To exit the OSC EDIT menu press the PROG switch to return the main display, or to continue to the OSC 2 EDIT menu press the OSC EDIT switch again.

• ENV-1 - Unipolar use of the ENV 1 envelope. In this mode the PWM fader is

used to adjust the amount of modulation from 0 to +/- 49%.

• ENV-2 - Unipolar use of the ENV 2 envelope. In this mode the PWM fader is

used to adjust the amount of modulation from 0 to +/- 49%.

• ENV-3 - Unipolar use of the ENV 3 envelope. In this mode the PWM fader is

used to adjust the amount of modulation from 0 to +/- 49%.

OSC 1 PULSE WIDTH MODULATION (ENVELOPE AS SOURCE)

OSC 1 (SQR)

ENVELOPE

PWM

ATTACK DECAY

SUSTAIN

RELEASE

Note: When an ENVELOPE is used as a PWM source, the arrows indicate the range of modulation as shown below:.

8.3.13 OSC EDIT SWITCH (OSC 2)

To access the OSC EDIT menu press the OSC EDIT switch.

FLASHING=EDIT

The OSC EDIT switch will then start  ashing and the OSC 1 EDIT menu is then shown. Press the EDIT switch again to show the OSC 2 EDIT menu:

To navigate the options in the OSC 2 EDIT menu, use the UP, DOWN, switches.

8.3.14 OSC 2 MENU

The following options are available in the OSC 2 EDIT menu:

RANGE - This option allows you selects the base pitch of the OSC as follows:

16' - The lowest note on the keyboard (C) is tuned to 16.35 Hz.

8' - The lowest note on the keyboard (C) is tuned to 32.7 Hz.

4'- The lowest note on the keyboard (C) is tuned to 65.4 Hz.

The default setting for the RANGE is 8'.

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P. M O D - S R C - This option allows you to select the source for the amount of PITCH MODULATION from the following:

• LFO-1 - Bipolar use of the LFO 1 waveform.

• LFO-2 - Bipolar use of the LFO 2 waveform.

OSC 2 PITCH MODULATION AMOUNT (LFO AS SOURCE)

OSC 2

LFO (SIN)

PITCH MOD LOW

PITCH MOD MED

PITCH MOD HIGH

There is also a visualization of the modulation as shown below. The arrows indicate the polarity of the modulation..

• LFO-1(Uni) - Unipolar use of the LFO 1 waveform.

• LFO-2(Uni) - Unipolar use of the LFO 1 waveform.

Note: In any of the Unipolar (Uni) modes the waveform is only used for positive modulation.

OSC 2 PITCH MODULATION (UNIPOLAR LFO AS SOURCE)

OSC 1 (SQR)

LFO (SIN) UNIPOLAR

PITCH MOD

The default setting for the P.MOD-SRC is LFO-1.

Note: In the visualization for Uni-polar LFO sources the arrow will only point in the UP direction indicating that the modulation will be positive from the base pitch.

• ENV-1 - Bipolar use of the ENV 1 envelope.

• ENV-2 - Bipolar use of the ENV 2 envelope.

• ENV-3 - Bipolar use of the ENV 3 envelope.

OSC 2 PITCH MODULATION AMOUNT (ENVELOPE AS SOURCE)

OSC 1 (SQR)

ENVELOPE

PITCH MOD

ATTACK DECAY

SUSTAIN

RELEASE

Note: In the visualization for ENVELOPE sources the arrow will only point in the UP direction indicating that the modulation will be positive from the base pitch.

The default setting for the P.MOD-SRC is LFO-1.

AFT>P.MOD - This option controls how much PITCH MODULATION is increased by AFTERTOUCH pressure. This allows you to expressively control the PITCH MODULATION and its e ect using key pressure.

The AFT>P.MOD range is from 0-255, and the default setting is 0 (O ).

The MOD WHEEL>P.MOD range is from 0-255, and the default setting is 0 (O ).

T.M OD -SRC - This option allows you to selec t the source for the amount of TONE MODULATION from the following:

• MANUAL - In this mode the TONE MOD fader is used to manually adjust the

PWM.

• LFO-1 - Bipolar use of the LFO 1 waveform. In this mode the TONE MOD fader

is used to adjust the amount of modulation from 0 to +/- 49%.

• LFO-2 - Bipolar use of the LFO 2 waveform. In this mode the TONE MOD fader

is used to adjust the amount of modulation from 0 to +/- 49%.

OSC 2 TONE MODULATION (LFO AS SOURCE)

OSC 2 (SQR)

LFO (SIN)

TONE MOD

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Note: When an LFO is used as a TONE MOD source, the arrows indicate the range of modulation as shown below:

• ENV-1 - Bipolar use of the ENV 1 envelope. In this mode the TONE MOD fader

is used to adjust the amount of modulation from 0 to +/- 49%.

• ENV-2 - Bipolar use of the ENV 2 envelope. In this mode the TONE MOD fader

is used to adjust the amount of modulation from 0 to +/- 49%.

• ENV-3 - Bipolar use of the ENV 3 envelope. In this mode the TONE MOD fader

is used to adjust the amount of modulation from 0 to +/- 49%.

OSC 2 TONE MODULATION (ENVELOPE AS SOURCE)

OSC 2 (SQR)

ENVELOPE

ATTACK DECAY

SUSTAIN

RELEASE

8.4 POLY

The POLY section is where you can control all settings related to the POLYPHONY of the DeepMind 12. The options allow you to be highly creative in your use of the polyphonic, unison and monophonic capabilities of the voice structure.

Having 12 voices gives you the ability to play 12 simultaneous notes, allowing the creation of large chords, or being able to play complex sequences without needing to worry about a note being cut o because there are not enough voices.

When playing voices in unison, you also have the ability to de-tune the voices.

The POLY EDIT menu also allows access to all settings related to PITCH management, including transposition, portamento, pitch bend and tuning.

8.4.1 UNISON DETUNE FADER

TONE MOD

Note: When an ENVELOPE is used as a TONE MOD source, the arrows indicate the range of modulation as shown below:.

To exit the OSC EDIT menu press the PROG switch to return the main display, or because you are in the OSC 2 EDIT menu you can press the OSC EDIT switch again to return to the main display.

The UNISON DETUNE fader controls how much detuning is applied across voices when using any of the UNISON modes. The UNISON DETUNE can be used to create thicker and richer sounds. This is a powerful aspect of the DeepMind 12 architecture. Having 12 independent analog voices can make some extremely luxurious and sonically gigantic sounds.

When UNISON DETUNE is applied, up to +/- 50 cents of tuning is spread over the number of voices used in UNISON.

The UNISON DETUNE range is from +/-0.0cents to 50.0cents. The default UNISON DETUNE setting is 0.0cents(O ).

Note: When using UNISON DETUNE in combination with the OSC KEYDOWN RESET setting you will hear the a ects of phase drift much more clearly as the OSCs will all start from the same point on their waveforms.

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The fader position, current value and stored value for the UNISON DETUNE fader is shown on the PROG screen. There is also a visualization of the detuning amount as shown below:

8.4.2 POLY EDIT SWITCH

To access the POLY EDIT menu press the POLY EDIT switch.

FLASHING=EDIT

POLYPHONY - This allows you to choose how the DeepMind 12 voices are allocated from one of the following options:

• Poly - A single voice is allocated to each note.

• Unison-2 - The next available two voices are allocated to each note played.

Detuning is applied as shown below:

UNISON 2

UNISON 2 WAVEFORM

ROOT NOTE

FREQUENCY

UNISON 2 SPECTRUM

MAX -VE

DETUNE

MAX +VE

DETUNE

Unison-3 - The next available three voices are allocated to each note played. Detuning is applied as shown below:

UNISON 3

The POLY EDIT switch will then start  ashing and either the VOICE PARAMETERS or PITCH PARAMETERS menu is then shown (depending on what you had last worked on, as the location is remembered.

8.4.3 VOICE PARAMETERS MENU

This is the VOICE PARAMETERS menu:

To navigate the options in the VOICE PARAMETERS menu, use the UP, DOWN, switches.

Note: At this point if you wish to access the PITCH PARAMETERS menu, press the EDIT switch again.

The following options are available in the VOICE PARAMETERS menu:

UNISON 3 WAVEFORM

ROOT NOTE

FREQUENCY

UNISON 3 SPECTRUM

• Unison-4 - The next available four voices are allocated to each note played.

123

MAX -VE

DETUNE

MAX +VE

DETUNE

Detuning is applied as shown below:

UNISON 4

UNISON 4 WAVEFORM

ROOT NOTE

UNISON 4

1234

SPECTRUM

MAX -VE

DETUNE

FREQUENCY

MAX +VE

DETUNE

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• Unison-6 - The next available six voices are allocated to each note played.

Detuning is applied as shown below:

UNISON 6

UNISON 6 WAVEFORM

ROOT NOTE

FREQUENCY

UNISON 6 SPECTRUM

• Unison-12 - All 12 voices are allocated to each note played

UNISON 12 WAVEFORM

UNISON 12 SPECTRUM

123456

MAX -VE DETUNE

UNISON 12

ROOT NOTE

FREQUENCY

2 4 61 3 5 7 98 11 1210

MAX -VE

DETUNE

MAX +VE

DETUNE

MAX +VE

DETUNE

PRIORITY - When in monophonic mode, or when more notes are played than there are voices available (due to polyphonic/unison settings), this mode controls which notes are prioritized.

• Lowest - In lowest note priority, when a newly requested note is lower

in pitch than the notes currently being played then it will be given priorit y and will steal the voice that is playing the highest note.

• Highest - In highest note priority, when a newly requested note is

higher in pitch than the notes currently being played then it will be given priority and will steal the voice that is playing the lowest note.

• Last - In this mode the notes are prioritized based on the order in which they

are played. When a newly requested note is triggered while all voices are playing, it steals the voice used by the note played least recently.

The default PRIORITY setting is Last.

ENV-TRIGGER - The envelopes can be triggered in di erent ways. This allows you to choose a mode from the following options:

• Mono - In this triggering mode the voice will start its attack stage from the

current envelope level. I.e. its last level from the previous release.

• Retrigger - In this triggering mode the envelope will be reset to zero and

then start its attack stage.

• Legato - In this triggering mode the envelope does not re-trigger when a

new note is played. The only time the envelope will start the attack stage again is once the note is released.

• One-shot - In this triggering mode the envelope will be reset to zero and

then start its attack stage. Once the decay phase is complete the envelope will jump immediately to its release stage (i.e. there is no sustain phase)

The default triggering mode is Mono.

• Mono - The same voice is allocated to every note played.

• Mono-2 - The same two voices are allocated to each note played. Voices are

spread in the same way as Unison-2 mode.

• Mono-3 - The same three voices re allocated to each note played. Voices are

spread in the same way as Unison-3 mode.

• Mono-4 - The same four voices are allocated to each note played. Voices are

spread in the same way as Unison-4 mode.

• Mono-6 -The same six voices are allocated to each note played. Voices are

spread in the same way as Unison-6 mode.

• Poly-6 - A single voice is allocated to each note played, but polyphony is

limited to the next available six notes.

• Poly-8 - A single voice is allocated to each note played, but polyphony is

limited to the next available eight notes.

Note: When an even number of voices are used (Unison2/4/6/12, Mono 2/4/6) the voices are spread across the spectrum evenly which means the root note is not actually played. However if an odd number of voices are used, when the voices are spread across the spectrum one voice will be playing the root note.

UNISON DETUNE - This option is the same as the UNISON DETUNE fader on the surface. Any changes on the surface will be re ected here.

The UNISON DETUNE range is from +/-0.0cents to 50.0cents (0 to 255). The default UNISON DETUNE setting is 0.0cents(O ).

OSC-DRIFT - This option allows you to recreate the tuning drift that vintage analog synthesizers have.

As you increase the OSC-DRIFT value, the pitch of the oscillators will be slowly modulated at random.

OSC-DRIFT is applied to both OSC 1 and OSC 2.

The OSC-DRIFT range is from 0 to 255. The default OSC-DRIFT setting is 0.

PARAM-DRIFT - This option allows you to recreate the drif t that many parameters in a vintage analog synthesizers have.

As you increase the PARAM-DRIFT value, the drift distances will increase.

Note: The parameters which DRIFT is applied to are OSC1 PITCH MOD, OSC1 PWM, OSC2 PITCH MOD, OSC2 TONE MOD, VCF FREQ, VCF RES, VCF ENV DEPTH, VCF LFO DEPTH, VCA ENV DEPTH and MOD ENV DEPTH.

The PARAM-DRIFT range is from 0 to 255. The default PARAM-DRIFT setting is 0.

DRIFT-RATE - This controls the RATE at which the OSC-DRIFT and PARAM-DRIFT operate at. It is important to note that each voice has independent random DRIFT generators for the OSC-DRIFT and the PARAM-DRIFT to more closely replicate the characteristics of a vintage synthesizer.

The rate is controlled by a random timer which generates a ramp between a multiplier of 1x and a multiplier of 2x the rate set by the DRIFT-RATE parameter.

The OSC-DRIFT range is from 0(25 ms-50 ms) to 255(2.5 s-5.0 s). The default OSC-DRIFT setting is 0.

To summarize, if at 0, each “drift” will be a random time between 25 and 50 ms and then the parameter drifts to another random value. At 255, each “drift” will be a random time between 2.5 s and 5.0 s and then the parameter drifts to another random value.

To exit the VOICE PARAMETERS menu press the PROG switch to return the main display.

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8.4.4 PITCH PARAMETERS MENU

To access the PITCH PARAMETERS menu press the POLY EDIT switch.

FLASHING=EDIT

The POLY EDIT switch will then start  ashing and the VOICE PARAMETERS menu is then shown. Press the EDIT switch again to show the PITCH PARAMETERS menu:

Note: The page location memory func tion can be turned o using the REMEMBER PAGES function in the GLOBAL SETTINGS menu.

To navigate the options in the PITCH PARAMETERS menu, use the UP, DOWN, switches.

The following options are available in the PITCH PARAMETERS menu:

TRANSPOSE - This option allows you to TRANSPOSE notes played on the keyboard. The notes played can be transposed in steps of single semitones.

The TRANSPOSE range is from -48 to +48. The default TRANSPOSE setting is 0.

PORTA-MODE - This option allows you to con gure the PORTAMENTO function to operate in di erent ways depending on your requirements. The options are as follows:

• Normal - In this mode the slide time between played notes is a  xed time,

regardless of overlapping notes or pitch distance. The sliding between notes is linear.

• Fingered - In this mode the slide time between played notes is a  xed time,

regardless of pitch distance. Sliding is only applied when notes overlap. The sliding between notes is linear.

• Fix-Rate - In this mode the slide time between played notes is a  xed rate,

regardless of overlapping notes. The pitch distance from note to note will a ect the time it takes to slide between notes. The sliding between notes is linear.

• Fix-Fing - In this mode the slide time between played notes is a  xed rate.

The pitch distance from note to note will a ect the time it takes to slide between notes. Sliding is only applied when notes overlap. The sliding between notes is linear.

• Exp - In this mode the slide time between played notes is a  xed rate. The

pitch distance from note to note will a ect the time it takes to slide between notes. Sliding is only applied when notes overlap. The sliding between notes is exponential.

• Exp-Fing - In this mode the slide time between played notes is a  xed

rate. The pitch distance from note to note will a ect the time it takes to slide between notes. Sliding is only applied when notes overlap. The sliding between notes is exponential.

• Fixed+2 - In this mode the note always starts at a pitch two semitones

above the played note regardless of overlapping notes or pitch distance. The sliding between notes is exponential.

• Fixed-2 - In this mode the note always starts at a pitch two semitones below

the played note regardless of overlapping notes or pitch distance. The sliding between notes is exponential.

• Fixed+5 - In this mode the note always starts at a pitch  ve semitones

above the played note regardless of overlapping notes or pitch distance. The sliding between notes is exponential.

So a transpose of -7 would mean that all played keys would be transposed down by seven semitones.

PORTA-TIME - This option is the same as the PORTAMENTO knob on the surface. Any changes on the surface will be re ected here.

The PORTAMENTO range is from 0(0.00s - instant change of note) to 255(10.00s of glide). The default PORTAMENTO setting is 0(0.00s/O ).

• Fixed-5 - In this mode the note always starts at a pitch  ve semitones below

the played note regardless of overlapping notes or pitch distance. The sliding between notes is exponential.

• Fixed+12 - In this mode the note always starts at a pitch twelve semitones

(one octave) above the played note regardless of overlapping notes or pitch distance. The sliding between notes is exponential.

• Fixed-12 - In this mode the note always starts at a pitch twelve semitones

(one octave) below the played note regardless of overlapping notes or pitch distance. The sliding between notes is exponential.

• Fixed+24 - In this mode the note always starts at a pitch twenty-four

semitones (two octaves) above the played note regardless of overlapping notes or pitch distance. The sliding between notes is exponential.

• Fixed-24 - In this mode the note always starts at a pitch twenty-four

semitones (two octaves) below the played note regardless of overlapping notes or pitch distance. The sliding between notes is exponential .

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PORTA-OSC-BAL - This option allows you to balance the application of PORTATIME (I.e. the slide time between played notes) between OSC 1 and OSC 2.

When a positive setting is chosen, the OSC 1 PORTA-TIME will decrease. At its maximum value (127) the OSC 1 PORTA-TIME will be zero and the pitch change will happen immediately (no sliding).

When a negative setting is chosen, the OSC 2 PORTA-TIME will decrease. At its minimum value (-127) the OSC 2 PORTA-TIME will be zero and the pitch change will happen immediately (no sliding).

PORTAMENTO BALANCE

Start Pitch

PITCH (Hz)

Stop Pitch

Start Pitch

PITCH (Hz)

PORTA-BAL 0

OSC 1 and OSC 2

TIME (seconds)

PORTA-BAL +VE

OSC 1 OSC 2

8.5 VCF

The VOLTAGE CONTROLLED FILTER (VCF) is an advanced  lter designed speci cally for the DeepMind 12. The VCF  lter changes the tone color created by the OSCs and NOISE generator by cutting o , or emphasizing frequencies/harmonics. The VCF stage allows the low frequencies to pass and cuts o higher frequencies. This approach is used by many classic subtractive synthesizers.

The VCF is a fully analog  lter, with the ability to be switched from a 2-pole/12 dB per octave  lter to 4-pole/24 dB per octave  lter. The dB per octave refers to the angle of the  lter's slope/response curve.

The VCF also has adjustable resonance which creates a narrow peak around the  lter cut-o frequency. The DeepMind 12  lter is capable of being driven into self oscillation when the resonance setting is high. Unlike many other synthesizers, the synthesizer is capable of accurate pitch tracking even when the  lter resonance is pushed to (and past) the point where the  lter starts to selfoscillate. The self-oscillation is tuned so that you can play it as a fully polyphonic 3rd oscillator across the entire range of playable notes.

The VCF can be modulated dynamically by the VCF Envelope, LFO or Keyboard Tracking. The VCF Frequency is also available in the Mod Matrix as a destination where it can be modulated from any of the Mod Matrix sources.

Stop Pitch

TIME (seconds)

Start Pitch

PITCH (Hz)

Stop Pitch

PORTA-BAL +VE

OSC 2 OSC 1

TIME (seconds)

The PORTA-OSC-BAL parameter ranges from -128 to 127. The default setting is 0.

P. BE ND RA NG E+ - This option allows you to set the upper limit of the PITCH WHEEL.

The P.BEND RANGE+ parameter can be varied from 0(0 notes) to 24(24 notes). The default P.BEND RANGE+ setting is 2(2 notes).

P. BE ND RA NG E- - This option allows you to set the lower limit of the PITCH WHEEL.

The P.BEND RANGE- parameter can be varied from 0(0 notes) to 24(24 notes). The default P.BEND RANGE- setting is 2(2 notes).

GLOBAL-TUNE - This option allows you to adjust the GLOBAL TUNING for the synthesizer. The range is -128 to 127.

8.5.1 VCF FREQ FADER

The VCF FREQ fader controls the cut-o frequency of the VCF. The VCF will begin cutting frequencies below the cut-o frequency and continue to cut them at a rate depending on the number of poles used.

You can use the  lter to sculpt the sonic characteristics of the OSCs and noise generator, or you can dynamically adjust the fader to create sweeps of the  lter which will create distinctive movement.

To exit the PITCH PARAMETERS menu press the PROG switch to return the main display, or because you are in the PITCH PARAMETERS menu you can press the POLY EDIT switch again to return to the main display.

Modulating the cut-o frequency with sources such as an envelope generator, with fast attack settings can help emulate the attack transients of natural instruments, or be used to creative e ect.

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The diagram below shows the results from high, medium and low settings of the cut-o frequency when applied to the SAWTOOTH and SQUARE waveforms.

VCF FREQUENCY

SAWTOOTH SQUARE

HIGH

LEVEL (dB)

FREQUENCY (Hz)

-3 dB

MED

LEVEL (dB)

FREQUENCY (Hz)

-3 dB

LOW

LEVEL (dB)

FREQUENCY (Hz)

The VCF FREQ range is from 50.0 Hz to 20000.0 Hz. The default VCF FREQUENCY setting is 20000.0 Hz(fully open).

The fader position, current value and stored value for the VCF FREQ fader is shown on the PROG screen. There is also a visualization of the  lter curve as shown below.

Note: The slope of the  lter will update depending on the use of a 2-pole or 4-pole con guration.

The DeepMind 12  lter is capable of being driven into self oscillation. Unlike many other synthesizers, the synthesizer can guarantee an accurate pitch even when the  lter resonance is pushed to (and past) the point where the  lter starts to self-oscillate. When using this self-oscillating feature of the VCF as a sound source, the VCF calibration ensures the correct response when playing the entire scale of the keyboard. For more information please consult the section on calibration later in this document.

VCF RESONANCE

SAWTOOTH SQUARE

LOW

LEVEL (dB)

FREQUENCY (Hz)

MED

LEVEL (dB)

FREQUENCY (Hz)

HIGH

LEVEL (dB)

FREQUENCY (Hz)

The VCF RES range is from 0.0% to 100.0%. The default VCF RES setting is 0.0%.

The fader position, current value and stored value for the VCF RES fader is shown on the PROG screen. There is also a visualization of the resonance as shown below

8.5.2 VCF RES FADER

The VCF RES fader controls the resonance of the  lter. When resonance is increased the frequencies/harmonics/partials around the cut-o frequency are emphasized. The resonance along with the  lter slope help de ne the character of the  lter.

8.5.3 2-POLE SWITCH

ON=2P / OFF=4P

This switch controls the con guration of poles used in the VCF.

The number of poles used in the  lter determines the angle of the  lters slope/ response curve.

The VCF uses 4-poles, but can be switched into 2-pole operation. If con gured for 4-pole operation the low-pass  lter rolls o signals above the cut-o frequency at a rate of 24 dB/octave. When con gured for 2-pole operation the low-pass  lter rolls o signals above the cut-o frequency at a rate of 12 dB/octave.

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This can be useful to control the sonic character of the  lter as the 2-pole mode will allow more of the signal above the cut-o frequenc y to pass and sound brighter / more natural. The 4-pole mode allows less of the signal above the cut-o frequency to pass and sounds deeper/ more unusual.

VCF POLES ( CUT OFF SLOPE)

LEVEL (dB)

4-Pole 2-Pole

FREQUENCY (Hz)

The 2-POLE con guration can be On(2-Pole) or O (4-Pole). The default program setting is O (4-Pole).

8.5.4 VCF EDIT SWITCH

FLASHING=EDIT

To access the VCF menu press the VCF EDIT switch.

The VCF EDIT switch will then start  ashing and the VCF PARAMETERS menu is then shown:

P. B E N D - F R E Q - This option controls how much the PITCH BEND WHEEL position will a ect the cut-o frequency. I.e. the further you move the wheel forward from its central position, the more the  lter will open and the brighter the sound will become, the further you move the wheel backward from its central position, the more the  lter will close and the darker the sound will become.

The P.BEND-FREQ range is from 0 to 255. The default P.BEND-FREQ setting is 128.

LFO-SELECT - This option allows you to selec t which LFO is assigned to the VCF LFO MODULATION FADER.

You can select either LFO 1 or LFO 2. The default setting is LFO 2, which allows you to use LFO 1 for voice modulation and keep the functionality separated. You can of course use the same LFO to modulate the OSC and VCF if you desire.

AFT-LFO-DEPTH - This option controls how much the AFTERTOUCH pressure will increase the LFO MODULATION DEPTH. This allows you to add LFO modulation of the  lter frequency expressively while you play.

The AFT-LFO-DEPTH range is from 0 to 255. The default AFT-LFO-DEPTH setting is 0.

MW-LFO-DEPTH - This option controls how much the MOD WHEEL position will a ect the LFO MODULATION DEPTH. This allows you to add LFO modulation of the  lter frequency expressively while you play.

The MW-LFO-DEPTH range is from 0 to 255. The default MW-LFO-DEPTH setting is 0.

LPF-TYPE - This option is the same as the 2-POLE switch on the surface. Any changes on the surface will be re ected here.

The LPF-TYPE con guration can be 2-POLE or 4-POLE. The default program setting is 4-POLE.

8.5.5 VCF ENV FADER

To navigate the options in the VCF PARAMETERS menu, use the UP, DOWN, switches.

The following options are available in the VCF PARAMETERS menu:

BASS-BOOST - This option engages an analog bass boost circuit. This setting follows the BOOST switch status.

VELOCITY-SENS - This option controls how much the velocity at which you strike the keys will a ect how much VCF envelope modulation is applied. I.e. the harder you strike the keys, the more the  lter will open and the brighter the sound will become (unless the operation is inverted using the INVERT switch).

The VELOCITY-SENS range is from 0 to 255. The default VELOCITY-SENS setting is 128.

The VCF ENV fader controls the amount of VCF ENVELOPE modulation that will be applied to the cut-o frequency value.

When the cut-o frequency is modulated by the VCF ENVELOPE each note will be a ected by the ADSR (and Curves) stages for the VCF ENVELOPE. You can use this to apply subtle or aggressive modulation to the harmonic characteristics of each note played for the duration they are playing.

When modulating the cut-o frequency using the VCF ENVELOPE, it is advised to set the fader to a lower level when using normal polarity, and set it to a higher level when using the INVERT function of the VCF ENVELOPE MODULATION parameter.

When no ENV MODULATION is applied the  lter cut-o frequency will stay  xed (unless other sources of modulation are applied).

The cut-o frequency setting can limit the modulation from the VCA ENVELOPE. If the VCF FREQ fader is already at its maximum setting, and the  lter is already wide open then no positive modulation can take the cut-o frequency higher.

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This is also true for negative values when the VCF ENVELOPE is inverted.

The VCF ENV range is from 0.0% to 100.0%. The default VCF ENV setting is

0.0%(O ).

The fader position, current value and stored value for the VCF ENV fader is shown on the PROG screen. There is also a visualization of the envelope amount (the arrow pointing to the right) as shown below:

Note: When you invert the polarity of the envelope, the arrow indicating the envelope modulation will be reversed and point to the left to indicate negative modulation.

8.5.6 INVERT SWITCH

8.5.7 VCF LFO FADER

The VCF LFO fader controls the amount of VCF LFO modulation that will be applied to the cut-o frequency value. You can select which LFO will be used as the modulation source in the VCF PARAMETERS menu.

When the cut-o frequency is modulated by the VCF LFO each note will be a ected by the shape and speed of the LFO. You can use this aggressively to create a wah pedal type e ect, or used subtly to add movement and variation to the program.

When no LFO MODULATION is applied the  lter cut-o frequency will stay  xed (unless other sources of modulation are applied).

ON=INVERTED

This switch controls the polarity of the VCF ENVELOPE modulation. When the switch is on, the polarity of the envelope will be inverted.

It is advised to set the fader to a lower level when using normal polarity, and set it to a higher level when using the INVERT function of the VCF ENVELOPE MODULATION parameter.

The INVERT switch can be set to On or O . The default program setting is On.

The cut-o frequency setting can limit the modulation from the LFO. If the VCF FREQ fader is already at its maximum setting, and the  lter is already wide open then no positive modulation can take the cut-o frequency higher.

The VCF LFO range is from 0.0% to 100.0%. The default VCF LFO setting is

0.0%(O ).

The fader position, current value and stored value for the VCF LFO fader is shown on the PROG screen. There is also a visualization of the LFO amount (the arrows pointing left and right below the LFO-1 text) as shown below:

Note: The distance between the arrows represents the amount of LFO modulation which is being applied to the  lter cut-o frequency.

Shortcut Note: To change the VCF LFO source press and hold the VCF EDIT switch. While holding the switch you can use the VCF LFO fader to select the source LFO. The following message will be shown to give you guidance while holding the LFO 1 EDIT switch.

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8.5.8 VCF KYBD FADER

The VCF KYBD fader controls the keyboard tracking of the VCF. The keyboard tracking can be used to compensate the cut-o frequency of the  lter depending on the notes being played.

It can prevent inconsistencies in the harmonic content caused by pitch changes.

When the VCF KYBD fader is raised, the higher the note (above the middle C) played on the keyboard, the more the  lter opens. At the same time the lower the note (below the middle C) played on the keyboard, the more the  lter closes.

This modulation can be used to emulate the response of a natural instrument, or used to creative e ect.

8.6 VCA

The VOLTAGE CONTROLLED AMPLIFIER (VCA) is split into two stages. The  rst is a per voice stereo VCA which can be modulated by the VCA ENVELOPE, the PAN-SPREAD setting, the VELOCITY SENSITIVITY of the keyboard and the Pan Destination in the Mod Matrix.

The second stage is a common VCA used to correct, or compensate the level so that it is consistent between programs.

Both stages use a voltage to control the amount of signal passed through to the next stage. The higher the control voltage, the more of the signal will be passed.

The per voice VCA Level is also available in the Mod Matrix as a destination where it can be modulated from any of the Mod Matrix sources.

The VCF KYBD range is from 0.0% to 100.0%. The default VCF KYBD setting is

0.0%(O ).

The fader position, current value and stored value for the VCF KYBD fader is shown on the PROG screen. There is also a visualization of the modulation amount as shown below:

8.6.1 LEVEL

The VCA LEVEL fader controls the second stage of the VCA, I.e. how much ampli cation or attenuation is applied to the summed voice signals.

The VCA LEVEL range is from -12.0 dB to 6.0 dB. The default VCA LEVEL setting is

0.0 dB(O ).

The fader position, current value and stored value for the VCA LEVEL fader is shown on the PROG screen. There is also a visualization of the position as shown below:

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8.6.2 VCA EDIT MENU

To access the VCA PARAMETERS menu press the VCA EDIT switch.

FLASHING=EDIT

The VCA EDIT switch will then start  ashing and the VCA PARAMETERS menu is then shown.

To navigate the options in the VCA PARAMETERS menu, use the UP, DOWN, switches.

The following options are available in the VCA PARAMETERS menu:

ENVELOPE-DEPTH - This option allows you to control how much the VCA ENVELOPE will be used to modulate the per voice VCA.

This is the primary method to sculpt the shape of a sound. For more information please consult the section on the VCA ENVELOPE

8.7 HPF

The HIGH PASS FILTER (HPF) is applied to the output of the VCA. Because the VCA has summed all the voices the HPF will a ect all voice simultaneously by design.

8.7.1 HPF FREQ FADER

The HPF FREQ fader controls the cut-o frequency of the HPF. The HPF will begin cutting frequencies above the cut-o frequency at continue to cut them at a rate of -6 dB per octave.

The HPF  lter can be useful to remove subsonic frequencies from your sound if required. You can also use the  lter to sculpt the sonic charac teristics of the program, or you can dynamically adjust the fader to create sweeps of the  lter which will create distinctive movement.

The HPF Frequency is available in the Mod Matrix as a destination where it can be modulated from any of the Mod Matrix sources.

HPF FREQUENCY

SAWTOOTH SQUARE

LOW

LEVEL (dB)

FREQUENCY (Hz)

The ENVELOPE-DEPTH range is from 0 to 255. The default ENVELOPE-DEPTH setting is 255.

VELOCITY-SENS - This option allows you to control how much the velocity at which you strike the keys will a ect the per voice VCA. I.e. the harder you strike the keys, the louder the sound and the softer you strike the keys the quieter the sound will be.

The VELOCITY-SENS range is from 0 to 255. The default VELOCITY-SENS setting is 128.

PAN-S PREAD - This option allows you to control how much the individual voices will be spread across the stereo image.

VCA PAN SPREAD

+VE

PAN SPREAD

-VE

PAN SPREAD

4 61 3 5 7 98 11 1210

46 13579 81112 10

The PAN-SPREAD range is from 0 to 255. The default PAN-SPREAD setting is 0.

MED

LEVEL (dB)

FREQUENCY (Hz)

HIGH

LEVEL (dB)

FREQUENCY (Hz)

The HPF FREQ range is from 20.0 Hz to 2000.0 Hz. The default HPF FREQ setting is

20.0 Hz (fully open).

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The fader position, current value and stored value for the HPF FREQ fader is shown on the PROG screen. There is also a visualization of the  lter curve as shown below.

8.7.2 BOOST SWITCH

ON=BASS BOOST

This switch controls the BOOST stage of the DeepMind 12.

8.8 ENVELOPES

The DeepMind 12 has three envelope generators. Each of these generates a control signal with 4 stages (Attack, Decay, Sustain and Release).

The VCA envelope is used to adjust the level of the note being played over time.

The VCF envelope is used to adjust the cut-o frequency of the  lter for each note played over time.

The MOD envelope can be used to modulate any of the MOD MATRIX destinations for each note being played over time.

The envelopes are normally triggered by the playing of a key, but they also have di erent triggering modes (LFO, Looping & Sequencer).

The boost function enables an analog circuit which is designed to boost low frequencies at 100 Hz using a shelving equalization and DC blocking functionality..

The BOOST function can be used to give programs an enhanced low frequency response resulting in more depth and body

BOOST RESPONSE

100 Hz

LEVEL (dB)

FREQUENCY (Hz)

6 dB

0 dB

The BOOST function can be On/O . The default program setting is O .

There is also a visualization of the BOOST  lter curve on the PROG screen as shown below.

Note: You will only see the BOOST visualization if the HPF fader was the last fader that was moved..

It is important to note that the ATTACK, DECAY and SUSTAIN stages are measured in units of time, and the SUSTAIN stage is measured in units of level.

The stages of the ENVELOPE are shown below:

ENVELOPE STAGES

ATTACK DECAY

ENV LEVEL

SUSTAIN

KEY GATE

KEY PRESSED KEY RELEASED

RELEASE

Note: In any of the looping modes the sustain stage is not considered and as soon as the envelope reaches the sustain stage it immediately starts the release stage.

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8.8.1 VCA ENVELOPE SWITCH

To access the VCA ENVELOPE page press the VCA Envelope switch.

FLASHING=EDIT FLASHING=EDIT

The VCA ENVELOPE switch will then start  ashing and the VCA ENVELOPE menu is then shown:

To navigate the options in the VCA ENVELOPE menu, use the UP, DOWN, switches.

8.8.2 VCF ENVELOPE SWITCH

To access the VCF ENVELOPE page press the VCF ENVELOPE switch.

The VCF ENVELOPE switch will then start  ashing and the VCF ENVELOPE menu is then shown:

To navigate the options in the VCF ENVELOPE menu, use the UP, DOWN, switches.

Selected parameters are adjusted using the -NO/+YES switches, the rotary knob or the dedicated fader. The rotary knob has a click which allows very accurate control. The fader allows rapid adjustment across the full range:

The following options are available in the VCA ENVELOPE menu:

VCA-ENV-TRIG - This option allows you to select the triggering mode for the VCA ENVELOPE from the following:

• Key - This option will force the envelope to be triggered each time a key is

pressed.

• LFO-1 - This option will force the envelope to be triggered each time LFO 1

starts a new cycle.

• LFO-2 - This option will force the envelope to be triggered each time LFO 2

starts a new cycle.

• Loop - This option will force the envelope to be re-triggered each time the

end of the release stage is reached.

• Seq - This option will force the envelope to be re-triggered on every step of

the CONTROL SEQUENCER.

ADSR ATK: - This controls the attack time of the VCA envelope. I.e. the time is take for the sound to transition from zero to its maximum level. As the value increases, the slower the attack time becomes and the longer it takes for the sound to reach its maximum level.

ADSR DCY: This controls the decay time of the VCA envelope. After a sound reaches the maximum level, the decay time controls how quickly the level will transition to the sustain level. As the value increases, the longer the decay time becomes.

ADSR SUS: This controls the level for the sustain stage of the VCA envelope. The sound will stay at this level while a note is held on the keyboard.

The following options are available in the VCF ENVELOPE menu:

VCF-ENV-TRIG - This option allows you to selec t the triggering mode for the VCF ENVELOPE from the following:

• Key - This option will force the envelope to be triggered each time a key is

pressed.

• LFO-1 - This option will force the envelope to be triggered each time LFO 1

starts a new cycle.

• LFO-2 - This option will force the envelope to be triggered each time LFO 2

starts a new cycle.

• Loop - This option will force the envelope to be re-triggered each time the

end of the release stage is reached.

• Seq - This option will force the envelope to be re-triggered on every step of

the CONTROL SEQUENCER.

ADSR ATK: This controls the attack time of the VCF envelope. I.e. the time is take for the  lter to open from the VCF FREQ fader setting to the level set by the VCF ENV fader. As the value increases, the slower the attack time becomes and the longer it takes for the  lter to open.

ADSR DCY: Sets the decay time of the VCF envelope. After a sound reaches the frequency set at its attack stage, the decay controls how quickly the  lter then transitions to the frequency set with the sustain knob.

ADSR SUS: Sets the  lter cut-o frequency for the sustained portion of the sound. The sound will stay at this  lter frequency for as long as a note is held on the keyboard.

ADSR REL: This option control the release time of the VCA envelope. This controls how quickly it takes the sound to decay from the sustain level to zero when a key is released.

ADSR REL: Sets the release time of the envelope. This controls how quickly the  lter closes when a key is released.

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MOD ENVELOPE SWITCH

To access the MOD ENVELOPE page press the MOD ENVELOPE switch.

FLASHING=EDIT

The MOD ENVELOPE switch will then star t  ashing and the MOD ENVELOPE menu is then shown:

To navigate the options in the MOD ENVELOPE menu, use the UP, DOWN, switches.

8.8.3 CURVES SWITCH

ON=CURVES

This switch changes the operation of the ADSR faders from adjusting the ADSR stages to adjusting the curve of each stage.

To activate CURVES mode press the CURVES switch. The switch will illuminate and the faders will now control the curve of each stage.

ENVELOPE CURVES

ATTAC K

CURVE

DECAY

CURVE

SUSTAIN

CURVE(SLOPE)

RELEASE

CURVE

The following options are available in the MOD ENVELOPE menu:

MOD-ENV-TRIG - This option allows you to select the triggering mode for the MOD ENVELOPE from the following:

• Key - This option will force the envelope to be triggered each time a key is

pressed.

• LFO-1 - This option will force the envelope to be triggered each time LFO 1

starts a new cycle.

• LFO-2 - This option will force the envelope to be triggered each time LFO 2

starts a new cycle.

• Loop - This option will force the envelope to be re-triggered each time the

end of the release stage is reached.

• Seq - This option will force the envelope to be re-triggered on every step of

the CONTROL SEQUENCER.

ADSR ATK: - This controls the attack time of the MOD envelope. I.e. the time is take for the envelope to reach its peak setting. As the value increases, the slower the attack time becomes and the longer it takes for the envelope to reach its maximum point.

ADSR DCY: This controls the decay time of the MOD envelope. After the envelope reaches the maximum value, the decay time controls how quickly the envelope will transition to the sustain level. As the value increases, the longer the decay time becomes.

CURV ATK: This controls the curve shape of the attack stage.

CURV DCY: This controls the curve shape of the decay stage.

CURV SUS: This controls the curve shape (or slope) of the sustain stage.

CURV REL: This controls the curve shape of the release stage.

Using the curve functionality of the waveforms allows advanced sculpting of any of the envelopes. An example is shown below:

Note: When you adjust any of the envelope faders while viewing the PROG screen you will see a visualization of the envelope. Below the visualization you will see the standard or curve parameter values as shown below:

ADSR SUS: This controls the value for the sustain stage of the MOD envelope. The sound will stay at this level while a note is held on the keyboard.

ADSR REL: This option control the release time of the MOD envelope. This controls how quickly it takes the envelope to decay from the sustain value to zero when a key is released.

To return to normal operation of the ADSR stages press the CURVES switch again. The switch will no longer illuminate and the faders will now control the ADSR stages.

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Note: The curve values and the respective response curves are shown below for guidance:

Attack Curve Settings

128

Level

192

255

Time

Decay/Release Curve Settings

255

8.9 MOD MATRIX

The MODULATION MATRIX (MOD MATRIX) is one of the most powerful aspec ts of the DeepMind 12 synthesizer. To understand how and why the modulation matrix is so important we need to understand one simple concept, modulation. Modulation is the process of controlling one or more properties (destinations) of a signal using another signal (source).

A simple example would be the control of the VCF cut-o frequency by an sinusoidal LFO signal. The LFO would open and close the  lter automatically which you could of course do by moving the fader manually. However, by using a modulation signal you not only free up your hands and mind, you also open up additional options such as:

• Synchronisation with other parameters and ac tions

• Speeds of modulation well past what you could achieve by hand

• Accuracy, or programmed inaccuracy of modulation signal

• Modulating multiple destinations from the same source

• Using multiple sources to modulate the same destination.

• Using a source to modulate a parameter e.g. LFO Rate, which indirectly

a ects another modulation e.g. Velocity to Attack Time.

• Using a source to modulate the depth of another modulation

Taking the concept further the DeepMind 12 o ers a huge amount of sources and destinations. For a full list please consult the tables at the end of this sec tion.

192

128

Level

Time

The DeepMind 12 MOD MATRIX allows creation of eight "busses". Each bus has a source, a destination modulations and a routing depth.

To access the MOD MATRIX page press the MOD switch.

ON=EDIT MATRIX

The MOD switch will then start  ashing and the MOD MATRIX page is then shown:

Sustain Curve (Slope) Settings

255

192

Level

128

To navigate the options in the MOD MATRIX page, use the UP, DOWN, switches.

Time

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MODULATION SOURCE - To add a modulation source navigate to the source on the bus you wish to use and select the required source.

MODULATION ROUTING DEPTH - To change the bus routing depth navigate to the source on the bus you wish to use and selec t the required source.

8.9.1 MODULATION SOURCES

The following modulation sources are available:

No Name Description

1 Pitch Bend Pitch Bend Wheel

2 Mod Wheel Modulation Wheel

3 Foot Ctrl Foot Controller

4 BreathCtrl Breath Controller

5 Pressure Aftertouch Pressure

6 LFO1 LFO 1

7 LFO2 LFO 2

8Env 1 VCA Envelope

9Env 2 VCF Envelope

10 Env 3 Mod Envelope

11 Note Num Note Number

12 Note Vel Note Veloc ity

13 Ctrl Seq Control Sequencer

14 LFO1 (Uni) LFO1 (Unipolar)

MODULATION DESTINATION - To add a modulation destination navigate to the destination on the bus you wish to use and select the required source.

Note: The possible modulation are 8 busses x 22 sources x 129 destinations which will allow over 22,000 possible combinations.

15 LFO2 (Uni) LFO 2 (Unipolar)

16 LFO1 (Fade) LFO 1 (Fade Envelope)

17 LFO2 (Fade) LFO 2 (Fade Envelope)

18 NoteO Vel Note O Velocity

19 Voice Num Voice Number

20 CC X (114) Continuous Controller X-Axis (114)

21 CC Y (115) Continuous Controller Y-Axis (115)

22 CC Z (116) Continuous Controller Z-Axis (116)

8.9.2 MODULATION DESTINATIONS

The following modulation destinations are available:

No Name Description

1 LFO1 Rate LFO 1 Rate

2 LFO1 Delay LFO 1 Delay Time

3 LFO1 Slew LFO 1 Slew Rate

4 LFO1 Shape LFO 1 Shape

5 LFO2 Rate LFO 2 Rate

6 LFO2 Delay LFO 2 Delay Time

7 LFO2 Slew LFO 2 Slew Rate

8 LFO2 Shape LFO 2 Shape

9 OSC1+2 Pit OSC 1 + 2 Pitch

10 OSC1 Pitch OSC 1 Pitch

11 OSC2 Pitch OSC 1 Pitch

12 OSC1 PM Dep OSC 1 Pitch Modulation Depth

13 PWM Depth OSC 1 Pulse Width Modulation Depth

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No Name Description

14 TMod Depth OSC 2 Tone Modulation Depth

15 OSC2 PM Dep OSC 2 Pitch Modulation Depth

16 Porta Time Portamento Time

17 VCF Freq VCF Cut-o Frequency

18 VCF Res VCF Resonance

19 VCF Env VCF Envelope

20 VCF LFO VCF LFO

21 Env Rates All Envelope Rates

22 All Attack All Attack Times

23 All Decay All Decay Times

24 All Sus All Sustain Levels

25 All Rel All Release Times

26 Env1 Rates All Envelope 1 Rates

27 Env2 Rates All Envelope 2 Rates

28 Env3 Rates All Envelope 3 Rates

29 Env1CurveS All Envelope 1 Curves

No Name Description

55 Env3 RelCur Envelope 3 Release Time Curve

56 VCA All** VCA Gain for All Voices

57 VCA Active** VCA Gain for Active Voices

58 VCA EnvDep VCA Envelope Depth

59 Pan Spread Pan Spread

60 VCA Pan VCA Pan

61* OSC2 Lvl OSC 2 Level

62* Noise Lvl Noise Level

63* HP Freq HPF Cut-o Frequency

64* Uni Detune Unison Detune

65* OSC Drift OSC Drift

66* Param Drift Parameter Drift

67* Drift Rate Drift Rate

68* Arp Gate Arpeggiator Gate

69* Seq Slew Control Sequencer Slew

70 Mod 1 Dep Mod Matrix Routing 1 Depth

30 Env2CurveS All Envelope 2 Curves

31 Env3CurveS All Envelope 3 Curves

32 Env1 Attack Envelope 1 Attack Time

33 Env1 Decay Envelope 1 Decay Time

34 Env1 Sus Envelope 1 Sustain Level

35 Env1 Rel Envelope 1 Release Time

36 Env1 AtCur Envelope 1 Attack Time Curve

37 Env1 DcyCur Envelope 1 Decay Time Curve

38 Env1 SuSCur Envelope 1 Sustain Level Curve

39 Env1 RelCur Envelope 1 Release Time Curve

40 Env2 Attack Envelope 2 Attack Time

41 Env2 Decay Envelope 2 Decay Time

42 Env2 Sus Envelope 2 Sustain Level

43 Env2 Rel Envelope 2 Release Time

44 Env2 AtCur Envelope 2 Attack Time Curve

45 Env2 DcyCur Envelope 2 Decay Time Curve

46 Env2 SuSCur Envelope 2 Sustain Level Curve

47 Env2 RelCur Envelope 2 Release Time Curve

48 Env3 Attack Envelope 3 Attack Time

71 Mod 2 Dep Mod Matrix Routing 2 Depth

72 Mod 3 Dep Mod Matrix Routing 3 Depth

73 Mod 4 Dep Mod Matrix Routing 4 Depth

74 Mod 5 Dep Mod Matrix Routing 5 Depth

75 Mod 6 Dep Mod Matrix Routing 6 Depth

76 Mod 7 Dep Mod Matrix Routing 7 Depth

77 Mod 8 Dep Mod Matrix Routing 8 Depth

78-89 Fx 1 Params E ects Slot 1 Parameters

90-101 Fx 2 Params E ec ts Slot 2 Parameters

102-113 Fx 3 Params E ects Slot 3 Parameters

114-125 Fx 4 Params E ects Slot 4 Parameters

126 Fx 1 Level E ects Slot 1 Level

127 Fx 2 Level E ects Slot 2 Level

128 Fx 3 Level E ects Slot 3 Level

129 Fx 4 Level E ects Slot 4 Level

Note: Destinations marked with a '*' are common to all voices.

** VCA Active - This destination a ects the VCA Gain for all active voices.

*** VCA All - This destination a ects the VCA Gain for all voices, regardless of whether they are active or not.

49 Env3 Decay Envelope 3 Decay Time

50 Env3 Sus Envelope 3 Sustain Level

51 Env3 Rel Envelope 3 Release Time

52 Env3 AtCur Envelope 3 Attack Time Curve

53 Env3 DcyCur Envelope 3 Decay Time Curve

54 Env3 SuSCur Envelope 3 Sustain Level Curve

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9. E ects Reference Guide

9.1 E ects Table

No Name Desc ription Device Inspiration Ty pe

1 TC-DeepVRB TC Deep Reverb TC Hall of Fame Reverb 2 AmbVerb Ambient Reverb Lexicon 480L Reverb 3 RoomRev Room Reverb Lexicon 480L Reverb 4 VintageRev Vintage Room Reverb EMT250 Reverb 5 HallRev Hall Reverb Lexicon 480L Reverb 6 ChamberRev Chamber Reverb Lexicon 480L Reverb 7 PlateRev Plate Reverb Lexicon PCM-70 Reverb 8 RichPltRev Rich Plate Reverb Lexicon 480L Reverb 9 GatedRev Gated Reverb Lexicon 300/480L Reverb 10 Reverse Reverse Reverb Lexicon 300/480L Reverb 11 ChorusVerb Chorus & Reverb Lexicon PCM-70 Reverb 12 DelayVerb Delay & Reverb Lexicon PCM-70 Reverb 13 FlangVerb Flange & Reverb Lexicon PCM-70 Reverb 14 MidasEQ Midas Equaliser Midas ProX* Processing 15 Enhancer Enhancer SPL Vitalizer Processing 16 Fair Comp Fair Comp resso r Fairchild 670 Processing 17 MulBndDist Multi-Band Distortion Midas ProX* Processing 18 RackAmp Rack Ampli er Tech 21 SansAmp Processing 19 EdisonEX1 Stereo Imaging Edison EX-1 Processing 20 Auto Pan Auto-Panning Behringer X32* Processing 21 NoiseGate Noise Gate Midas ProX* Processing 22 Delay Delay Behringer X32* Delay 23 3TapDelay 3-Tap Delay Behringer X32* Delay 24 4TapDelay 4-Tap Delay Behringer X32* Delay 25 T-RayDelay Tel-Ray Delay Tel-Ray Delay Delay 26 DecimDelay Decimator Delay Decimator Delay Delay 27 ModDlyRev Mod, Delay & Reverb Lexicon PCM-70 Delay 28 Chorus Chorus Behringer X32* Creative 29 Chorus-D Chorus D Roland Dimension D Creative 30 Flanger Flanger Behringer X32* Creative 31 Phaser Phase Behringer X32* Creative 32 MoodFilter Mood Filter Moog Type Filter Creative 33 DualPitch Dual Pitch Shifter Harmonizer Creative 34 RotarySpkr Rotary Speaker Leslie Creative

* - Direct algorithms from the hardware devices designed by Music Group companies.

9.2 E ects Descriptions

Here is a list and brief description of the e ects available on the DeepMind 12 synthesizer.

TC Deep Reverb

HallRev, AmbVerb, RichPltRev, RoomRev, ChamberRev

These 5 reverb emulations are inspired by the Lexicon 480L. Hall simulates the reverberation that occurs when sound is recorded in medium to large-sized concert halls. Ambience creates a customizable virtual acoustic space to add warmth and depth without coloring the direct sound.

The PRE DELAY fader controls the amount of time before the reverb is heard following the source signal. DECAY controls the amount of time it takes for the reverb to dissipate. SIZE controls the perceived size of the space being created by the reverb. The DAMP fader adjusts the decay of the high frequencies within the reverb tail. DIFF(usion) controls the initial re ection density, and LEVEL controls the e ect output.

LO and HI CUT allow the frequencies a ected by the reverb to be narrowed. BASSMULT(iplier) controls the low frequency build-up. SPREAD emphasizes the stereo e ect of the reverb. SHAPE adjusts the contour of the reverberation envelope. MOD SPEED controls the reverb tail modulation rate and TAIL GAIN adjusts the volume of the reverb tail. The Rich Plate and Room reverbs allow the stereo ECHO DELAY and the delay FEEDBACK to be adjusted independently for each side. The Chamber reverb allows the stereo REFL(ection) DELAY and GAINtobe adjusted independently.

VintageRev

Vintage Room simulates the reverberation that occurs when sound is recorded in a small room. When you want to add a bit of warmth and just a touch of reverb, the Vintage Room breathes life into close-mic'd guitar and drum tracks. (Inspired by the Quantec QRS)

Set the early re ection times for the lef t and right channel with ER DELAY L and ER DELAY R. ER LEVEL sets the loudness of the early re ection level. REV DELAY controls the amount of time before the reverberation is heard following the source signal. HI/LOW MULTIPLY adjusts the decay time of the high and bass frequencies. ROOM SIZE adjusts the size of the room e ect being created incrementally from small to large. HIGH CUT sets the frequency above which the source signal does not pass through the reverb. DENSITY manipulates the re ection density in the simulated room. (This slightly changes the reverb decay time). LOW CUT sets the frequency below which the source signal does not pass through the reverb.

TC Electronic is synonymous with some of the best sounding reverbs out there. There are nine iconic reverb modes you know and love into this e ect that simply sounds so insanely good – you just have to try it. It’s amazing that just four controls (Decay, Tone and PreDelay) can give such a wide range of tonal options – bright and springy, warm and bouncy or gigantic dark re ec tions… It’s all there – and then some.

The PRE DELAY fader controls the amount of time before the reverb is heard following the source signal. TONE enhances high frequencies for positive settings and enhances low frequencies for negative settings. DECAY controls the amount of time it takes for the reverb to dissipate. Note: The decay range changes depending which of the modes is selected.

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Plate Reverb

A plate reverb was originally created by sending a signal through a transducer to create vibrations on a plate of sheet metal which were then picked up as an audio signal. Our algorithm simulates that sound with high initial di usion and a bright colored sound. The Plate Reverb will give your tracks the sound heard on countless hit records since the late 1950s. (Inspired by the Lexicon PCM-70)

PRE DELAY controls the amount of time before the reverberation is heard following the source signal. DECAY controls the amount of time it takes for the reverb to dissipate. SIZE adjusts the size of the vir tual room created by the reverb e ect. The DAMP knob adjusts the decay of high frequencies within the reverb tail. DIFF(USION) controls the initial re ection density. The LO CUT knob sets the frequency beneath which the source signal will not pass through the reverb. The HI CUT knob sets the frequency above which the source signal will not pass through the reverb. The BASS MULT(IPLIER) knob adjusts the decay time of the bass frequencies. XOVER controls the crossover point for bass. MOD DEPTH and SPEED control the intensity and speed of the reverb tail modulation.

Gated Reverb

Reverse Reverb

Reverse Reverb takes the trail of a reverb, turns it around, and places it in front of the sound source. Use the swelling crescendo of the Reverse Reverb to add an ethereal quality to vocal and snare tracks. (Inspired by the Lexicon 300/480L)

Adjusting the PRE DELAY knob adds up to 200 milliseconds of time before the reverb follows the source signal. The DECAY knob adjusts the time it takes for the reverb to completely dissipate. RISE controls how quickly the e ect builds up. DIFF(USION) controls the initial re ection density. SPREAD controls how the re ection is distributed through the envelope of the reverb. The LO CUT knob sets a low frequency beneath which the source signal will not pass through the reverb. The HiSvFr/HiSvGn knobs adjust a Hi-Shelving  lter at the input of the reverb e ect.

Chorus + Chamber

This e ect was originally achieved by combining a reverb with a noise gate. Ourgated reverb creates the same impression by a special shaping of the reverbtail.

Gated Reverb is especially e ec tive for creating a 1980s-style snare sound or to enlarge the presence of a kick drum. (Inspired by the Lexicon 300/480L)

PRE DELAY controls the amount of time before the reverberation is heard following the source signal. DECAY controls the amount of time it takes for the reverb to dissipate. ATTACK controls how fast the re ection density builds up. DENSITY shapes the reverb decay tail. The higher the density, the greater the number of sound re ections. SPREAD controls how the re ection is distributed through the envelope of the reverb. The LO CUT knob sets the frequency beneath which the source signal will not pass through the reverb. The HiSvFr/ HiSvGn knobs adjust a Hi-Shelving  lter at the input of the reverb e ect. DIFF(USION) controls the initial re ection density.

Taking up only one FX slot, the Chorus + Chamber e ect combines the shimmer and doubling characteristics of a studio-grade Chorus with the sweet sound of a traditional Chamber reverb. (Reverb is Inspired by the Lexicon PCM 70)

The BALANCE knob adjusts the balance between chorus and reverb. Lowfrequencies can be excluded with the LO CUT knob, and the MIX knob adjusts how much of the e ect is added to the signal. SPEED, DELAY and DEPTH adjust the rate, delay, and modulation depth of the chorus. The LFO PHASE between lef t and right channel can be o set by up to 180 degrees, and WAVE adjusts the LFO waveform from a sine wave to triangular wave. The PREDELAY knob determines the hesitation before the reverb a ects the signal. The DECAY knob adjusts how quickly the reverb fades. The SIZE controls how large or small the simulated space is (room, cathedral, etc.). The DAMPING knob determines the decay of high frequencies within the reverb tail.

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Delay + Chamber

Here we have combined Delay and Chamber reverb, so a single device can provide a variety of delay settings, plus add just the right type and amount of reverb to the selected signal. This device only uses one FX slot. (The Reverb is Inspired by the Lexicon PCM 70)

Use the BALANCE knob to adjust the ratio between delay and reverb. Lowfrequencies can be excluded with the LO CUT knob, and the MIX adjusts how much of the e ect is added to the signal. The TIME knob adjusts the delay time for the left channel delay, and the PATTERN sets the delay ratio for the right channel delay. Adjust the FEEDBACK and trim some high frequencies with the FEED HC (high-cut) knob. The XFEED knob allows you to send the delay sound to the reverb e ect, so instead of running completely parallel, the reverb a ects the echoes to a selected degree. The PREDELAY knob determines the hesitation before the reverb a ects the signal. The DECAY knob adjusts how quickly the reverb fades. The SIZE controls how large or small the simulated space is (room,cathedral, etc.). The DAMPING knob determines the decay of high frequencies within the reverb tail.

Flanger + Chamber

Enhancer

These Enhancers are so called “Psycho EQs”. They can enhance the signal spectrum in bass, midrange and high frequencies but they di er from traditional equalizers. When you need to generate maximum punch, clarity and detail, without turning up the overall volume, our enhancers are the solution. (Inspiredby the SPL Vitalizer)

Adjust the BASS, MID and HI GAIN knobs to add or reduce content in those spectrums. The BASS and HI Frequencies can be speci cally selected, while the MID Q (bandwidth) can be adjusted instead. The OUT GAIN knob compensates for changes in level resulting from the e ect, and the SPREAD knob (Stereo version only) emphasizes the stereo content for a wider mix. Engage the SOLO MODE to isolate only the audio resulting from the e ect so you can hear exactly what you’re adding to the mix.

Fair Compressor

Add the mind-bending,  lter-sweeping e ect of a state-of-the-art Flanger to the elegant sweetening of a traditional Chamber reverb — all in one FX slot. (Reverbis Inspired by the Lexicon PCM 70)

The BALANCE knob adjusts the ratio between  anger and reverb. Low frequencies can be excluded with the LO CUT knob, and the MIX knob adjusts how much of the e ect is added to the signal. SPEED, DELAY and DEPTH adjust the rate, delay,and modulation depth of the  anger. FEEDback can be adjusted with positive and negative amounts. The PHASE can be o set by up to 180 degrees. The PREDELAY knob determines the hesitation before the reverb a ects the signal. The DECAY knob adjusts how quickly the reverb fades. The SIZE controls how large or small the simulated space is (room, cathedral, etc.). The DAMPING knob determines the decay of high frequencies within the reverb tail.

MidasEQ

This model of a Fairchild 670 delivers some of the  nest colorations in compressor history. The two paths L/M and R/S both have the same functionality. The controls include input GAIN, THRESHOLD, TIME and DC BIAS (which controls the ratio and knee of the compression curve. There is also a BIAS BALANCE which can help accentuate attacks. There are modes available for dual, stereo-linked, or mid/side operation via the MOD control.

MulBndDist

The Multiband Distortion unit, useful for making sound gritty, adding more warmth through saturation, or even enhancing a speci c frequency region. There are three bands, adjustable by a 24 dB per octave crossover  lter.

There are six distortion types, going from soft saturation to more aggressive distortion and post  lter variants. The 'Drive' parameter controls the amount of distortion introduced to the sound. This parameter, together with the right distortion type, can instead bring some soft saturation to the sound.

The e ect also features a Cabinet Unit applied to the output, which can add the characteristic timbre of 11 di erent cabinet types.

Finally the level of the sound can be controlled by the input and output gain parameters.

The Midas EQ is a four-band sweep parametric equalizer taken from the Midas Pro X console that allows tonal control of the input signal via the parametric EQ section. The mid bands also have a Q Factor adjustment to tailor the shape of the EQ curve. The four bands are low, low mid, high mid and high. Any combination of the four bands can be used to control the signal.

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Rack Ampli er

Modelled after the Tech 21 SansAmp, the Stereo / Dual Guitar Amp simulates the sound of plugging into a real guitar amp. From shimmering cleans to saturated crunch, the Stereo / Dual Guitar Amp allows an electric guitar player to sound great without using an amp on stage. The PREAMP knob adjusts the amount of input gain prior to the band-speci c distortion adjustment. BUZZ adjusts the low-end breakup, PUNCH adjusts the midrange distortion, and CRUNCH tailors the high-frequency content and distortion for smooth or cutting notes. The DRIVE knob simulates the amount of power amp distortion from a tube amp. The LOW and HIGH knobs allow EQ adjustment independent of distortion content, and the overall output is controlled by the LEVEL knob. There are 11 CABINET emulations which can be selected using the CAB parameter. The CABINET simulation can also be bypassed which allows the e ect to function like a boost or distortion pedal.

Edison EX1

The EDISON EX1+ is a remarkably e ective tool that allows manipulation of the stereo  eld. The e ect o ers stereo and mid/side input and output and a phase correlation meter. Exaggerate the stereo  eld with the ST SPREAD knob and adjust the ratio of mono to stereo content with the BALANCE knob. The CENTER DIST knob allows the mono content to be panned. Compensate for level changes with the OUTPUT GAIN knob.

Auto-Pan

Auto-pan creates an up and down volume change at a constant and even tempo just like the guitar amps of yesteryear. Use the Auto-pan to add a unique “surfmusic” texture.

SPEED adjusts the LFO rate and DEPTH sets the amount of modulation. PHASE can be used to set an LFO phase di erence between the left and right channel, which can be used for panning e ects. The WAVE knob blends the LFO waveform between triangular and square shape. The signal envelope, shaped by ATTACK, HOLD and RELEASE, can be used to modulate the LFO speed (ENV SPEED) and the LFO modulation depth (ENV DEPTH).

NoiseGate

The Noise Gate not only handles the duties of a traditional version, but also o ers enhanced "Transient Accenting" characteristics to gated signals. Enhance the attack envelope beyond merely opening the gate, and provide up to 12 dB of additional transient energy to percussive programs. In many cases the DN265's control over transients may prove to be a viable alternate to EQ.

Attack is exponential which means it can be set extremely fast to reduce signal loss at the start of sounds while remaining sonically transparent - no clicks.

Gate release is reverse exponential so it can be set relatively fast and blend in seamlessly with the natural decay of the material.

Delay

Stereo Delay provides independent control of left and right delay (echo) times and features high and low pass  lters for enhanced tone shaping of the delayed signals. Use the Stereo Delay to give your mono signals a wide presence in the stereo  eld.

The MIX control lets you blend the source signal and the delayed signal. TIMEadjusts the master delay time up to three seconds. LO CUT adjusts the low frequency cut, allowing lower frequencies to remain una ected by the delay. HI CUT adjusts the high frequenc y cut, allowing higher frequencies to remain una ected by the delay. FACTOR L sets the delay on the lef t channel to rhythmic fractions of the master delay time. FACTOR R sets the delay on the right channel to rhythmic fractions of the master delay time. OFFSET LR adds a delay di erence between the lef t and right delayed signals. The FEED LO CUT/HI CUT adjusts  lters in the feedback paths. FEED L and FEED R control the amount of feedback for the left and right channels. MODE sets the feedback mode: Mode ST sets normal feedback for both channels, X crosses feedbacks between left and right channels. M creates a mono mix within the feedback chain.

3-Tap Delay

Sometimes called a 3-Tap Delay, the Triple Delay provides three delay stages with independent frequency, gain, and pan controls. Create time-based echo e ects with the Triple Delay to increase the sense of stereo separation.

TIME sets the master delay time, which is also the delay time for the  rst stage. GAIN T sets the gain level of the  rst stage of the delay. BASE T sets the position of the  rst delay stage in the stereo  eld. X-FEEDindicates that stereo crossfeedback of the delays is active. FEEDBACK adjusts the amount of feedback. FACTOR A controls the amount of delay time in the second stage of the delay. GAIN A controls the gain level of the second delay stage. PAN A sets the position of the second delay stage in the stereo  eld. FACTOR B controls the amount of delay time in the third stage of the delay. GAINB controls the gain level of the third delay stage. PAN B sets the position of the third gain stage in the stereo  e l d .

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4-Tap Delay

The 4-Tap Delay provides 4 stages of delay with independently adjustable gain and rate, allowing unique syncopation to be created in the layered repeats.

TIME sets the master delay time, which is also the delay time for the  rst stage. GAIN sets the gain for the  rst stage. SPREAD positions the  rst delay stage in the stereo  eld. A global FEEDBACK adjustment is also available. FACTOR A, B and C adjust the delay rate relative to the global TIME setting for the 2nd, 3rd and 4th stages respec tively. Each stage also has its own GAIN adjustment. X-FEED indicates that stereo cross-feedback of the delays is active.

Tel-Ray Delay

Inspired by the original Tel-Ray hardware from the 1960's using a tuna can, some oil and a motor. It has a very simple set of controls but allows you to create delays, echo, chorus, vibrato and reverb type e ects. An incredibly versatile and creative e ect which has a lush and unique character.

DELAY controls the delay time. SUSTAIN controls how long the delay is sustained for. WOB controls the amount of wobble which is caused by age and quality of materials in the original hardware.

Decimator Delay

Modulation Delay + Reverb

Modulation Delay combines three of the most used time modulation e ects into one easy-to-operate unit, featuring true-stereo delay with a lush chorus, toppedo with three reverb models to choose from.

The BALANCE knob adjusts ratio of delay to reverb. The processor chain can operate as serial where one e ect  ows into the next, or parallel where each e ect is applied to the source signal independently. TIME, FEED(back), LOWand HI CUT all a ect the delay. Modulation DEPTH and SPEED are adjustable. Threetypes of reverb are available – ambience, club and hall – with adjustable DECAY and HI DAMP.

Chorus

Chorus samples the input, slightly detunes it and mixes it with the original signal to produce a somewhat thicker, shimmering sound. Use it to thicken up background vocals, or to double the sound of brass and woodwind instruments.

Where as DELAY L/R set the total amount of delay for the left and right channel, WIDTH determines the amount of modulated delay. SPEED sets the modulation speed. MIX adjusts the balance of the dry and wet signals. You can further sculpt the sound by trimming some of the low and high end from the e ected signal with the LO and HI CUT knobs. Additionally, the PHASE knob can tweak the phase o set of the LFO between left and right channel and the SPREAD knob adjusts how much of the left channel is mixed into the right and vice versa. Finally,theWAVE knob blends between the “Danish-style” digital triangular chorus sound and the classic analog sine wave.

This is a delay e ect including a decimator unit in its chain. It will decimate the sound by reducing the sampling frequency and the bit-depth. The Decimator Delay is a creative tool that can be used in many ways, from emulating the aliasing noise, found in older samplers, to generating complex, low- and rough delay lines.

Decimate the sound by adjusting the DOWNSAMPLE and BIT-REDUCE. The  lter section will help you manipulate your preferred frequencies to smooth or retain the grittiness of the sound. The TIME, FACTOR and FEEDBACK parameters will handle the delay behavior. The DECIMATE (PRE-POST) parameter will set the decimation to a ect the input source or the only the delay line accordingly.

Dimensional Chorus

The Dimensional Chorus o ers the most user-friendly and classic sounds, bestdescribed as “space” and “dimensional”. The 4 MODE switches can be engaged individually or simultaneously for light chorus or very thick, exaggerated modulation.

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Flanger

The Flanger emulates the phase-shif ting sound (comb- ltering) originally created by applying pressure against the  ange of the reel on a tape recorder. This e ect creates a unique “wobbly” sound that is quite dramatic when used on vocals and instruments.

The controls of this e ect are nearly identical to the Chorus e ect block. Additionally, the FEEDBACK can be adjusted with positive and negative amounts and also band-limited with the FEED HC (high-cut) and FEED LC (low-cut) knobs.

Phaser

A Stereo Phaser, or phase shifter, applies multiple STAGES of modulated  lters to the input signal to create a “notch” in the frequency response, and then applies a MIX with the original for a “swirling” e ect. Use the Stereo Phaser to add a “spaced-out” sound to vocal or instrument tracks.

Stereo / Dual Pitch

Pitch shifting is of ten used in two di erent ways. One is to set the Mix knob lower and only use the Cent knob to make a small o set in pitch between the wet and dry tones. This results in a “voice doubling” e ect that thickens the overall sound in a more subtle way. The extreme use of the e ect is to turn the Mix knob fully clockwise so the entire signal is e ected. This way, the signal can be shifted into other keys up to an octave above or below the original. When used on a voice, this results in a “chipmunk” sound or a low Darth Vader e ect.

When the SEMI and CENT knobs are set at 12:00, the pitch is not altered. Makingadjustments by semitone will have a very pronounced e ect, whereaschanges to the CENT knob will be very minor. The DELAY knob creates a time di erence between the wet and dry sound. The LO and HI CUT knobs allow the e ected signal to be band-limited. The Dual Pitch e ect allows the leftandright channels to be adjusted independently, and allows GAIN compensation andpanning of the two channels.

Rotary Speaker

SPEED adjusts the LFO rate and DEPTH sets the LFO modulation depth. The BASE knob adjusts the frequency range of the modulated  lters. The resonance is adjusted with the RES knob. The WAVE knob shapes the symmetry of the LFO waveform and PHASE dials in an LFO phase di erence between the left and right channel. The modulation source can also be the signal envelope, which produces vowel-like opening and closing tones. The ENV knob adjusts how much this e ect takes place (positive and negative modulation is possible), and the ATTACK, HOLD and RELEASE knobs all tailor the response of this feature.

Mood Filter

The Mood Filter uses an LFO generator and an auto-envelope generator to control a VCF (voltage-controlled  lter), as well as a side chain function where the channel B signal controls the envelope of channel A.

This  lter can be modulated with the signal’s envelope using the ENV MOD (withpositive and negative amounts), ATTACK and RELEASE knobs, or the LFOcan modulate the  lter. The WAVE knob selects between 7 di erent wave forms–triangular, sine, saw plus, saw minus, ramp, square, and random. ThePHASE can be o set by up to 180 degrees. The SPEED knob adjusts the rate of the LFOand the DEPTH adjusts the amount of LFO modulation. Adjustthe resonance of the  lter until self-oscillation with the RESO(nance) knob. BASEadjusts the range of the  lter from 20 Hz to 15 kHz. The MODE switch selects between low pass (LP), high-pass (HP), band-pass (BP) and Notch. Use the MIXknob to blend the e ected signal with the dry sound. With the 4 POLE switch engaged, there will be a steeper slope than the OFF (2 pole) setting. The DRIVE knob adjusts the level and can also introduce an overdrive e ect (as with real analog  lters) if pushed hard.

Rotary Speaker emulates the sound of a Leslie rotating speaker. The Rotary Speaker provides more  exibility than its electromechanical counterpart, andcan be used with a variety of instruments, and even vocals, to create a whirling, psychedelic e ect.

The LO SPEED and HI SPEED knobs adjust the rotational speed of the SLOWand FAST Speed selection, and can be toggled with the FAST switch. TheACCEL(eration) knob adjusts how quickly the speed increases and decreases from the Slow mode to the Fast mode. The rotation e ect can also be disengaged with the STOP switch, which will stop the movement of the speakers. DISTANCEadjusts the distance between the Rotary speakers and the virtualmicrophone.

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9.3 E ects Parameters

Note: E ects parameters which appear as modulation destinations are marked with a '*'.

TC-DeepVRB (TC DEEP REVERB)

No DM12 REF PARAMETER UNITS MIN MAX DESCRIPTION

1 PST Preset — — — Options: Ambience, Church, Gate, Hall, Lo Fi, Modulated, Plate, Room, Spring, Tile, Default.

2* DCY Decay s 0.1 s 6.0 s Controls the amount of time it takes for the reverb to dissipate (range is preset dependant).

3* TON Tone % -50.0% 50.0% Enhances high frequencies/low frequencies for positive/negative settings respec tivly.

4 PDY PreDelay ms 0.0 200.0 ms Controls the amount of time before the reverb is heard following the source signal.

5* MIX Mix % 0.0% 100% Controls the mix (or ratio) of wet (processed) and dry (unprocessed) signals.

AmbVerb (AMBIENT REVERB)

No DM12 REF PARAMETER UNITS MIN MAX DESCRIPTION

1 PD PreDelay ms 0.0 200.0 ms Controls the amount of time before the reverb is heard following the source signal.

2* DCY Decay s 0.2 s 7.3s Controls the amount of time it takes for the reverb to dissip ate.

3 SIZ Size — 2.0 100.0 Controls the perceived size of the space being created by the reverb.

4* DMP Damping Hz 1000 Hz 20000 Hz Adjusts the decay of the high frequencies within the reverb tail.

5 DIF Di usion — 1.0 30.0 Controls the initial re ection densit y.

6* MIX Mix % 0.0% 100% Controls the mix (or ratio) of wet (processed) and dry (unprocessed) signals.

7* LC LoCut Hz 10.0 Hz 500.0 Hz Allows the low f requencies a ected by the reverb to be reduced.

8* HC Hi Cut Hz 200.0 Hz 20000.0 Hz Allows the high frequencies a ected by the reverb to be reduced.

9 MOD Mo d % 0.0% 100% Controls the reverb tail mo dulation depth.

10* TGN TailGain % 0.0% 100% Adjusts the volume of the reverb tail.

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RoomRev (ROOM REVERB)

No DM12 REF PARAMETER UNITS MIN MAX DESCRIPTION

1 PRE PreDelay ms 0.0 200.0 ms Controls the amount of time before the reverb is heard following the source signal.

2* DCY Decay s 0.3 s 28.9 s Controls the amount of time it takes for the reverb to dissipate.

3 SIZ Size m 4.0 m 76.0 m Controls the perceive d size of the space being created by the reverb.

4* DMP Damping Hz 1000 Hz 20000 Hz Adjusts the decay of the high frequencies within the reverb tail.

5 DIF Di usion % 0.0% 100% Controls the ini tial re ection density.

6* MIX Mix % 0.0% 100% Controls the mix (or ratio) of wet (processed) and dry (unprocessed) signals.

7* LC LoCut Hz 10.0 Hz 500.0 Hz Allows the low f requencies a ected by the reverb to be reduced.

8* HC Hi Cut Hz 200.0 Hz 20000.0 Hz Allows the high frequencies a ected by the reverb to be reduced.

9* LFX BassMult - - 0.2 4.0 Controls the low frequency build-up.

10 SPR Spread -- 0.0 50.0 Emphasizes the stereo e ect of the reverb.

11* SHP Shape -- 0.0 250.0 Adjus ts the contour of the reverberation envelope.

12 SPI Spin % 0.0% 100% Controls randomization / modulation e ects within the reverb.

VintageRev (VINTAGE ROOM REVERB)

No DM12 REF PARAMETER UNITS MIN MAX DESCRIPTION

1 PRE PreDelay ms 0.0 200.0 ms Controls the amount of time before the reverb is heard following the source signal.

2 SIZ Size % 1.0% 100% Controls the perceived size of the space being created by the reverb. A ec ts DECAY range.

3* DCY Decay s 0.1 s 20.7 s Controls the amount of time it takes for the reverb to dissipate. Range dependant on SIZE.

4* LFX Lo Mult -- 0.1 10.0 Controls the low frequency build-up.

5* HFX Hi Mult -- 0.1 10.0 Controls the high frequency build-up.

6* DEN Density % 0.0% 100% Manipulates the re ection density in the simulated room.

7* LC LoCut Hz 10.0 Hz 500.0 Hz Allows the low f requencies a ected by the reverb to be reduced.

8* HC Hi Cut Hz 200.0 Hz 20000.0 Hz Allows the high frequencies a ected by the reverb to be reduced.

9* ERL ER Level % 0.0% 100% S et the early re ection times.

10 ERD ER D elay ms 0.0 200.0 ms Sets the loudness of the early re ec tion level.

11* MIX Mix % 0.0% 100% Controls the mix (or ratio) of wet (processed) and dr y (unprocessed) signals.

12* FRZ Freeze -- OFF ON Applies freeze mode and blends signals into a continuous response.

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HallRev (HALL REVERB)

No DM12 REF PARAMETER UNITS MIN MAX DESCRIPTION

1 PD PreDelay ms 0.0 200.0 ms Controls the amount of time before the reverb is heard following the source signal.

2* DCY Decay s 0.2 s 4.9 s Controls the amount of time it takes for the reverb to dissipate.

3 SIZ Size -- 2.0 200.0 Controls the perceived size of the sp ace being created by the reverb.

4* DMP Damping Hz 1000 Hz 20000 Hz Adjusts the decay of the high frequencies within the reverb tail.

5 DIF Di usion -- 1.0 30.0 Controls the initial re ection density.

6* MIX Mix % 0.0% 100% Controls the mix (or ratio) of wet (processed) and dry (unprocessed) signals.

7* LC LoCut Hz 10.0 Hz 500.0 Hz Allows the low f requencies a ected by the reverb to be reduced.

8* HC Hi Cut Hz 200.0 Hz 20000.0 Hz Allows the high frequencies a ected by the reverb to be reduced.

9* LFX BassMult - - 0.5 2.0 Controls the low frequency build-up.

10 SPR Spread -- 0.0 50.0 Emphasizes the stereo e e ct of the reverb.

11* SHP Shape -- 0.0 250.0 Adjus ts the contour of the reverberation envelope.

12 MOD ModSpeed -- 0.0 100.0 Controls the reverb tail modulation rate.

ChamberRev (CHAMBER REVERB)