Clavia Nord Lead 2 User Manual

Table Of Contents Page 1

Table Of Contents

Introduction 5

Welcome! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

About This Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Clavia on the Net . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Connections 7

Connecting Pedals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Basic Operations 9

Demo Play Function. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Basic MIDI Settings for the Nord Rack. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Selecting Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Selecting Percussion Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Using the Slots To Switch Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Layering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Replacing One Program In the Layer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Splitting the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Selecting Performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Monophonic and Polyphonic Operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Stereo/Mono. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Pitch Stick and Modulation Wheel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Master Tune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Using a Sustain Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Using a Control (Expression) Pedal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

The “Panic” button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Editing Programs 21

Changing An Existing Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Changing One Sound In A Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Getting Back To The Programmed Sound. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Using Manual Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Customizing Manual Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Storing Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Copying Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Using PCMCIA Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Programming Velocity Sensitivity 25

The Filter Velocity Function. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Making Any Parameter Velocity Dependent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Clearing Velocity Programming For One Knob. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Clearing All Velocity Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Morphing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Page 2 Table Of Contents

Percussion Kits 29

Selecting and playing a Percussion Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Editing the sounds in a Percussion Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Copying, Extracting and Importing individual Percussion sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Saving Percussion Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Sys Ex Dumps of Percussion Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Using Percussion Kits in Performance Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Performances 33

What Are Performances? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Recalling A Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Editing the Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Extracting Single Sounds from a Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Saving a Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Exiting Performance Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

What a Performance contains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Panel Reference 37

Oscillator 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Oscillator 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Settings For Both Oscillators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Amplifier. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

LFO 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

LFO 2/Arpeggiator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

LFO 2:Arpeggiator Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

LFO 2:LFO Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Modulation Envelope. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Mod Wheel Destination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Poly Legato Mono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Unison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Portamento. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Oct Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Shift Functions 57

Accessing The Shift Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Tune (Master Tune) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Out Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Local . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Prog/Ctrl. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

MIDI Channel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Special . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

MIDI 69

About the MIDI Implementation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Using Nord Lead 2 With a Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Bulk Dump. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Table Of Contents Page 3

About Subtractive Synthesis 75

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

The Building Blocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

The Oscillators and Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

The Filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

The Amplifier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

LFOs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

MIDI Implementation 91

Controller Number List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

System Exclusive Implementation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Factory Settings 101

Factory Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Factory Percussion Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Factory Performances. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

About the Organ Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

About the Prophet-5 factory sound recreations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Restoring the Factory Programs in RAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

MIDI Implementation Chart 109

Index 111

Page 4 Table Of Contents

Introduction Page 5

1. Introduction

Welcome!

We’d first like to thank you and congratulate to the purchase of a Nord Lead 2. You’re about to begin a
journey into the world of
analog synthesizers in a way no one thought was possible.
digital instrument, remaining true to the traditional analog concept, and still managing to go beyond it!.

But not all the magic lies in the sound creation. A major part is in the front panel, comprehensive, clearly
laid out and smooth to operate.

About This Manual

If you have some basic knowledge about programmable synthesizers, you probably won’t need this
manual much. Therefore it is arranged mainly as a reference text for those rare situation where something
isn’t as obvious as it should be.

virtual analog

synthesis.

Analog

because the Nord Lead 2 mimics traditional

Virtual

because the Nord Lead 2 is actually a

Clavia on the Net

If you have access to the World Wide Web you can get free sounds for your Nord Lead 2 at
www.clavia.se. Here you will also find all the latest information about the Nord Lead 2 and other Clavia
products.

Page 6 Introduction

Connections Page 7

2. Connections

▼

Make all connections before turning on your power amplifier!

▼

If you are using a Nord Rack together with a MIDI keyboard, connect a MIDI cable from MIDI Out on the
keyboard to MIDI In on the Nord Rack.

▼

All signal cables used with the Nord Lead 2 must be shielded.

▼

All four Outputs (A-B-C-D) are line level.

▼

If you connect the Nord Lead 2 in stereo to your audio equipment, you should use Outputs A and B. For
mono connections, use Output A.

Midi In Midi Out Out D Out C Out B HeadphoneOut A

MIDI equipment (sequencer etc.) Audio equipment (mixer, PA etc)

Sustain

Pedal

Footswitch

Control

Pedal

Control pedal

Headphones

R

Page 8 Connections

Connecting Pedals

The Nord Lead 2 has two pedal inputs, one for a sustain pedal and one for a control pedal (an expression­type pedal, used to control various parameters in much the same way as the modulation wheel). Connect
the pedals as shown in the figure below:

▼

When connecting an expression-type pedal to the Control Pedal input, you should use a “stereo cable”.
Please note that the pedal must have a stereo output jack.

Sustain

Control

Out D Out C Out B HeadphoneOut A

Pedal

Pedal

▼

For information on how to set the Nord Lead 2 up for sustain or expression pedal, see page 18.

Basic Operations Page 9

3. Basic Operations

Demo Play Function

Before you try out the new features for yourself, you may want to listen to what can be done with the
instrument. Luckily, the Nord Lead 2 is equipped with a built-in demo playback function! There are six
demo songs in ROM, showing the instrument’s versatility and features in different contexts. To listen to
the demo songs, proceed like this:

1. Simultaneously press the Shift and Ring Mod/Sync (Demo) buttons.

OSC 2

POL Y
LEGATO
MONO

AUTO

RING MOD

SYNC

DEMO

OSC

1

SPECIAL SYSTEM

MORPH
OSC 2
FILTER

SHIFT

The Shift and Ring Mod/Sync buttons.

LFO 1
FM

Playback starts. During playback, all knobs and buttons on the panel are disabled, except for Master Vol­ume.

2. The demo songs are played back one after the other. If you want to move to the next or previous demo song,
press the Up or Down button in the Program section of the panel.

3. To exit demo play mode, press any other button on the panel.

Page 10 Basic Operations

Basic MIDI Settings for the Nord Rack

If you are using the Nord Rack and controlling it from a MIDI keyboard, the Nord Rack must be set to
receive on the same MIDI channel that the keyboard transmits on. To get started, proceed as follows:

1. Set the keyboard to transmit on MIDI Channel 1.

2. Press the Program Slot A button, so that the LED above the button is lit.

STORE

TUNE OUT MODE LOCAL PROG. CTRL

3. Hold down the Shift button and press the MIDI Ch (Unison) button.

MONOUNISON

AUTO

The MIDI Ch button

MIDI CH SPECIAL SYSTEM

SHIFT

MORPH
OSC 2
FILTER

LFO 1
FM

The Shift button

The display will now show the MIDI Channel setting for Slot A (1 – 16 or off).

4. Use the Program Up/Down buttons to select MIDI Channel 1.

The Program Up/Down buttons MIDI Channel 1 selected.

STORE

TUNE OUT MODE LOCAL PROG. CTRL

5. Press Shift again to return to the normal play mode.

If you use Slot A when you play the Nord Rack (if you like, together with other Slots), this simple setting
should be sufficient in most situations - even when playing Layers and Performances, as described later
in this manual. For more information, see page 71.

Basic Operations Page 11

The Trig button

If you don’t have a keyboard connected to your Nord Rack, you can still try out the sounds by using the
Trig button. Pressing this is equal to playing the note C3, with a velocity of 64.

CLEAR

TRIG

PERF. MODE

The indicator next to the Trig button will light up every time the Nord Rack receives a valid MIDI Note
message. This is an easy way to check that your MIDI connections are OK.

Selecting Programs

Program are sounds that you have prepared in advance. The basic memory in the Nord Lead 2 contains
99

Programs

. 40 of these can be used for storing your own Programs, see below.

There are also four

Program slots

labelled A to D. The slots can be used for layering and quickly switching

between programs as described below. They are also used when the Nord Lead 2 is played via MIDI.

1. Select a Program Slot to play by pressing one of the four buttons A to D.

When you are only playing one sound at a time, as you are now, you can select any slot.

STORE

Use these four
buttons to select a
“Program slot”.

TUNE OUT MODE LOCAL PROG. CTRL

This “slot” is selected
(lit up).

2. Use the Program Up/Down keys to select a Program for that slot.

Holding down a button scrolls the value quickly. Holding down the Shift key (the button above the Mod­ulation wheel) while pressing the buttons makes the value change in steps of ten.

Press these buttons to increase/
decrease the Program number.

If you hold down the Shift button while
you press the Up/Down keys, the Program

STORE

value will change in steps of ten.

TUNE OUT MODE LOCAL PROG. CTRL

SHIFT

MORPH
OSC 2
FILTER

LFO 1
FM

Page 12 Basic Operations

There are 99 Programs to select from. If you have a PCMCIA card inserted in the holder on the back, you
may have another 297 on this, arranged in three banks. The bank is indicated by the leftmost digit in the
display:

Selecting Percussion Kits

In addition to the 99 Programs in the basic memory, there are 10
consists of eight different virtual analog percussion sounds, arranged in zones across the keyboard. The
Kits are located “above” Program number 99, and numbered “P0” to “P9”.

If you have a PCMCIA card inserted in the holder on the back, you have access to a further 30 Percussion
Kits, 10 in each bank on the card.

▼

To select a Percussion Kit for a Slot, proceed just as when selecting a regular Program: Use the Program
Up/Down buttons to scroll to the desired Percussion Kit location.

STORE

TUNE OUT MODE LOCAL PROG. CTRL

Percussion Kit P0 selected.

For detailed information about how to play and edit the Percussion Kits, see page 29.

Percussion Kits

. Each Percussion Kit

Using the Slots To Switch Programs

The four Program Slots A to D can be thought of as four independent synthesizers, each capable of play­ing one Program or Percussion Kit. When you select one of the slots you will switch to play the Program
set for that slot.

For live performance, for example, you can set up each slot to play a different Program and quickly
switch between those four by pressing the buttons A to D.

Basic Operations Page 13

Layering

Activating

You can play more than one Program at a time. Proceed as follows:

1. Set up the Program slots to play the Programs you want to use.

2. To activate more than one Program slot, simply press all the Program Slot buttons you want to use, at the
same time.

All those slots’ LEDs light up. The one you pressed last is blinking. This will be the one you are editing
from the front panel, but more on this on page 21.

STORE

TUNE OUT MODE LOCAL PROG. CTRL

Slot B (blinking) is selected. Any editing
will apply to this Program slot.

Slots A and D (LEDs lit) are activated.

Slot C (LED dark) is not activated.

Deactivating

To turn of the layer, press a slot button that is not part of the layer, or press all the buttons that make up
the layer.

Polyphony

How many notes you can play when layering sounds depends on what Play modes and Unison settings
each Program uses. See page 54.

Replacing One Program In the Layer

You might want to select another Program for one of the slots in the layer:

1. Press the Program Slot button that you want to select Programs for.

Its LED will flash to indicate it is the

2. Select a new Program for that slot.

active slot

.

Page 14 Basic Operations

Splitting the Keyboard

The Keyboard Split function allows you to divide the keyboard in two sections, each playing a separate
Program. This can be extremely useful when you are playing live, since it lets you use the Nord Lead 2
as if it were two independent synthesizers, with different sounds. When Keyboard Split is activated, Slots
A and B will be played from the left part of the keyboard, while Slots C and D will be played from the
right part. Activate Keyboard Split as follows:

1. Select Slot A and select a Program for it. This will be the sound heard when you play the left part of the key­board.

2. Select Slot C and select a Program for it. This will be the sound heard when you play the right part of the
keyboard.

3. Press the buttons for Slot A and C at the same time, so that the indicators above both buttons stay lit.

4. Press the Kbd Split button. The green indicator next to the button lights up to indicate that the keyboard is
split.

CLEAR

KBD SPLIT

SPLIT POINT

PERF. MODE

If you now play the keyboard, you will hear the sound of Slot A from the left part of the keyboard, and
the sound of Slot C from the right part of the keyboard.

5. To exit the Keyboard Split mode, press the Kbd Split button again.

Setting the Split Point

You can set the Split Point (the key where the keyboard should be split) in the following way:

6. Hold down Shift and press the Kbd Split button.

The display shows the current Split Point for as long as you keep both buttons pressed.

STORE

TUNE OUT MODE LOCAL PROG. CTRL

7. While holding down both the Shift and Kbd Split buttons, press the lowest key for the right-hand section of
the keyboard. The display shows the name of the key you press.

8. Release the Shift and Kbd Split buttons.

Basic Operations Page 15

Combining Split and Layer

Since both Slots A and B will be played from the left part of the split keyboard, and Slots C and D from
the right part, you could split the keyboard and still play layers on each keyboard half. Just select all the
Slots you want to use, and activate Keyboard Split.

Selecting Performances

A Performance is a collection of four Programs, one for each slot. Furthermore, the Performance contains
information about which Programs should be active (layered), and settings for Keyboard Split.

In fact, a Performance also contains information about what MIDI Channels to use for each slot, and a
number of other settings, but this is described in detail on page 33. This text is only meant as a quick
introduction to playing the factory Performances.

1. If you have the rack version of the Nord Lead 2, make sure you transmit on MIDI Channel 1.

This is because the factory Performances are set to receive on MIDI Channel 1.

2. Enter Performance mode by pressing Performance.

The display shows the latest selected Performance.

The Performances are organised in 10 Banks, named alphabetically from A to L (the letters I and K are
excluded because they’re hard to write clearly on the display). In each Bank there are 10 Performances,
for a total of 100. If you have a PCMCIA card inserted, the Banks on the card are found after the internal
(ROM) Banks and labelled in the same way, but indicated with the digit 1, to the left in the display.

3. If you want to select another Bank (A to L), hold down Shift and press the Up and Down buttons.

4. To select a Performance in the Bank use the Up and Down buttons.

The Performance is instantly loaded and you can try it out. For a list of the factory Performances, see page

104.

Use the Up/Down buttons to change Performance (indicated by the
digit 1-9 to the right in the display).

STORE

If you hold down the Shift button,
you can change Performance Bank
(A-L) with the Up/Down buttons.

MORPH

LFO 1

OSC 2

TUNE OUT MODE LOCAL PROG. CTRL

SHIFT

FILTER

FM

5. When you are done, exit Performance mode by again holding down Shift and pressing Performance (Manual).

Page 16 Basic Operations

Monophonic and Polyphonic Operation

For each Program you can set a Play Mode (Poly, Mono, Legato). The exact nature of these modes is de­scribed on page 54.

To make a sound fatter, you can activate Unison. This reduces polyphony. See page 55 for details.

Press this button to turn
Unison on and off. The LED
above the button indicates
that Unison is activated.

MIDI CH SPECIAL SYSTEM

POL Y
LEGATO
MONOUNISON

AUTO

Stereo/Mono

If you are using more than one output, or headphones, you might want to know something about how
the sounds get positioned in the stereo image.

The complex answer is that this depends on the Out Mode settings as described on page 59. However,
the simple truth is that in the basic mode, which the Nord Lead 2 is set to when it comes from the factory,
all Programs are in mono. In fact, there’s one exception: If a Program is set to Unison, the instrument is
switched to stereo operation.

Pitch Stick and Modulation Wheel

Pitch Stick

The Pitch Stick is used to bend the notes, just as with a pitch bend wheel on traditional instruments. The
pitch stick differs from other pitch bend devices in a couple of ways:

▼ There is no dead centre in the middle of the throw. This allows you to use the pitch stick for natural vi-

brato, pretty much like a guitarist can.

▼ The effect on pitch is logarithmic, that is, the further you move the stick away from the centre position,

the more drastic the effect will be.

To set the range of the Pitch Stick, proceed as follows:

1. Hold down the Shift button and press the button labelled System.

Hold down the Shift button...

MORPH

MONOUNISON

MIDI CH SPECIAL SYSTEM

AUTO

SHIFT

...and press the button labelled System
(the LED above the button lights up).

OSC 2
FILTER

LFO 1
FM

Basic Operations Page 17

2. Press the System button repeatedly until the character to the left in the display says “br” (for Bend Range).

3. Use the Program Up/Down buttons to the left of the display, to change the value.

The table on page 68 shows you how many semi-tones each value in the display represents.

If the Pitch Stick should be malfunctioning on startup, the display will scroll the message “PITCH BEND
ERROR.”. The Nord Lead 2 will then work as usual, but the Pitch Stick will be disabled.

Modulation Wheel

The effect of moving the Modulation wheel can be different for each Program. You can change the func­tion by pressing the button just above the Modulation wheel. It steps between five possibilities. A de­scription of each can be found on page 53.

Master Tune

To tune the Nord Lead 2 to other instruments, proceed as follows:

1. Hold down the Shift button and press the button labelled Tune.

Hold down the Shift button...

TUNE OUT MODE LOCAL PROG. CTRL

...and press the button labelled Tune (the LED above the button lights up).

2. Use the Program Up/Down buttons to the left of the display, to change the value.

00 is normal 440Hz tuning. Lower pitches are indicated by a dot to the right of the number and values
higher than normal pitch are indicated without a dot. The values are in cents (hundreds of a semitone).

3. Press the Shift button again.

Using a Sustain Pedal

A foot switch connected to the Sustain Pedal input works as a sustain pedal on a piano. Set it up as fol­lows:

1. Hold down the Shift button, and press the “System” button.

2. Press the System button until the two first digits in the display are “SP”.

SHIFT

MORPH
OSC 2
FILTER

LFO 1
FM

3. Use the Program Up/Down buttons to switch the right digit between “0” (Sustain Pedal – open when pressed)
and “1” (Sustain pedal – closed when pressed).

4. Press the Shift button again.

Nord Lead 2 will also recognize Sustain Pedal messages via MIDI (Controller message 64).

Page 18 Basic Operations

Using a Control (Expression) Pedal

As indicated in the illustration on page 8, a regular expression pedal can be connected to the Control Ped­al input, using a stereo cable. The connected pedal will either duplicate the Modulation wheel or inde­pendently control one of a number of parameters. You can select different Control Pedal functions for
each of the four Program slots. Set it up as follows:

1. Hold down the Shift button, and press the “Special” button.

2. Press the Special button repeatedly, until the left character in the display is an “E” (for “Expression Pedal”).

3. Select a slot for which you want to set the pedal function by pressing one of the buttons A to D.

4. If you want the connected pedal to duplicate the functionality of the Modulation wheel, press the Program
Down button until the display shows “Eof”).

STORE

With this setting, the expression pedal will have the same function as the Modulation wheel.

5. If you instead want to select an independent control function for the pedal, press Store.

The display will flash, showing one of the abbreviations in the table below.

6. ‘Use the Program Up/Down buttons to select one of the following control functions:

Display shows: Pedal assigned to:

LFO 1 Amount.

LFO 2 Amount.

Filter Cutoff Frequency.

FM Amount.

Oscillator 2 Pitch.

7. After you have made your choice, press Store again.

You return to the “E” display.

8. Use the Program Up/Down buttons to select a control amount value (“1” to “7”).

This value (shown to the right in the display) determines the range of the pedal control signal. Lower
values give a smaller difference between the pedal’s “full up” and “full down” states. High values give a
big difference between the pedal’s up and down states.

Basic Operations Page 19

9. If needed, repeat steps 5 to 10 to set pedal control function for the other slots.

10. Press Shift to exit the Special menu and return to play mode.

Nord Lead 2 will also recognize Expression pedal messages via MIDI (Controller message 11).

The “Panic” button

If notes “get stuck” or the Nord Lead 2 behaves strangely all you need to do is hold down the Shift button
and press “Panic” (the Distortion button in the Filter section). This will execute an internal All Notes Off,
and reset certain parameters to normal values.

2
1

The Panic button.

HP 24 db

LP 24 db
LP 12 db

3

FULL

3

DISTORTIONVELOC ITY

PANIC

BP
NOTCH

+

LP

Page 20 Basic Operations

Editing Programs Page 21

4. Editing Programs

Changing An Existing Program

Actually, how to change a programmed sound can be described in one sentence: “twist the knobs and
press the buttons”. It is as simple as that!

▼ For information about editing Percussion Kits, refer to page 30.
▼ Don’t be afraid to edit and overwrite the RAM Programs in the internal memory (Program 01 - 40). If later

you want to restore any of the original RAM factory programs, they are backed up as ROM Performances
as described on page 108.

Changing One Sound In A Layer

If you have layered sounds you can still edit one of the sounds from the front panel. Proceed as follows:

1. Press the Program Slot button that you want to edit.

Its LED will flash to indicate it is the active slot.

2. Use the front panel to change the sound.

Getting Back To The Programmed Sound

If you have edited a Program and want to get back to the programmed original, proceed as follows:

1. Select another Program for that slot.

2. Select the first Program again.

It will now have reverted back to the way it was when you selected it last.

Using Manual Mode

KBD SPLIT

SPLIT POINT

PERF. MODE

The Performance/Manual button.

MANUAL

If you want to use the front panel to make up a sound from scratch, hold down Shift and press the Manual
(Performance) button. This leaves you with exactly the sound that the knobs and buttons on the panel
indicate (just as if the Nord Lead 2 was an old non-programmable instrument).

In Manual mode, the instrument only plays one Program, layering is not possible.

Page 22 Editing Programs

Customizing Manual Mode

When you enter Manual mode, the button functions (waveform select, modulation destinations etc.) will
be set to some default values, for a basic sound. However, if you would like Manual mode to be different
the next time you turn on power, proceed as follows:

1. Enter manual mode.

2. Set all button functions as you want them.

3. Press Store twice.

Storing Programs

Storing is done identically regardless if you are saving an edited Program or if you are saving from Manual
mode.

Saving a Program will permanently overwrite an existing Program. Be careful so that you don’t acciden­tally erase a Program you’d like to keep! However, there is no danger of permanently losing the Factory
Programs in RAM locations 01-40, since these are backed up as ROM Performances (see page 108).

1. Press the Store button.

The display flashes.

2. Use the Program Up/Down button to select a Program number.

You can play the now selected Program, in this mode, to decide if you want to replace it or not.

Only Program numbers up to 40 in internal memory Bank can be used for saving!. If you try to save in
higher program numbers, nothing will happen!

3. If you change your mind at this point, press the Program Slot you want to return to or hold down Shift and
press the Manual (Performance) button to return to Manual Mode.

4. If you decide to go ahead with overwriting the existing Program, press Store again.

The display stops flashing to indicate the Program has been saved.

Copying Programs

Copying Programs between memory slots is just a variation on Storing:

1. Select the Program you want to copy.

2. Press Store.

3. Use the Program Up/Down button to specify the memory location you want to copy the program to.

4. Press Store again.

Editing Programs Page 23

Using PCMCIA Cards

You can use a standard PCMCIA computer memory card in the slot at the back of the instrument. This
allows you to save another three Banks for a total of 297 programmable memory slots and 30 program­mable Percussion Kit locations, and 100 Performances (which in practice includes an additional 400 Pro­grams). PCMCIA cards are also perfect for “backing up” (making safety copies of important Programs and
Performances).

You can purchase Clavia cards at your Nord Lead 2 dealer. These come with sounds for your instrument,
but can be used to store your own.

If you purchase the card at a computer retailer you should ask for this: A 64 kilobyte S-RAM-based, bat-
tery-backed PCMCIA card. There are cards with larger memory capacity than 64 kByte but using one with
the Nord Lead 2 is simply a waste of money.

Formatting of New Cards

For the Nord Lead 2 to be able to use a new PCMCIA card, it has to be formatted. The instrument will do
this for you, if you perform the following steps:

1. Check that the card is not write protected.

This is done with a switch located directly on the card.

2. Insert the card.

The display will flash with the letters “Fo”.

3. To format the card, press Store.

Storing Programs On the Card

This is nothing different from storing into the internal memory Bank. When specifying where to store Pro­gram, simply select one of the memory slots above “99”, as when selecting Programs from the card (see
page 11).

Storing Performances On the Card

This is described on page 35.

Before storing, make sure the card is not write protected. If it is write protected, the display will not stop
flashing when you press Store the second time, to indicate the Program hasn’t been stored.

Page 24 Editing Programs

Updating Cards used with the original Nord Lead

If you have a PCMCIA S-RAM card formatted with the first Nord Lead, you need to update the card to be
able to properly save settings for the new parameters, and to have the old sounds play back right on the
Nord Lead 2. The instrument can do this for you if your card has already been formatted or updated for
the Nord Lead software version 2.x. This was the software update for the original Nord Lead, that added
several parameters and features. If your card is formatted for the first software version of the Nord Lead,
see the section at the bottom of this page.

In the updating process below, Programs 1-11 in Bank 1 on the card will be erased! Therefore, we rec­ommend that you first copy these Programs to other locations on the card, or save them in a sequencer
etc, by using System Exclusive data dump. After having updated the card, you can copy the sounds back
to locations 1-11 if you like.

The updating is done as follows:

1. Check that the card is not write protected.

2. Insert the card.

The display will flash with the letters “UP”.

3. To update the card, press Store.

If you have a card formatted for the first software version of the Nord Lead: In this case, the updating procedure
above will not work properly. It will allow you to use the card with the Nord Lead 2, but the old sounds
may sound different, with some parameters set to the wrong values. Therefore, we recommend that you
update your card to software version 2.x before updating it for use with Nord Lead 2. To do this, you
need to insert the unprotected card into a regular Nord Lead running software version 2.x. When the dis­play flashes with the letters “UP”, press Store. Now the card is updated for software version 2.x, and can
be updated to Nord Lead 2 format.

Programming Velocity Sensitivity Page 25

5. Programming Velocity
Sensitivity

The Filter Velocity Function

Press this button to make the Filter Envelope Amount respond to velocity.
The LED indicates that the Velocity function is activated.

VELOC ITY

The quickest way to make a Program velocity sensitive, is to activate the Velocity function in the Filter
section. This makes the Filter Envelope Amount vary with striking force, to a pre-determined degree. See
page 46 for details.

Making Any Parameter Velocity Dependent

You can make any continuous parameter (those controlled with knobs) react to velocity. You can also
set the maximum and minimum boundaries for this, yourself.

Setting The Range

1. Set the parameter to the value you want it to deliver when you play with minimum force.

2. Press the Velocity/morph Assign button.

The LED over the button will flash, indicating that the Nord Lead 2 is in “Velocity Learn” mode.

3. Turn the knob to the value you want it to have at maximum striking force.

You can try out different settings for maximum velocity until you find the most suitable. While the Nord
Lead 2 is in “Velocity Learn” mode, you can set ranges for as many parameters as you wish.

4. Press the Velocity/Morph button again.

Page 26 Programming Velocity Sensitivity

The Velocity/Morph LED is now lit to indicate that at least one parameter in the sound is velocity depend­ant. What you have done now is to set the range, the span within which the parameter will change with
velocity.

If you press the Velocity/Morph button...

ASSI GN

...and move a knob from here to there...

CLEAR

KBD SPLIT

...this range will be the

SPLIT POINT

PERF. MODE

one that the parameter
varies within.

5. Turn the knob back to the value you want it to have when you play with minimum force.

What you did now was moving the entire range, as described below.

Set the value you want the
parameter to have when you

If you have set the range as described in the previous picture,
this will be the value you get when playing with maximum force.

play with minimum force.

RING MOD

SYNC

OSC

DEMO

1

6. Play the Program to try out the effect.

RING MOD

SYNC

DEMO

OSC

2

Please note that any two values can be used when setting the range. To make a parameter value decrease
when you play with more force, i.e. have “reversed” velocity response, simply use a low value for the
“maximum force “setting and a higher value for the “minimum force” setting, when you are defining the
range.

Programming Velocity Sensitivity Page 27

Moving the Range

As explained above, step 1 to 4 sets the range of the parameter, how far it should be between the mini­mum and maximum values.

If you then turn a knob that has been programmed for velocity sensitivity, without holding any buttons
or anything, you will adjust the minimum value only and the maximum value will move with it, accord­ingly.

If you adjust the value for a parameter programmed for velocity control,
you move the entire velocity control range up/down:

This minimum value will result in this maximum value.

This minimum value
will result in this
maximum value.

Clearing Velocity Programming For One Knob

1. Turn the knob to its lowest value.

2. Press the Velocity/Morph button.

3. Turn the knob a bit up and then back to its lowest value.

4. Press the Velocity/Morph button again.

The Velocity/Morph function is now cleared for the knob.

5. Turn the knob back up to any desired value.

When velocity programming is cleared for all knobs, the Velocity/Morph LED goes out.

Clearing All Velocity Programming

To clear all velocity programming, hold down Shift and press the Velocity/Morph Assign button.

Page 28 Programming Velocity Sensitivity

Morphing

Morphing is a term used to describe a continuous blend or “transfer” between two images, sounds or sim­ilar. As described above, the Velocity/Morph function in Nord Lead 2 is normally controlled by velocity.
But you can route the function to the modulation wheel instead which allows you to continuously fade
between two sounds – morphing!

The only thing you have to do to activate morphing for a sound that’s already set up for velocity control
is to press the Mod Wheel destination button until Morph is the only lit indicator:

Push this button... ...until only the Morph LED is lit.

MORPH

LFO 1

OSC 2

FM

FILTER

SHIFT

However, if you are setting up a Morph sound from scratch, we recommend the following procedure:

1. Press the Mod Wheel destination button until only the Morph indicator is lit.

2. Make sure the Modulation wheel is all the way down.

3. Set up the basic Program as you want it.

4. Move the Modulation wheel all the way up.

5. Press Velocity/Morph button and adjust the knobs so that the Program sounds the way you want it at “the
other end” of the Morph.

6. Press Velocity/Morph again.

7. Play and move the Mod Wheel to try out the effect.

You can also use an Expression pedal for Morphing, see page 18.

Please note that the Velocity function in the Filter section can be used even if Morphing is active, so that
a Program can be basically Velocity sensitive even though Morphing is activated.

Percussion Kits Page 29

6. Percussion Kits

The Nord Lead 2 Percussion Kits consist of eight different virtual analog percussion sounds, arranged in
zones across the keyboard. They allow you to incorporate percussion patterns in your music without us­ing up more than one Nord Lead 2 Program Slot.

Selecting and playing a Percussion Kit

1. Select the slot where you want the Percussion Kit.

You can select Percussion Kits for all four slots if you like, giving you a total of 32 different percussion
sounds available simultaneously.

2. Use the Program Up/Down buttons to scroll past Program number 99 and select one of the Percussion Kits.

There are ten Percussion Kits in ROM, located directly after the “regular” Programs and labelled “P0” to
“P9”. For example, select Percussion Kit P0.

STORE

TUNE OUT MODE LOCAL PROG. CTRL

Percussion Kit P0 selected in Program Slot C.

3. Use the white keys to play the percussion sounds in the selected Kit.

There are eight different percussion sounds in each Percussion Kit, arranged in zones across the key­board like this:

Drum Sound 1

Drum Sound 2

Drum Sound 3

Drum Sound 4

Drum Sound 5

Drum Sound 6

Drum Sound 7

Drum Sound 8

If you for example press the lowest keys F, G, A or B with Percussion Kit P0 selected, you will play a
snare sound. A list of the ROM Percussion Kits and their sounds is supplied in page 102.

The keys in a zone will produce different pitches, just as if you played the sound as a regular Program.
However, some percussion sounds are not programmed to respond to keyboard pitch.

Page 30 Percussion Kits

Editing the sounds in a Percussion Kit

While the white keys are used to play the percussion sounds, the black keys are used for selecting which
sound to make changes for:

Drum Sound 1

If for example you want to edit the snare sound in kit P0, proceed as follows:

1. Select Percussion Kit P0 as described on the previous page.

2. Press one of the keys F#, G#, A# in the lowest octave.

The display will briefly show “-2”, indicating that percussion sound number 2 is selected for editing.

Drum Sound 2

Drum Sound 3

Drum Sound 4

STORE

Drum Sound 5

Drum Sound 6

Drum Sound 7

Drum Sound 8

TUNE OUT MODE LOCAL PROG. CTRL

3. Now you can use the knobs and buttons on the panel to edit the selected percussion sound to your liking,
just as in regular Nord Lead 2 programs.

You can play the other sounds freely while editing the selected sound, as long as you don’t press any
other black key (since this would select another sound for editing).

There is one limitation when programming the percussion sounds: All of the sounds in a Percussion Kit
will share the same LFOs. The Nord Lead 2 will use the LFO rate, waveform and destination settings of
the last played percussion sound.

4. When you’re satisfied with the first sound, press another black key to select another percussion sound for
editing, according to the figure above.

Edited Percussion Kits cannot be saved in the ROM Bank of the Nord Lead 2. To save Percussion Kits,
you can either use an optional PCMCIA S-RAM card or dump MIDI Sys Ex data to a sequencer or MIDI
recorder (see page 73).

Percussion Kits Page 31

Copying, Extracting and Importing individual
Percussion sounds

You can easily copy a percussion sound for use in another zone. This zone can be in the same Percussion
Kit or in another one. You can also “extract” the percussion sound and save it as a regular Program.

If you want to copy the percussion sound to a zone within a Percussion Kit, the destination Percussion
Kit must be on a PCMCIA S-RAM Card, since you cannot save any changes in the ROM Percussion Kits.

1. Locate the zone of the percussion sound you want to copy/extract. Hold down a black key in this zone and
press Store.

The display flashes.

2. Scroll to the Program or Percussion Kit location to which you want to copy the percussion sound.

3. If you have selected a regular Program to save the sound in, just press Store again.

4. If you want to save the sound in a zone in a Percussion Kit, hold down a black key in the destination zone and
press Store.

You may also want to “import” a sound that is currently a regular Program, and use it as a part of a Per­cussion Kit. Proceed as follows:

1. Select the Program and press Store.

2. Scroll to the Percussion Kit location to which you want to copy the sound.

3. Hold down a black key in the zone to which you want to copy the percussion sound, and press Store again.

Again, the destination Percussion Kit must be in one of the three Banks on a PCMCIA card.

Saving Percussion Kits

As already stated, an edited Percussion Kit cannot be saved internally in the Nord Lead 2. To save your
changes, you have to use a PCMCIA S-RAM card:

1. After editing the percussion sounds, press Store.

The display flashes.

2. Use the Up and Down buttons to select a Percussion Kit location in one of the Banks on the PCMCIA card.

In each of the three Banks on the card, there are ten Percussion Kits, located above program number 99
and labelled “P0” to “P9” like in the ROM Bank. As with regular programs on the PCMCIA card, dots are
used to indicate which of the three Banks is currently selected (see page 11).

3. Press Store.

The edited Percussion Kit is saved at the selected location on the card.

Page 32 Percussion Kits

Sys Ex Dumps of Percussion Kits

You can transmit and receive Sys Ex data that contains all settings for a single Percussion Kit, just as for
a regular Program. However, there are a couple of things to note:

▼ You’ve got to initiate the dump from Program Mode, not from Performance mode!

If you make a Sys Ex dump from Performance mode, the actual parameters of the Percussion Kit will not
be included in the dump, only a reference to which Percussion Kit is used in the Performance.

▼ Before receiving a Percussion Kit data dump, you must select a Percussion Kit for the “receiving” slot.

If you attempt to receive a Percussion Kit into a slot which plays a regular Program (1-99), nothing will
happen. Likewise, you cannot receive regular Program Sys Ex data into a slot which plays a Percussion
Kit (P0-P9).

Using Percussion Kits in Performance Mode

In Performance mode, there is one big difference between regular Programs and Percussion Kits:

A Percussion Kit in a Performance is only a reference to the original!

Any changes you make to a Percussion Kit in Performance mode, will not be included when you save
the Performance. If you want to edit your Percussion Kit for use in a Performance, there are two ways of
doing this:

▼ Edit and store your Percussion Kit in Program Mode (you might want to save it on another location, to

preserve the original, unedited Kit). Then go to Performance Mode and select your edited Percussion Kit
for one of the Slots.

▼ Edit the Percussion Kit in Performance Mode. Then, for each edited Percussion sound in the Kit, select

the sound by pressing a black key in that zone and press Store twice. Note however, that this will change
the original Percussion Kit, and all Performances that use this Percussion Kit will be affected by the
changes!

Performances Page 33

7. Performances

What Are Performances?

Performances allow you to call up four Programs at a time in a live situation, or to recall complete setups
when sequencing via MIDI. The Nord Lead 2 comes with 100 Factory Performances in ROM. Some of
these make use of two, three or four slots, while some are single-slot Performances, effectively serving
as extra ROM Patches. Please note:

▼ You can edit the selected ROM Performance as desired, but you cannot save your changes internally.
▼ To save an edited Performance, you need an optional PCMCIA S-RAM card. On a card, there is room for

100 Performances, located after the ROM Performances, and indicated with the digit “1” to the left of the
Bank and Performance numbers in the display.

▼ You can transmit edited Performance data via MIDI Sys Ex, for storage in an external sequencer, etc.
▼ If the Performance contains a Percussion Kit, only the reference to the Kit Location will be saved with the

Sys Ex dump! To include the parameters for the Percussion Kit, you need to make a separate Sys Ex dump
of the Percussion Kit, from Program mode (not from Performance mode).

▼ You can receive Sys Ex data for one Performance at a time into the edit buffer. If you for example use

Nord Lead 2 multitimbrally together with a sequencer, it is often practical to place a Sys Ex Performance
data dump in the beginning of your song, to select sounds, initialize global settings, etc.

The Factory Performances include several life-like drawbar organ simulations, created using a special
“pseudo-additive” synthesis method. Some of the sounds include famous sound artifacts such as “hum”
and “click” as well as rotating speaker effects, accomplished with Nord Lead’s Morph function. Among
the Performances you can also find recreations of over 40 original factory patches from the classic vintage
synthesizer Prophet 5. Sounds and applications are described on page 104.

Later in this text follows a detailed list of what settings are contained in a Performance.

To store Performances you need to have a PCMCIA card inserted (see page 23).

Recalling A Performance

When you recall a Performance, you replace the four current Programs in the slots A to D with the Pro­grams in the Performance. You also recall other settings as listed in the table later in this chapter.

1. Enter Performance mode by pressing the Performance button.

The display shows the latest selected Performance.

The Performances are organised in 10 Banks, named alphabetically from A to L (the letters I and K are
excluded because they’re hard to write clearly on the display). In each Bank there are 10 Performances,
for a total of 100. If you have a PCMCIA card inserted, the Banks on the card are found after the internal
(ROM) Banks and labelled in the same way, but indicated with a dot to the right of the digits in the dis­play.

Page 34 Performances

2. If you want to select another Bank (A to L), hold down Shift and press the Up and Down buttons.

3. To select a Performance in the Bank use the Up and Down buttons.

The Performance is instantly loaded and you can try it out.

Use the Up/Down buttons to change Performance (indicated by the
digit 1-9 to the right in the display).

If you hold down the Shift button,

STORE

TUNE OUT MODE LOCAL PROG. CTRL

you can change Performance Bank
(A-L) with the Up/Down buttons.

MORPH

LFO 1

OSC 2

FM

FILTER

SHIFT

You can also select Performances via MIDI, see page 70.

Please note that selecting a new Performance changes a lot of parameters, including MIDI Channels and
Special modes for each Program slot. This might lead to silent sounds!

Editing the Performance

Selecting Programs

To replace a Program in a Performance, proceed as follows:

1. Hold down the desired slot button (A to D).

The displays shows which Program was used for this slot, when the Performance was created.

2. While holding down the button, select a Program for the slot, just as you would in “non-Performance” mode.
See page 11.

Hold down the desired slot button
(its LED will blink, and the display
will show the selected Program for
the slot).

Use the Up and Down buttons to select an­other program for the Performance Slot.

STORE

TUNE OUT MODE LOCAL PROG. CTRL

Performances Page 35

Layering and Editing

This is done just as in “non-Performance” mode. The only thing to note is that when you save the Per­formance you save the edited Program(s) “inside” the Performance. The original Program that you used
as a basis for the Performance is not affected.

This is not true for Percussion Kits, which are only referenced in the Performances. Any editing done to
a Percussion Kit in Performance mode will affect the “original” Percussion Kit, and all references to it in
other Performances.

Shift Functions

Again, these parameters are set just as in non-performance mode. Most of these are also saved with the
Performance as indicated in the table on the next page.

Extracting Single Sounds from a Performance

The text below does not apply to Percussion Kits in Performances.

As stated earlier, the sounds used in the Slots of a Performance are not references to regular, existing Pro­grams, but complete Program Patches “in their own right”. You will find several unique sounds in the
factory Performances, sounds that you will not find in any of the internal Program locations. You may
want to extract such a sound, for use as a single Program, or to make it part of another Performance layer.
Proceed as follows:

1. Select the Performance containing the sound you want to extract.

2. Make sure the Slot with the desired sound is selected (LED is flashing).

3. Press Store.

4. Hold down Shift and press the Perf Mode (Manual) button, to exit Performance mode.

5. Scroll to a suitable Program location (01 - 40 in the internal memory or any location on a PCMCIA card) and
press Store again.

The sound is stored as a regular Program. This can now be played as usual, or included in another Per­formance as described on the previous page.

Saving a Performance

To be able to save edited Performances, you to have a PCMCIA S-RAM card inserted.

1. Set up the Performance as desired.

2. Press the Store button.

The Program display flashes.

3. Select one of the Performance memory slots, as described above.

4. If you change your mind at this point, press any of the Program Slot buttons.

Page 36 Performances

5. If you decide to go ahead with overwriting the existing Performance, press Store again.

The display stops flashing to indicate that the Performance has been saved.

Programs in Performance Slots are actually saved complete with all parameter settings when the Perform­ance is saved. Percussion Kits, on the other hand, are only saved as references to existing Percussion Kits.

The above point means that there is no need to store the Programs separately. As soon as you save the
Performance, all Programs that it uses are also saved, inside the Performance. This also means that if you
later change any of your Programs, from Program mode, the Programs in the Performances are not af­fected in any way.
On the other hand, Percussion Kits need to be saved separately, as described on page 32.

Exiting Performance Mode

1. To exit Performance mode, press the Performance button.

Now you return to the regular Program mode. You will note that the four slots now play the four Pro­grams that were selected before you entered Performance mode. Likewise, Layering and Shift functions
are restored to the way they were set before you entered Performance mode.

What a Performance contains

The following is a list of what a Performance contains, that is, what you actually save and recall when
you work with Performances:

For Each Program Slot

▼ The selected Program complete with parameter settings or a reference to a Percussion Kit.
▼ The MIDI Channel setting
▼ The Special settings
▼ Expression pedal assignment
▼ Aftertouch assignment

For the Entire Instrument

▼ The Layer configuration
▼ The Keyboard Split settings
▼ Which Program is active for editing
▼ The Pitch Bend Range setting
▼ The Out Mode setting
▼ The Unison Detune setting

Panel Reference Page 37

8. Panel Reference

Oscillator 1

Waveform

This switches between on of three waveforms for Oscillator 1:

Sine: This is a basic waveform with no harmonics. It is suitable for very soft sounds or for use with FM.

Triangle: This is a waveform with only odd and not very strong harmonics. It is suitable for flute sounds

and similar.

Sawtooth: This contains all harmonics and is the richest of the available waveforms. It is suitable for all
sorts of sounds.

Pulse: This waveform is special in that its harmonic contents can be varied continuously, by adjusting the
Pulse Width, see below. The pulse wave can also be modulated by LFO 1 and the Modulation Envelope.
This waveform is suitable for many type of sounds, but has a more “hollow” character than the Sawtooth
wave.

For an introduction to waveforms, see page 76.

Page 38 Panel Reference

Oscillator 2

OCT

NOISE

KBD TRACK

Waveform

The first three waveform alternatives for Oscillator 2 are identical to the corresponding waveforms of Os­cillator 1, see above. But Oscillator 2 has one more waveform alternative:

Noise, Noise Colour and Sync wave: With Noise selected, Oscillator 2 produces noise rather than a pitched
waveform. The exact color (frequency contents) of the noise can be adjusted with the Oscillator 2 Sem­itones knob.

The further you turn the knob clockwise, the brighter the noise will be. All the way to the right, its fre­quency characteristics is very close to that of white noise (where all frequencies are represented with
equal energy).

Please note that the sound of the noise is affected by the filter setting (as all other sound from the Nord
Lead 2). If the filter frequency is turned down, adjusting Noise color might not have the expected effect.

If Sync is activated (see page 40), selecting Noise will produce a very special effect, similar to a “digital”
waveform. In this mode, the Semitones (“Sync wave”) knob works as a “waveform selector”. Turning the
knob will change the harmonic content of the sound.

The Sync wave selection is not continuous, but stepped, in steps that correspond to the octave markings
around the Semitones knob. It can be controlled by the Velocity/morph function, but is not affected by
LFO 1, the Modulation Envelope or the Modulation Wheel, even when these have Oscillator 2 selected
as modulation destination.

Semitones

This setting is used to adjust the tuning of Oscillator 2, relative to Oscillator 1. The setting is in semitone
steps. The range is from 5 octaves below Oscillator 1, to 5 octaves above Oscillator 1. However, the full
range may not be available, depending on the Oct Shift setting (see page 56).

To aid you in setting the value, the LED above the knob lights up when the tuning is in perfect octaves.

Panel Reference Page 39

Fine Tune

This parameter is for tuning Oscillator 2, just as the Tune control is. The difference is that this parameter
operates within one semitone.

If you set the two oscillators to equal volume (see Balance below), make sure Sync and Ring Mod is
turned off, set the two oscillators to the same Tune value, and raise or lower the Fine Tune Parameter
slightly, the slight difference in Pitch will make the sound “richer”.

▼ The LED above the Semitone knob will flash briefly when you set Fine Tune to 0.

Keyboard Track

When this parameter is activated, Oscillator 2 will have different pitches when you play different keys,
just as Oscillator 1 always does.

When this parameters is turned off, Oscillator 2 will always play the same pitch. There are mainly three
situations when this is useful:

▼ When Sync is activated (in this mode, the basic pitch of the sound is determined by Oscillator 1 anyway).
▼ When FM or Ring Modulation are used, to get inharmonic sounds with very varying timbre across the

keyboard.

▼ For special effects and percussion sounds, which are supposed to sound the same all across the key-

board.

Settings For Both Oscillators

KBD TRACK

RING MOD

SYNC

OSC

DEMO

1

FM Amount

This is classic “deep linear FM” as used in pure FM-based synthesizers. The FM function is a bit of depart
from the “analog” concept of the Nord Lead 2, but as you will find, it is a very useful addition.

OSC

2

In this FM implementation, OSC1 is being modulated by OSC 2. In FM speak, OSC 1 is the carrier and
OSC 2 is the modulator. This, means that changing the pitch of OSC2 basically does not affect the pitch
of the sound, but the timbre.

For classic FM sounds, use sine wave on oscillator 1 and triangle wave on oscillator 2.

Page 40 Panel Reference

Modulation of FM Amount: Please note that the amount of FM can be modulated from the Mod Env and LFO
1, and also controlled manually from the Modulation wheel.

When Ring Modulation is activated, the FM Amount knob works as a Tune knob (see $). In this case, to
be able to control the FM Amount manually, you need to use the Modulation Wheel, with the modulation
destination set to FM.

Ring Mod

By pressing the Ring Mod/Sync button until the Ring Mod indicator lights, you activate Ring Modulation.
This is a function (also known as amplitude modulation), where the waveforms of the two oscillators are
multiplied. The result is a disharmonic sound, that is great for metallic or bell-like timbres.

When trying out Ring Modulation, make sure you listen to Oscillator 2, since it is mainly this that is af­fected by the timbral changes!

Turning the Oscillator 2 Semitones knob will change the timbre, much as with FM. However, with Ring
Modulation, this will also affect the pitch of the sound! This means that activating Ring Modulation may
result in a sound with a completely different pitch than the “normal” sounds. To remedy this, you should
use the Ring Mod Tune knob:

KBD TRACK

RING MOD

When Ring Modulation is activated, the FM Amount knob works as a Tune knob with a range of roughly
one octave. To set the pitch to “normal”, turn off Ring Modulation and play a note, then activate Ring
Modulation, play the same note and adjust the Tune knob until the pitch is the same. Please note that the
pitch will change again if you change the timbre by adjusting the Semitones knob.

When Ring Modulation is activated, you cannot manually control the FM Amount, since that knob serves
as a Tune knob. Instead you can use the Modulation Wheel, with its destination set to FM.

Sync

By pressing the Ring Mod/Sync button until the Sync indicator lights, you activate Sync. In this mode,
Oscillator 2 is “synched” to Oscillator 1. This means that each time a period in Oscillator 1’s waveform
starts, Oscillator 2 is forced to start over with a new period, as well. See page 80 for a more in-depth ex­planation.

The effect of this is that if Oscillator 2’s pitch is higher than Oscillator 1, its resultant waveform will have
a pitch determined by Oscillator 1, but a timbre depending on the pitch of Oscillator 2. See page 80 for
a basic explanation.

The easiest way to try this out is probably to activate Sync, and adjust the Tune setting for Oscillator 2
while holding down a note.

When trying out Sync, make sure you listen to Osc2, since it is this that is affected by the changes!

Panel Reference Page 41

Modulation of Oscillator 2 pitch: Please note you can modulate the pitch of Oscillator 2 in various ways: from
LFO 1, the Mod Env and from the Mod Wheel, for example. This can be used to create harmonically var­ying timbres with a very characteristic sound.

Sync and Ring Modulation can be activated at the same time. Just press the Ring Mod/Sync button until
both indicators are lit.

Pulse Width

This setting only has any effect if Pulse wave is selected for either oscillator or both. It adjusts the pulse
width of the Pulse waves.

There’s only one Pulse Width setting, and it is common for both oscillators.

▼ When you turn the knob all the way to the left you get a perfect square wave which has a characteristic

“hollow” quality.

▼ When you turn the knob clockwise, the sounds gets progressively thinner. See page 79 for a general in-

troduction to pulse waves and pulse widths.

Pulse Width Modulation: Please note that the Pulse Width can be modulated by LFO 1 and the Modulation
Envelope. This creates a sweeping “chorus-like” effect suitable for pads and string sounds.

Amplifier

The Amplifier section is used to adjust the volume of the sound.

The Amplifier Envelope consists of the Attack Decay, Sustain and Release parameters. The Amplitude En­velope is used to give the sound it’s basic shape (soft, slow, short, long etc.) for an introduction to enve­lopes, see page 86.

Level

Sustain
(level)

Key Down

Attack
(time)

Decay
(time)

Time

Release
(time)

Key Up

Page 42 Panel Reference

Attack

This control is used to adjust how long it takes for the sound to reach full volume after a key has been
pressed. If the knob is turned fully counter-clockwise, the Attack is instantaneous. If the knob is turned
all the way to the right, it lasts many seconds.

Decay

After the attack phase is finished (and you haven’t released the key), the Decay begins. During the Decay
phase, the sound decreases in level, and continues to do so until it reaches the Sustain level (see below).
The Decay knob is used to adjust how long this should take.

Sustain

This is the level the sound will reach after the Decay phase. Once this has happened, the sound will stay
steady at this volume until the key is released.

Please note that the Sustain parameter is used to set a level, while Attack, Decay and Release all are used
to set times.

Release

This knob is used to adjust how long time it will take for the sound to decay to silence after you have
released the key.

Gain

This is used to adjust the overall Level of the Sound. This parameter is mainly used to balance one Pro­gram against another.

Filter

HP 24 db

LP 24 db
LP 12 db

2

3

FULL

1

3

DISTORTIONVELOC ITY

PANIC

BP
NOTCH

+

LP

The Filter is the most important section for shaping the overall timbre of the sound. Nord Lead’s filter can
be switched between various types. It has the standard main Frequency and Resonance control. The At­tack, Decay, Sustain and Release parameters make up the Filter Envelope. These, together with the En­velope Amount knob, can be used to make the Filter frequency vary as the sound progresses, when you
press and hold a key.

For an introduction to filters, see page 81.

Panel Reference Page 43

Filter Type

LP 12dB: LP stands for low-pass. A low-pass filter lets low frequencies pass and cuts out higher frequen-

cies. Exactly which frequencies get cut out is determined by the Filter Frequency setting (and various oth­er controls, as described below).

In the 12dB low-pass mode, the filter has a gentle roll-off curve (12dB=2poles). This mode leaves more
harmonics than the 24dB variation discussed below. This type of filter has been used in various Oberhe­im synthesizers and others.

Amplitude

Fc (Cutoff Frequency)

Frequency

LP 24 dB: This is the classic synth filter used in the Minimoog and Prophet-5, among others. It cuts out
high frequencies rather drastically (24db=4 poles).

Amplitude

Fc (Cutoff Frequency)

Frequency

HP 24dB: HP stands for high-pass. This filter is the opposite of the lowpass filter, that is it lets the high
frequencies pass and cuts out low frequencies. The filter has a rather steep curve.

Amplitude

Fc (Cutoff Frequency)

Frequency

Page 44 Panel Reference

BP: To select this type of filter, press the Filter Type button until both the HP and LP 24 buttons light up.

BP stands for band pass. In this mode the filter let’s frequencies in the “mid-range” band pass through,
while lower and higher frequencies are cut out. Each “slope” in this filter has a 12dB (2-pole) roll-off.

Amplitude

Fc (Cutoff Frequency)

Frequency

Notch+LP: To select this type of filter, press the Filter Type button until both the LP 12 and LP 24 buttons
light up.

A notch (or band reject) filter can be seen as the opposite of a band pass filter. It cuts off frequencies in
a “mid-range” band, letting the frequencies below and above through. However, a plain notch filter is
not very musically useful, since it often lets too many frequencies through, resulting in a very sharp, harsh
sound. Therefore, the notch filter in Nord Lead 2 is combined with a 12dB Lowpass filter, resulting in a
filter curve that looks like this:

Amplitude

Fc (Cutoff Frequency)

Frequency

The audible result of this filter combination is a sound with plenty of body, some of the upper mid-range
“bite” removed but a certain amount of high frequencies still present. This type of sound could be very
useful for soft, yet clear pads, etc.

The special characteristics of the Notch+LP filter will be most obvious with low Resonance settings.

Panel Reference Page 45

Frequency

This is the overall control for which part of the frequency spectrum the filter should operate.

▼ If you for example select the 24dB filter and turn the Frequency knob clock-wise, more and more high-

frequency material will be allowed to pass through the filter.

Amplitude

Filter Frequency

Frequency

Please note that if the Envelope Amount setting is raised from its full left position, turning the Frequency
knob might not change the sound as expected. For more information, see below.

Resonance

This control is used to further adjust the characteristics of the Filter.

▼ If you are using the 12 or 24dB low pass filter, increasing resonance will emphasize frequencies around

the set Filter Frequency, making the sound thinner. Further raising the knob will make the sound reso­nant to a point where the filter adds a ringing quality to the sound. Exactly where in the frequency spec­trum this “ringing” appears, depends on the Filter Frequency setting.

Amplitude

Resonance



Filter
Frequency

Frequency

▼ If you have the high-pass or LP+Notch filter selected, increasing Resonance will work pretty much as with

the LP filter.

▼ When you use the band-pass filter, adjusting the Resonance adjusts the width of the pass-band. When

you raise the Resonance, the band where frequencies are let through, will become narrower.

Page 46 Panel Reference

Envelope Amount

This is used to set to what degree the Envelope (see below) should affect the filter. The more you raise
this knob, the more drastic the effect will be.

This knob operates in addition to the Filter Frequency setting. This means that if you for example set the
Frequency knob half-ways, the filter will be already half-ways open the moment you press a key. The
envelope will then be used to open the filter further. Exactly how much further is determined by the En­velope Amount setting.

Amplitude

Frequency
Filter Frequency 
Setting

Filter Envelope 
Amount Setting

Total Filter Frequency

Let’s take another example of the relation between Frequency and Envelope Amount: If the Filter Fre­quency knob is already turned fully right, the Envelope Amount setting has no effect at all, since the filter
is already fully open the moment you press the key.

Attack, Decay, Sustain and Release

These are the parameters for the Filter Envelope. They are identical in functionality to the settings in the
Amplifier Envelope, described on page 41.

Velocity

When this switch is activated, the Envelope Amount varies with Velocity (how hard you play the key­board). For this switch to have any effect, the Envelope Amount setting can’t be set to zero (full left).

Please note that more detailed velocity control can be achieved with the velocity programming function.

Kbd Track

▼ With this switch turned off (none of the indicators are lit), the Filter Frequency setting is constant regard-

less of where on the keyboard you play.

▼ When Keyboard Track is activated, the filter frequency setting will be higher for higher notes as indicated

in the illustration below. You can select between three degrees of Keyboard Track: 1/3, 2/3 and “full”, as
indicated by the LEDs above the button.

1/3 Kbd Track: 2/3 Kbd Track: Full Kbd Track:

2

3

FULL

1

3

2

3

FULL

1

3

2

3

FULL

1

3

Panel Reference Page 47

The reason for using the Keyboard Track switch is related to basic acoustics. If you raise the pitch of a
waveform, the harmonics naturally raise in frequency. If the filter frequency is then constant, the sound
will be perceived as getting muddier the higher up the keyboard you play. To avoid this effect, use KBD
Track.

Amplitude

Frequency

Distortion

When this is activated, the sound is slightly distorted, which adds some harmonics and creates a rawer,
more screaming sound.

LFO 1

LFO stands for Low Frequency Oscillator. An LFO is an oscillator producing waveforms with a certain
pitch, just like Oscillator 1 and 2. The differences are two:

▼ The LFOs produce waveforms with very low frequencies.
▼ You never hear the actual output of the LFO. Instead the output from the LFO is used for modulating,

that is controlling other functions, like for example the main oscillator frequency (vibrato) or the filter
frequency (wah-wah).

FM

OSC 2

PW

OSC 1 +2
FILTER

Page 48 Panel Reference

Waveform

This is used to set the shape of the output from the LFO:

Soft Random: This adds smooth random modulation to the destination. This is mainly useful for effect
sounds.

Square: This is a waveform for “abrupt” modulation changes, suitable for trills, distinct tremolos, etc.

Triangle: This is suitable for “normal vibrato” effects and for classic pulse width modulation.

Sawtooth: This creates a ramp which can be used for example for auto-repeats when applied to the filter.

Random: This adds stepped random modulation to the destination. This is mainly useful for effect sounds.

Rate

This is used to set the frequency of the LFO, in other words “the speed of the vibrato”.

The rate can be controlled externally, via MIDI, see page 63.

Destination

This used to set which parameter the LFO should affect:

FM: This routes the LFO to the FM Amount, for special timbric changes.

Osc 1+2: This routes the LFO to the frequency of both oscillators, in equal amounts. Together with the

triangle waveform this creates traditional vibrato.

Osc 2: This routes the LFO to the pitch of oscillator 2 only. This can for example be used together with
Sync (see page 40) to create a “pulsating” change in timbre.

Filter: This routes the LFO to the Filter Frequency. This can for example be used for wah-wah effects (tri­angle wave) and for auto repeating sounds (sawtooth wave).

PW: This routes the output of the LFO to the Pulse Width of both oscillators. For this to have any effect,
pulse wave must of course be selected for at least one of the oscillators. This destination can be used with
an LFO triangle waveform to create a “chorus-like” sound, suitable for strings and pads.

Please note that this function operates relative to the Pulse Width setting. For optimal results, please
match the Pulse Width and LFO Amount settings (see below).

Amount

This is used to set to what extent the signal from the LFO should be routed to the destination.

Please note that the Amount can also be controlled from the Modulation wheel, see page 53.

Panel Reference Page 49

LFO 2/Arpeggiator

3

OCT 1

OFF

2

4

RND
U D

&

ARP

H
O
L
D

DWN

UP

AMP
FILTER

OSC 1+2

ECHO

Arp switch

This switch is used to select functionality for LFO 2. When the indicator over the button is lit or blinks,
LFO 2 works as an arpeggiator (or an echo; see below). When the indicator is dark, it works as a regular
LFO. On the following pages, these two modes are referred to as “Arpeggiator mode” and “LFO mode”.

When you leave Arpeggiator mode by pressing the Arp button, the Arpeggio will be turned off, but the
LFO 2 function will not be activated until you press the right (LFO 2 Destination) button once. This lets
you adjust the Rate and Amt knobs before applying vibrato, wah-wah or tremolo.

LFO 2:Arpeggiator Mode

In this mode, LFO 2 works as an arpeggiator. If you take a chord and hold the keys pressed, the notes in
the chord will be played back repeatedly, one after the other. The parameters govern direction, range
and speed of the arpeggio:

Rate

This adjusts the speed of the arpeggio.

▼ When “Echo” is selected (see below), the Rate setting determines the “speed”, i.e. the delay-time between

each echo. A higher Rate setting gives a faster echo (shorter delay-time).

The arpeggio speed can also be controlled externally, via MIDI, see page 63.

Arpeggio Mode

By pressing the button to the right in the LFO2/Arpeggiator version, you can select in which direction the
arpeggio should run:

Arp Up: In this mode, the keys pressed on the keyboard will be played one after the other, from bottom
to top, at a speed set with the Rate button. For more details, see Arp Range below.

Arp Down: As Arp Up but downwards.

Arp Up/Down: To get an up/down arpeggio, press the button until both Arp Up and Arp Down are lit.

Rnd Arp: In this mode (the two upper LEDs lit), Nord Lead 2 will create random arpeggios from the chords

you play on the keyboard. This means that the notes in the chord are played back one at a time, but in
random order and in random octaves.

Echo: In this mode (The top LED lit), LFO2 creates an echo-effect by using repeated triggering with de­creasing velocity (see explanation on the next page).

Page 50 Panel Reference

Arp range

This knob is used to set the octave range of the arpeggio, as the panel indicates. The Off position turns
off the arpeggio completely.

▼ When Echo is selected, this knob determines the number of echo repeats (0 – 8).

You can select if you want the generated arpeggio notes to also be sent to MIDI Out. See page 61.

Arpeggio Hold

Normally, the arpeggio will continue for as long as you keep any keys pressed. By activating the Arpeg­gio Hold function, you can release the keys and have the arpeggio continue playing.

▼ Activate Arpeggio Hold by holding down Shift and pressing the Arp Switch. The indicator over the button

blinks to indicate that Arpeggio Hold is activated.
The arpeggio will continue playing until you hold down Shift and press the Arp Switch again.

If the Arpeggiator is activated, but the Arp range knob is set to “Off”, the Arpeggio Hold switch will work
as a regular Hold switch: If you play a note and release the key, the note will continue to sound, as if you
were still pressing the key.

About the Echo function

It is important to understand that the Echo function is not the same as a regular audio delay! What hap­pens when you play a note with Echo activated, is that the same note is triggered (played) again the set
number of times, with gradually decreasing velocity. This has the following consequences:

▼ If the sound you are playing is not sensitive to velocity (Filter Envelope Amount Velocity and Velocity/

Morph are both turned off) there will be no difference whatsoever between the echo repeats.

▼ On the other hand, it is fully possible to use the Velocity/Morph function to make the sound change com-

pletely with the echo repeats, making the function ideal for special effects.

▼ The echo consumes polyphony, i.e. each echo repeat “steals” one voice, just as if you had played the

repeats from the keyboard yourself.
This should not be a problem when using the echo effect with short sounds, but if you play long, sus­tained notes with echo, you could experience notes being cut off by the echo repeats. The solution is to
lower the Amt setting (decrease the number of repeats) and possibly play shorter notes.

▼ The echo function may give unexpected results if you use another Play mode than Poly.

For example, in Mono mode, each sustaining note will be cut off by the next echo repeat and in Legato
mode, you may end up with no sound at all, since new notes will not re-trigger!

Panel Reference Page 51

LFO 2:LFO Mode

When “LFO Mode” is selected for LFO 2 (the Arp indicator is dark), LFO 2 works as a regular LFO, pro­ducing vibrato, wah-wah or tremolo effects. The parameters have the following functions:

Rate

This determines the rate (speed) of the modulation.

Destination

OSC 1+2: When this is selected, LFO 2 produces a triangle wave routed to the pitch of Oscillator 1 and 2

in equal amounts – in other words, a regular vibrato.

Amp: When this is selected, LFO2 produces a triangle wave routed to the volume, for tremolo effects.

Filter: When this is selected, LFO2 produces a triangle wave routed to the Filter Frequency, for wah-wah

effects.

Amt

This determines the amount of modulation. Turn the knob to the right for more pronounced vibrato/
tremolo/wah-wah.

Modulation Envelope

This is a simple type of envelope only comprising Attack, Decay and Amount controls.

Level

Amount (±)

Attack
(time)

Decay
(time)

FM

PW

OSC 2

Time

Page 52 Panel Reference

Attack

This is used to set the time it takes for the envelope to reach “full level” after you have pressed a key.

Decay

When the attack phase is over, the envelope drops back to zero level. The Decay knob is used to set how
long this should take.

There’s another difference between the way this envelope works compared to the other: It will start over
from “zero” each time you press a new key, regardless of which value it had when you released the key.

Amount

This is used to set to what degree the envelope should affect the destination. This knob is bi-polar, that
is, zero amount is in the middle (twelve o’clock). Turning it left introduces a negative envelope and turn­ing it right gives you a positive envelope.

Destination

None: You can turn off both LEDs, to completely turn off the effect of the Modulation envelope. While

this is the same is setting Amount to its centre position, this method is simply quicker.

FM Amt: When this is selected the envelope is routed to the amount of FM modulation. Varying the
amount of FM changes the harmonic contents of the sound, so this can be used to have the timbre change
pretty much like when the Filter envelope is used to change the Filter Frequency.

Please note that this parameter operates in addition to the FM amount setting in the Oscillator section.

PW: When this is selected, the envelope changes the pulse width of the waveform from the oscillators
(provided any of them have Pulse wave selected).

OSC 2: When this is selected, the envelope changes the pitch of Oscillator 2. This can be used in a number
of situations. For example:

▼ With Sync to create distinct sweeping sounds.
▼ With FM for effect type sweeps.
▼ To create “bleeps” in the beginning of a brass type of sound. Let us give a few examples:

If Attack is set to zero, and you have a positive Amount setting, Oscillator 2 pitch will decay down to nor­mal pitch as set with the Decay knob.

Level

Time

Panel Reference Page 53

If Amount instead is set to a negative value, the pitch will rise up to “normal”.

Level

Time

If Attack and Decay are both used and you have a positive Amount setting, the sound will start at normal
pitch when you press the key, rise and then “fall back”.

Level

Time

Mod Wheel Destination

MORPH

LFO 1

OSC 2

FM

FILTER

SHIFT

This is used to decide what effect moving the Modulation wheel should have.

Morph

In this mode, the modulation wheel is used for morphing. See page 28.

LFO 1

When this is selected (the two upper LEDS lit), the Mod Wheel adjusts the amount of output from LFO 1.
This allows you to for example add vibrato with the mod wheel.

Osc 2

With this selected the Modulation wheel is directly routed to Oscillator 2 pitch. This can be used for ex­ample together with Oscillator Sync and FM to vary the timbre of the sound while playing.

Page 54 Panel Reference

S

U

FM

When this is selected (the two lower LEDs lit), the wheel controls the amount of FM (see page 39).

Filter

This routes the modulation wheel directly to the filter frequency.

Please note that modulation wheel routing is in addition to the basic setting of the control it is routed to.
If you for example route the modulation wheel to the filter, and the filter is already fully open, moving
the modulation wheel has no effect.

Poly Legato Mono

The “play mode”
switch and LEDs.

POL Y
LEGATO
MONOUNISON

A

MIDI CH SPECIAL SY

The “play mode” switch is used for deciding exactly how your keyboard playing should be interpreted
by the synthesizer:

Poly: This mode allows you to play chords.

Legato: This makes the instrument monophonic. Furthermore, if you press a key without releasing the

previous, the pitch will change, but the envelopes will not start over. That is, there will be no new “at­tack”.

Mono: This also makes the instrument monophonic. But if you press a key without releasing the previous,
the envelopes are still retriggered, like when you release all keys and then press a new one.
Furthermore if you press a key, hold it, press a new key and then release that, the first note is also “re­triggered”.

Panel Reference Page 55

Unison

The Unison switch
and LED.

When this is activated more than one voice will be played when you press a key. This gives you a “fatter”
sound, but at the same time reduces polyphony.

▼ If Poly mode is selected, two voices are used for each key. This allows you to play eight notes at the same

time (provided you are not using Layers).

▼ If Mono or Legato mode are selected, four voices are used for each key, for an even fatter sound.

Portamento

POL Y
LEGATO
MONOUNISON

POL Y
LEGATO
MONOUNISON

MIDI CH SPECIAL SYSTEM

AUTO

The Portamento
controls.

AUTO

MIDI CH SPECIAL SYSTEM

Portamento (Time)

This is used to set how long it takes for the pitch to slide from one pitch to the next. If you don’t want
any Portamento at all, set this knob to zero.

Auto

When this is activated (LED is lit), the pitch only slides if you play legato, that is if you play a new key
before lifting the previous.
The effect of this switch is pretty obvious when you have selected Mono or Legato “Play mode”. If, on
the other hand, Poly is selected, the Portamento effect will be slightly unpredictable if Auto is on. For
Poly mode, we therefore recommend you to turn Auto off.

Page 56 Panel Reference

Oct Shift

The Octave Shift buttons have two functions, Slot and Keyboard Octave Shift (explained below). To
switch between the two Octave Shift modes, simultaneously press both Octave Shift buttons and hold
them pressed until the LEDs change indication mode, as shown in this figure:

OCT SHIFT

DUMP ALL DUMP ONE

Slot Octave Shift (default) Keyboard Octave Shift (LEDs inverted)

OCT SHIFT

DUMP ALL DUMP ONE

Slot Octave Shift

This mode will automatically be selected each time you turn on the Nord Lead 2. In this mode, the Octave
Shift buttons affect the Program in the selected slot only. Notes sent to MIDI Out are not transposed. This
means that in this mode, the Nord Lead 2 can only send MIDI Notes over a range of 4 octaves.

Keyboard Octave Shift

In this mode (LEDs inverted), the actual keyboard is affected by the Octave Shift buttons. This means that
all active slots are affected, as well as all notes sent to MIDI Out. This mode is suitable if you want to

control other MIDI instruments from the Nord Lead 2, since it lets you control a note range of eight oc­taves. It is also the mode to use if you’re playing a Performance consisting of two or more slots, and want
to be able to Shift all slots simultaneously.

Low/high octave settings in combination with extreme Tune settings for Oscillator 2 may produce pitches
outside the hearing range.

Shift Functions Page 57

STORE

9. Shift Functions

Accessing The Shift Functions

Some functions do not have dedicated buttons, but share buttons with other functions and settings. These
are called the Shift Functions and are printed in blue on the front panel.

Selecting a Shift Function

1. Hold down the Shift button.

2. Press any of the buttons labelled “Tune” to “System”.

Most of the front panel LEDS go out and the program display now shows the selected function.

Hold down the Shift button....

... and press one of these seven buttons.

POL Y
LEGATO
MONOUNISON

AUTO

TUNE OUT MODE

OCT SHIFT

DUMP ALL DUMP ONE

LOCAL PROG. CTRL MIDI CH SPECIAL SYSTEM

MORPH
OSC 2
FILTER

SHIFT

LFO 1
FM

3. If the Function button you pressed is used for more than one parameter, press it repeatedly until the display
shows the desired function.

If you for example selected the “Prg.Ctrl” button, the left digit in the display switches between “P” (Pro­gram), “C” (Controllers) and “A” (Arpeggiator MIDI send) when you press it.

Press the function button to switch between the possibilities (in this figure the

Program [P], Controller [C] and Arpeggiator MIDI [A] functions).

STORE

UT MODE LOCAL PROG. CTRL

TUNE OUT MODE LOCAL PROG. CTRL

STORE

STORE

TUNE OUT MODE LOCAL PROG. CTRL

When a Function button is used for more than one parameter, the digit to the left in the display
indicates the parameter, and the other digits show the value.

Page 58 Shift Functions

Shift Function Listing

The table below shows you what Shift Functions are available for each of the seven buttons and an ex­ample of what the display might look like for each function.

TUNE

Master Tune Out Mode for

OUT MODE LOCAL

Slots A and B

Out Mode for
Slots C and D

PRG.CTRL.

Local On/Off Prog. Change

On/Off

Controllers

On/Off

Arp. MIDI Out

On/Off

MIDI CH

Slot MIDI

Channel

Global MIDI

Channel

SPECIAL SYSTEM

LFO 1 Sync Sustain Pedal

Polarity

LFO 2/Arp

Sync

Filter Enve-

lope Trig

Amplitude

Env. Trig

Pitch Bend

Range

Unison De-

tune

External Ve-

locity Morph

Aftertouch

Assignment

Control Pedal

Assignment

Each time you turn on Power, Local On/Off is set to On, and all the Special functions are turned off!
(However, the Special settings are saved with the Performances).

Shift Functions Page 59

About Global and Slot Functions

▼ If the function you select can be set independently for each Program Slot (A to D), the selected Program

slot flashes. To make settings for a certain slot, select it.

▼ If the selected function is global for all slots, the selected Function button is steadily lit. Which slot is se-

lected is then of no relevance for the setting.

Setting the Value

Once a function is selected, the value is set using the Program Up/Down buttons.

Returning to the normal display

To go back to the regular functions, press the Shift button once again.

There is no need to store the Shift settings. The settings will automatically remain in memory. However,
some functions are reset to default values when you turn off power, see the description of each function
for details.

Tune (Master Tune)

This is used to tune the Nord Lead 2 to other instruments.

“00” is normal 440Hz tuning. Lower pitches are indicated by a dot to the right of the number and values
higher than normal pitch are indicated without a dot. The values are in cents (hundreds of a semitone).

Out Mode

This function is used to set how the Outputs should be used for handling stereo and individual external
processing of sounds.

The Out mode settings are global for the entire instrument, which means all Programs share the settings
made here.

Nord Lead 2 has four outputs, labelled A-D. It might be a good idea to think of these outputs as two out­put pairs (A-B and C-D), because that is often how they are used.
Basically there are three possibilities for how a sound appears in the outputs:

▼ The first is that a Program appears with equal level at two outputs, which is what we refer to as mono.
▼ The second option is that the voices (the keys you play) appear alternating between the two outputs in

an output pair (A-B or C-D). This we refer to as stereo. If you play chords in stereo mode, the sound will
be spread out in the stereo image.
When Unison is activated, more than one voice will be used each time you press a key, as described on
page 55. If a Unison Program is played in stereo mode, each time you play a key you will get at least one
voice at one output in a pair and at least one at the other, which will result in a “wide” stereo sound.

▼ The third option is that when playing several Programs at the same time, the different Programs appear

separated on different outputs.

Page 60 Shift Functions

The Out Mode function allows you to set different output modes for slots A/B and C/D:

▼ To set the output mode for slot A and B, hold down Shift and press the “Out Mode” button once.

Note however, that the setting you make for slot A and B can affect slot C and D as well, if the setting “­cd” is selected for slot C and D, as described below.

▼ To set the output mode for slot C and D, hold down Shift and press the “Out Mode” button twice.

Pressing the button repeatedly will toggle between the settings for slots A/B and C/D.

Settings for Slot A and B:

Display Description

ab1 In this mode, all sounds are mono (as described above), except if Unison is activated in

which case the instrument automatically switches to stereo, using Outputs A and B. If
one Unison and one non-unison Program are layered, stereo is used.

ab2 This is a straight Mono mode. All Programs always appear with equal level at Outputs A

and B.

ab3 This is a straight stereo mode. All Program always appear with voices alternating be-

tween Outputs A and B.

ab4 In this mode Programs assigned to slot A will appear at Output A, while Program as-

signed to slot B will appear at Output B. This mode can be used when it is desired to
treat two sounds differently in an external mixer, for example in multitimbral MIDI work
or when layering sounds.

Settings for Slot C and D:

Display Description

cd– In this mode, Slot C and D use the settings made for Slot A and B. If for example mode

“ab2” is selected, all four slots will appear in Mono at Outputs A and B.
This is the setting you should use if you have connected Nord Lead 2 in stereo to your
sound equipment (using Outputs A and B), or if you are using headphones.

cd1 In this mode, all sounds are output in mono at Outputs C and D, except if Unison is ac-

tivated. If that is the case, the instrument automatically switches to stereo, using Outputs
C and D. If one Unison and one non-unison Program are layered, stereo is used.

cd2 This is a straight Mono mode. All Programs always appear with equal level at Outputs C

and D.

cd3 This is a straight stereo mode. All Program always appear with voices alternating be-

tween Outputs C and D.

cd4 In this mode Programs assigned to slot C will appear at Output C, while Program as-

signed to slot D will appear at Output D. This mode can be used when it is desired to
treat two sounds differently in an external mixer, for example in multitimbral MIDI work
or when layering sounds.

Mode 1 (ab1 or cd1) is not recommended when using the Nord Lead 2 multitimbrally since one Program
can be set to Unison and another not, which might lead to a stereo image you might not expect.

Shift Functions Page 61

Local

This is used to turn Local Control on and off.

▼ Local On is the normal Play Mode.
▼ In Local Off mode, the front panel actions and your keyboard playing are transmitted via MIDI, but are

not used to play the synthesizer directly. MIDI Input, however, works normally.

This mode is used with sequencers, when the Nord Lead 2 is used both for recording and playing back
MIDI, and when the sequencer has a MIDI Thru function (sometimes called “Merge” or “echo-back”).

When you turn on power, the instrument is always in Local On Mode.

About Local Control and Control Change Transmission

The Local Control setting also affects the front panel.

▼ In Local Off mode the front panel controls can not be used to change the sound directly, they must be

routed via MIDI, just as the keyboard.

▼ However, if you use the Prog/Ctrl function to turn off reception and transmission of Control Change mes-

sages altogether, the front panel controls can again be used to change the sound directly, since otherwise
there would be no way to use the front panel controls at all.

Prog/Ctrl

This is used for setting how Program Change and Control Change MIDI messages should be handled,
and for turning the Arpeggio MIDI Out feature on and off.

These parameters are Global for the entire instrument, that is, the settings are valid for all Performances
and Programs.

To switch between the three different parameters, press the Prog/Ctrl button. The left character in the
display switches between “P” (Program), “C” (Control) and “A” (Arpeggio).

For the two first parameters (“P” and “C”) you use the Program Select buttons to switch between “of” and
“on”. The “of” value means that no data of that type is transmitted or received; “on” means that type of
data is both transmitted and received. The Arpeggio MIDI Out feature requires some explanation:

Arpeggio and MIDI Out

If you want to, generated arpeggios can be sent out as MIDI notes. This makes it possible to arpeggiate
chords on connected synthesizers and sound modules, and to record arpeggios in a sequencer. You ac­tivate it using the Prg. Ctrl. menu:

1. Press the Prg/Ctrl button to select parameter.

The left character in the display switches between “P” (Program), “C” (Control) and “A” (Arpeggio).

2. Use the Program Up and Down buttons to switch between “of” and “on”.

Page 62 Shift Functions

▼ For the Program and Control parameters, the “on” setting means that the respective MIDI data is trans-

mitted and received by the Nord Lead 2, while the “of” setting means that it is not.

▼ For the Arpeggio parameter, the “on” setting means that generated arpeggios can be sent out as MIDI

notes. This makes it possible to arpeggiate chords on connected synthesizers and sound modules, and
to record arpeggios in a sequencer.
With the “of” setting, the actual chord you play on the keyboard is sent to MIDI Out, regardless of
whether the Nord Lead 2 arpeggio is activated or not.

Be sure to turn the Arpeggio MIDI Out feature off if you are using Nord Lead 2 in Local Off mode and/
or in a “Thru-loop” with a sequencer, other MIDI instruments etc! Under such conditions, the Arpeggio
MIDI Out feature will either prevent the instrument from sounding at all, or cause a MIDI feedback loop.

MIDI Channel

Program Slot MIDI Channel

To set the MIDI Channel that a certain Program slot receives and transmits on, proceed as follows:

1. Hold down “Shift” and press “MIDI Ch”.

2. The display shows the MIDI Channel for the active Program slot.

3. Select the Program slot you want to make settings for.

The Program slot’s LED flashes.

4. Use the Up/Down buttons to set the MIDI Channel.

If you don’t want the slot to respond to or send MIDI, set it to “off”.

For more information on Program slots and MIDI Channels, see page 71.

Global MIDI Channel

This is the MIDI Channel used for transmitting and receiving Program Change messages for switching
between Performances. To set the Global MIDI Channel, proceed as follows:

1. Hold down “Shift” and press “MIDI Ch”.

2. Press “MIDI Ch” again.

The display now shows the Global MIDI Channel.

3. Use the Up/Down button to set the MIDI Channel.

For more information on the Global MIDI Channel, see page 71.

Shift Functions Page 63

Special

There are five special functions that make it possible to use MIDI for functions that have previously been
reserved for users of analog modular synthesizer systems.

Accessing the Functions

1. Hold down Shift and press Special.

2. Press the Special button as many times is need to make the left digit in the display show the desired function
(“1”, “2”, “F”, “A”, “S”, “t” and “E”).

3. Select the Program Slot (A to D) that you want to make settings for.

4. Use the Program Up/Down buttons to set values (the right digit).

The Special Functions can be set up differently for each slot and each slot can use all and any of the Spe­cial functions at the same time, if desired.

Function “1” – Synchronizing LFO 1 To MIDI Clock

For this to work you need to feed MIDI clock from a sequencer or similar into the MIDI In of the Nord
Lead 2 and activate Play in the sequencer so that MIDI Clock is actually transmitted.

The function synchronizes LFO1’s start to the incoming MIDI Clock so that the LFO starts over at certain
intervals. Which interval to use is set with the parameter value:

Value Description

of No external Sync

1 Restart every other bar

2 Restart every whole note

3 Restart every half note

4 Restart every quarter note

5 Restart every eighth note

6 Restart every eighth note triplet

7 Restart every sixteenth note

Please note that this only makes the LFO restart at the specified note value. In between those restarts, the
LFO runs at the rate set with the Rate knob.

Therefore, to “hard sync” the LFO to the tempo of the song when triangle or sawtooth waves are used,
set the LFO rate as close to the tempo in the sequencer as possible. On the other hand, unusual Rate val­ues can lead to interesting rhythmic effects.

When random is selected (or when the Arpeggio is used, see below), to “hard sync”, you only need to
make sure the set rate is lower than the rate imposed via MIDI.

Page 64 Shift Functions

An Example of LFO 1 Synchronization

1. Select a Program for slot A, that plays a “stable” sound with infinite sustain, for example a “string” or “pad”
sound.

2. Lower the Filter Envelope Amount to 0.

3. Set the Filter Cutoff to “nine o’clock”.

4. In the LFO section, select a sawtooth wave, set destination to Filter and set the Amount to full value.

5. Play the keyboard.

You should hear a repeating sound.

6. Hold down Shift and press Special.

The display should show the setting for Special function 1.

7. Press the Program Slot button A.

8. Use the Up/Down buttons to set the value to “5” (eighth notes).

9. Make sure all other Special functions are turned off for this slot.

Do this by pressing the Special button repeatedly and check that the left digit in the display is set to “of”
for all Functions except “1”.

10. Press Shift again to return to “normal mode”.

11. Set up your sequencer (or other MIDI device) to transmit MIDI clock to the Nord Lead 2. Set the tempo to
around 120 BPM and activate Play in the device so that MIDI clocks are actually transmitted.

12. Play the Nord Lead 2 keyboard and adjust the Rate knob in the LFO 1 section.

Start at approximately 12 o’clock and adjust until you get eighth notes that are in sync with the sequencer.
If you raise the Rate slightly from this position you’ll get a shuffle 16th note repeat, etc.

Function “2” – Synchronizing LFO2/Arpeggio to MIDI Clock

This works exactly as Special Function 1, only that it operates on LFO 2 and the Arpeggio instead.

Please note that the explanation about the relation between the LFO rate and the restart via MIDI Clock
also applies to the Arpeggio.

This function will not be enabled when Echo is selected on LFO2.

Function “F” – External triggering of Filter Envelope

This function can be used to trigger the Filter envelope via notes coming in via MIDI, instead of by play­ing the keyboard. The Filter envelope is triggered from its own MIDI Channel and note number(s), com­pletely independent of the MIDI Channel used for defining which keys should be played. This can be
used to play back preprogrammed rhythms in your MIDI sequencer while inputting the actual pitch(es)
by playing the keyboard or via MIDI.

You can use the Program Select buttons to switch between “of” and “on”. The setting “of” means that the
function is turned off and. “on” means that it is activated.

Shift Functions Page 65

To set which MIDI Channel and possibly which MIDI note number to use for triggering, proceed as fol­lows:

1. Activate the function.

In other words, set the display to “F.on”.

2. Press Store.

The display shows the MIDI Channel currently used. Set the value with the Up/Down buttons.

3. Press Store again.

The Display shows which MIDI Note number is currently used. The numbers start at C0 (MIDI note
number 24), and sharp notes (#) are indicated by the symbol . “Middle C” is indicated as “C3”.

The value “– – –” means that note number is ignored, that is all notes on the set MIDI Channel will be
used for triggering. This value is found below all the “number values”.

Guidelines for Using Filter Envelope Triggering

▼ If you have notes transmitted from your sequencer that you want to use only for triggering the envelope,

make sure the MIDI Channel you use for this function is not used by any of the Program slots.

▼ Please note that if the Velocity function in the Filter section is activated, the velocities of the incoming

MIDI notes are routed to Filter Envelope amount. This allows you to adjust the timbre of the sound with
the velocity of the incoming MIDI notes.

An Example of Filter Envelope Triggering

1. Select a Program for slot A, that plays a “stable sound with infinite sustain, for example a “string” or “pad”
sound.

2. Lower the Filter Cutoff to 0.

3. Raise the Filter Envelope amount and adjust the Filter envelope so that the sound has a short, snappy charac­ter.

4. Hold down Shift and press MIDI Ch. Set the MIDI Channel for slot A to 1.

5. Press each of the other Program slot buttons and set them to MIDI Channel 16.

This is just to make sure they do not get used in this example.

6. Hold down Shift and press Special.

7. Press the Special button until the left digit in the display is “F”.

8. Make sure Program Slot A is selected. Otherwise press its button.

9. Use the Up/Down buttons to set the value to “on”.

10. Press Store. Use the Up/Down buttons to select MIDI Channel “2”.

11. Press Store again and adjust to “– – –” (any MIDI note number).

12. Press Store again.

13. Make sure all other Special functions are turned off for this slot.

Do this by pressing the Special button repeatedly and check that the left digit in the display is set to “of”
for all Functions except “F”.

Page 66 Shift Functions

14. Press Shift again to return to “normal mode”.

If you play the keyboard now, you will not get any sound, because the Cutoff is all the way down, and
the Filter envelope is no longer triggered by the keyboard.

15. Set up your sequencer to play a simple repeating note pattern on MIDI Channel 2.

The pitches of the notes does not matter, only the rhythm.

16. Hold down a few keys on the keyboard and start the sequencer.

The keys you press should be played with the rhythm from the sequencer.

Function “A” – External triggering of Amplifier Envelope

This function can be used to trigger the Amplifier envelope via notes coming in via MIDI, instead of by
playing the keyboard. Just as with the previous function, this can be used to play back preprogrammed
rhythms in your MIDI sequencer while inputting the actual pitch(es) by playing the keyboard.

You must play keys on the keyboard, or via MIDI (on the Program slot’s “basic” MIDI Channel), to get
any sound!

The parameters are the same as for the Filter Envelope function, see above.

If this function is activated and no MIDI notes are triggering the Amplifier envelope, the instrument will
be silent!

Function “5” – External Velocity Morph

This function is used to control the Velocity/Morph function via the velocity numbers of incoming MIDI
notes.

This differs from the way Velocity/Morph is normally applied. Normally the velocity is applied each time
you press a key. With the External Velocity Control function, however, you can press and hold notes and
vary their timbre via the velocity of the incoming notes without releasing the keys (that is – without re­triggering the envelopes).

You can use the Program Select buttons to switch between “of” and “on”.

The velocity control happens on its own MIDI Channel and note number(s), completely independent of
the MIDI Channel used for defining which keys should be played. It can be controlled from all notes on
one MIDI Channel or one specific note number on one MIDI Channel (see Function 3 above for how to
specify the MIDI note number and the MIDI Channel).

▼ When this function is activated, and a Note On message comes in, the parameters’ values are adjusted

according to the note’s Velocity value.

▼ When a Note Off message comes in, the Velocity/Morph function is reset to the minimum value.

Please note that you must play the keyboard to hear anything. Also note that the Velocity/Morph must
be set up beforehand for this function to have any effect on the sound.

Shift Functions Page 67

An Example of External Velocity Morph

1. Select a Program for slot A.

2. Edit the Program so that you get a morphing effect you like when you move the modulation wheel.

It is not actually necessary to assign the velocity programming to the Modulation wheel, but it is a prac­tical way to try out the effect before you apply it via MIDI.

3. Hold down Shift and press MIDI Ch. Set the MIDI Channel for slot A to 1.

4. Press each of the other Program slot buttons and set them to MIDI Channel 16.

This is just to make sure they do not get used in this example.

5. Hold down Shift and press Special.

6. Press the Special button until the left digit in the display is “S”.

7. Make sure Program Slot A is selected. Otherwise press its button.

8. Use the Up/Down buttons to set the value to “on”.

9. Press Store. Use the Up/Down buttons to select MIDI Channel “2”.

10. Press Store again and adjust to “– – –” (any MIDI note number).

11. Press Store again.

12. Make sure all other Special functions are turned off for this slot.

Do this by pressing the Special button repeatedly and check that the left digit in the display is set to “of”
for all Functions except “S”.

13. Press Shift again to return to “normal mode”.

If you play the keyboard now, there will not be any velocity control because you have set the instrument
up to only do this via MIDI.

14. Set up your sequencer to play a sequence of notes with drastically different velocity values.

The pitches of the notes does not matter, only the rhythm and velocity.

15. Hold down a few keys on the keyboard and start the sequencer.

The sound should now vary in character with the velocity values coming out from the sequencer.

Aftertouch and Expression Pedal Settings

The Special menu also contains settings for Aftertouch (“t”) and Expression pedal (“E”) parameter assign­ment. These functions are described in their respective contents on page 18 (Expression pedal) and page
69 (Aftertouch).

Page 68 Shift Functions

System

Under this menu you will find three different functions, labelled “SP”, “br”, and “Un”.

To select one of the functions, hold down Shift and press the System. Then press the System button re­peatedly until the left digit in the display shows the desired letter.

Sustain Pedal (SP)

This is used to set the polarity of a connected Sustain pedal. See page 18 for details.

This parameter is Global for the entire instrument, that is, the setting is valid for all Performances and
Programs.

Pitch Bend Range (br)

This allows you to set the range of the pitch stick, in semitones. The value is also used to set what effect
incoming pitch bend messages should have on the pitch.

The table below shows you how many semi-tones each value in the display represents.

Setting Range in semitones Setting Range in semitones
1 ±16±10
2 ±27±12
3 ±38±24
4 ±49±48
5 ±7

This parameter is “global” for all Program slots. However, it is saved with a Performance.

Unison Detune (Un)

This allows you to set how far detuned the voices should be when you have Unison activated. For more
info on Unison, see page 55.

This parameter is “global” for all Program slots. However, it is saved with a Performance.

MIDI Page 69

10. MIDI

About the MIDI Implementation

The following MIDI messages can be transmitted and received from the Nord Lead:

Notes

▼ Note On and Off messages are of course transmitted when you play the keyboard. If you use the Octave

Shift buttons in their “Keyboard” mode (see page 56), you can shift the Nord Lead 2 keyboard ± 2 octaves,
giving you an effective keyboard range of 8 octaves.

▼ Notes can be received over the entire MIDI range. That is, when playing via MIDI you have access to a

pitch range wider than 10 octaves!

Pitch Bend

▼ Pitch Bend messages are always transmitted from the Pitch Stick.
▼ The Pitch bend range (used when receiving pitch bend messages) can be adjusted, see page 68.

Controllers

▼ The Modulation wheel is transmitted and received via MIDI as Controller 1 (Modulation wheel).
▼ If you have an Expression pedal connected to the Control Pedal input, this is transmitted as Controller 11.
▼ If you have a Sustain pedal connected, this is transmitted as Controller 64 (Damper Pedal).
▼ All other controls (knobs and switches) on the front panel (except Master Level), are also transmitted and

received as Control Change messages. This can be used to record your actions on the front panel into a
MIDI sequencer, for playback together with the musical performance.
For a full list of which parameters correspond to which Controller number, see the MIDI Implementation
section.

You can turn the transmission/reception of the front panel Controllers on/off, see page 61.

Aftertouch

The Nord Lead 2 can receive (but not send) Aftertouch (channel pressure) messages. For each program
slot, you can set which parameter (if any) should be controlled by the Aftertouch messages:

1. While holding down the Shift button, press the Special button.

2. Press the Special button repeatedly, until the left character in the display is a “t” (for “touch”).

3. Select a slot for which you want to set the aftertouch function.

4. To assign a parameter for the aftertouch, press Store.

The display will flash, showing one of the abbreviations in the table below.

Page 70 MIDI

5. Use the Program Up/Down buttons to select one of the following control functions:

Display shows: Aftertouch assigned to:

LFO 1 Amount.

LFO 2 Amount.

Filter Cutoff Frequency.

FM Amount.

Oscillator 2 Pitch.

6. After you have made your choice, press Store again.

You return to the “t” display.

7. Use the Program Up/Down buttons to select a control amount value (“of” or “1” to “7”).

This value (shown to the right in the display) determines how much the assigned parameter should be
affected by a received maximum aftertouch value.

If you don’t want the slot to be affected by aftertouch messages, select amount value “of”.

8. If needed, repeat steps 3 to 7 to set aftertouch assignment for the other slots.

9. Press Shift to exit the Special menu and return to play mode.

Program Change

The descriptions below are only true if transmission/reception of Program Change messages is activated,
see page 61.

▼ When you select a new Program for a slot, a Program Change message is transmitted via MIDI, on the

slot’s MIDI Channel.

▼ Likewise, if a Program Change message is received on a certain MIDI Channel, all Program slots set to

that MIDI Channel will switch to a new Program.

▼ When you select a new Performance, a Program Change message is transmitted on the Global MIDI

Channel. For information on how to set the Global MIDI Channel, see page 62.

▼ When a Program Change message is received on the Global MIDI Channel, a new Performance is select-

ed.

If the Global MIDI Channel happens to be set to the same number as one of the Program slots, the Per­formance takes precedence. That is, Program Change messages on this MIDI Channel will select Perform­ances, not Programs.

MIDI Page 71

Bank Select

Bank Select messages are only received, not transmitted.

If you use a PCMCIA card, received Bank Select messages can be used to switch between the internal
Bank and the three Banks on the card on the slot’s MIDI Channel, just as with Program Change, see
above. The lowest Bank Select number selects the internal Bank, the second selects the first PCMCIA
Bank and so on.

Bank Select must always be used in combination with Program Change, or no Bank change will take
place.

System Exclusive

Program settings can be transmitted as a System Exclusive “bulk dump”. See page 73.

Using Nord Lead 2 With a Sequencer

Connections

1. Connect MIDI Out on the Nord Lead 2 to a MIDI In on your sequencer.

2. Connect a MIDI Out from your sequencer to a MIDI In on the Nord Lead 2.

Local On/Off

If your sequencer “echoes” all received MIDI signals via its MIDI Output(s) (which it probably does, look
for a function called “MIDI Thru”, “MIDI Echo”, “MIDI Merge”, “Soft Thru” or similar), the Nord Lead 2
should be set to Local Off. See page 61.

MIDI Channels

▼ Which MIDI Channel the Nord Lead 2 transmits on depends on which of the four Program slots is active

(see page 13).

▼ All four Program Slots always receive MIDI, regardless of which one is selected, or if layering of one or

more slots is activated or not. However, all Slots used in a Layer (i.e. all Slots that are activated) will also
receive on the MIDI channel set for the leftmost active Slot!
This means that if you have a layer consisting of Slots A, B and D, and Slot A is set to MIDI channel 1,
both Slots B and D will receive on channel 1, as well as on their respective set channels.

Therefore, if you want the sequencer to control the four Program Slots independently (i.e. not in a layer),
make sure only one of the Slots is active on the Nord Lead 2 (only one Program Slot LED is lit)!

1. Set up the Program slots that you plan to use so that they transmit/receive on the desired MIDI Channels.

To set a slot’s MIDI Channel, hold down Shift, and press MIDI Ch. Then select the Program slot, and set
the value. See page 62 for details.

2. Set the program slots that you don’t plan to use, to MIDI Channel “Off”.

This is to ensure they don’t play any sound unintentionally.

3. Select the desired Program for each Program slot.

Page 72 MIDI

4. If your sequencer requires you to transmit on a certain MIDI Channel (the same MIDI Channel as the slot
receives on), select the desired slot, before recording.

5. If needed, set the sequencer up to record and play back on the desired MIDI Channel.

6. Activate recording and play the Nord Lead 2.

7. For an overdub with a new sound, either select the next Program slot, or just select a new Track and a new
MIDI Channel in the sequencer.

Which of the two alternatives that is right for you depends on your sequencer, not the Nord Lead 2.

Program Change

For the Nord Lead 2 to transmit and receive Program Change messages, Program Change must be acti­vated, see page 61.

▼ To record a Program Change for a certain Program slot, activate recording in the sequencer and simply

select a new Program for the slot.

▼ To record a change of Performance, go into Performance mode, activate recording in the sequencer and

select the Performance from the front panel.

When playing back the Performance Program Change message from the sequencer, make sure it gets
transmitted on the Nord Lead’s Global MIDI Channel (see page 62).

Controllers

For the Nord Lead 2 to transmit and receive Control change messages from the front panel this must be
activated, see page 61. Modulation wheel and pedal, however, are always transmitted/received.

▼ When you record front panel movements, make sure you have the right Program slot activated, and that

the sequencer “echoes” the changes back on the right MIDI Channel, or your changes will affect the
wrong sound!

▼ If two (or more) Program slots are set up to receive on the same MIDI Channel, both will be affected by

the changes!

▼ Please read the note about Controller transmission in Local Off mode on page 61.

Some notes about Controllers and “Chasing”

Consider a situation in which you record a Controller message, e.g. a filter opening, in the middle of your
sequencer song. Then you “rewind” the sequencer, to a position before the recorded filter opening. The
problem is, that the Nord Lead’s filter will remain opened, although it really should be as it was before
you recorded the filter opening. To solve such problems, several sequencers include a function called
“chasing”, which keeps track of Controller changes and tries to adjust the settings on the instrument ac­cording to the current position in the sequencer song.

However, in our case, this wouldn’t help much, because the filter opening was the first Controller mes­sage recorded in the song. The sequencer has no information about the filter setting before the recorded
change, and therefore cannot “chase” the settings properly. To solve this, you could record a “snapshot”
of all Controller settings on the Nord Lead 2 panel, at the beginning of your sequencer song. This is best
done by sending an “All Controllers Request” Sys Ex message from the sequencer to the Nord Lead 2,
which will respond by dumping all its Controller values into the sequencer for recording. The “All Con­trollers Request” message is described in the MIDI Implementation section.

MIDI Page 73

Bulk Dump

To dump one or more Programs or Performances via MIDI as System Exclusive data, for reprogramming
of another Nord Lead 2 or for recording the data into another MIDI device, proceed as follows:

1. Connect a cable from MIDI Out on the Nord Lead 2 to MIDI In on the other device.

2. Set up the receiving device so that it accepts System Exclusive data.

3. To Dump Performances, enter “Performance Mode” (see page 33). To Dump Programs or Percussion Kits, make
sure you are not in Performance mode.

4. If you want to transmit one Program/Performance only, select it.

5. If needed, set the other device to its “recording mode”.

6. Hold down the Shift button and press “Dump One” (Oct Shift +) to transmit the current Program/Perform­ance only or “Dump All” (Oct Shift –) to transmit all Programs/Performances.

To receive a Bulk Dump, proceed as follows:

1. Connect a cable from MIDI Out on the transmitting device to MIDI In on the Nord Lead 2.

2. If you are about to receive a complete Bank, you need to scroll to a program number in the Bank (single Sound
Bank or Performance Bank) you want to replace with the received Bank.

3. Initiate the transmission on the transmitting device.

If the dump contained a complete Bank, it will take the place of the selected Bank in the Nord Lead 2. If
the dump contained one Program/Performance only, this will be put in the “edit buffer” of the active slot,
instead of the Program/Performance you were playing. However, it is not saved permanently. To save it,
use Store as described on page 22 and page 35.

Remember that any Percussion Kits in a Performance, will only be included as “references” when you
dump the Performance. If you want to dump Percussion Kits including all parameters, you have to be in
Program mode!

Page 74 MIDI

About Subtractive Synthesis Page 75

11. About Subtractive
Synthesis

Introduction

Subtractive synthesis is one of the oldest and most widely spread forms of synthesizing sounds. It is the
method employed in such classics as the Moog synthesizers, the Sequential Prophet-5 and 10, Arp syn­thesizers, most Oberheim synthesizers, the Roland Jupiter models, the TB-303 etc; the list is practically
endless. Even new digital instruments such as workstations and sample playback devices employ many
of the basic principles of subtractive synthesis.

With the first Nord Lead, Clavia introduced a new concept: a modern digital instrument that combined a
faithful reproduction of the behaviour of the old analog favourites with the convenience and stability of
the newer designs. The Nord Lead 2 takes this concept even further, adding valuable new features and
functionalities.

The purpose of this chapter is to give you a quick introduction to this world of subtractive synthesis as
used in he Nord Lead 2 and its analog predecessors. If you’d like to know more, there are number of text
books on the subject.

The Building Blocks

Subtractive synthesis started its life in modular synthesizers, large cabinets housing separate electronic
modules, connected via patch cords. With the advancement of technology, the functionality of many of
these modules could be put onto one single circuit board. But functionality-wise, subtractive synthesizers
are still built out of the same modules (or building blocks) as they were decades ago.

We will now take a closer look at these building blocks. Let’s first talk about the three that actually create
and process sound:

Oscillator

The Oscillator is actually the only thing in a synthesizer that actually produces any sound, (all the other
modules only shape the sound from the oscillator.) The oscillator is a bit like the string on a string instru­ment, it vibrates to create sound.

Filter

The signal from the oscillator is sent through the Filter which shapes the timbre of the sound to make it
“bright”, “dull”, “thin”, etc.

Amplifier

The Amplifier shapes the volume of the sound making it “soft” or “hard”, “slow” or “short”.

In addition to these major three modules all synthesizers also have “modulators”, devices that can make
the volume, timbre pitch and other qualities of sound vary continuously when you play a key. It is these
modulators that basically add animation to the sound, taking it from a dull organ drone to a dynamic and
interesting timbre. The two most common modulators are Envelopes and LFOs:

Page 76 About Subtractive Synthesis

Envelopes

An envelope is used to give a sound a “shape”. If you apply an envelope to the amplifier (which controls
the volume) you are able to make the sound for example slowly fade in and then fade out when you
press and hold a key.

LFOs

LFO is an abbreviation for Low Frequency Oscillator. It is used for repeating variations in a sound, such
as vibrato or tremolo.

Connections

There are many ways in which the modules outlined above can be connected in a synthesizer, but the
one in the picture below is a basic and common one, used in the Nord Lead 2 (although the illustration
depicts far from all the possibilities in this instrument!)

Noise

Oscillator

Oscillator

LFOEnvelope LFOEnvelope Envelope LFO

Note that the horizontal lines indicate the way the sound travels. The vertical lines indicate control sig­nals. The envelopes for example only modulate (control) the oscillator, filter and amplifiers, they do not
affect the sound directly.

Mixer

Filter Amplifier

The Oscillators and Waveforms

Output

Audio Signal
Control Signal

The two basic qualities of an oscillator is waveform and pitch.

Pitch

The picture of the sawtooth on the Nord Lead 2 front panel displays a sawtooth during one period of
sound. During this time, the wave raises gradually up to maximum level and then instantly drops back
to minimum level.

About Subtractive Synthesis Page 77

The length of the period determines the pitch (frequency) of the sound. The shorter the period, the high­er the pitch. If you for example make the oscillator play at a frequency of 440Hz, there will be 440 periods
of identical Sawtooth waves generated per second.

One Period

Normally there are three ways to change the frequency of an oscillator:

▼ By making settings on the front panel.

On the Nord Lead 2 for example, you have an “Oct Shift” setting for both oscillators and separate Semi­tone and Fine Tune adjustments for Oscillator 2.

▼ By playing the keyboard.

The keyboard is if course connected to the oscillator so that pressing different key produces different
pitches. In some cases this connection can be turned off, so that the oscillator always plays the same
pitch, regardless of which key is pressed. In the Nord Lead 2, this can be done for Oscillator 2, by deac­tivating “Kbd Track”.

▼ By Modulation

Modulation allows you to make the pitch vary “automatically”. The most common example is probably
to use an LFO to make pitch go up and down, to create a vibrato. But you can also put the pitch under
envelope control, or make the pitch vary with your striking force (velocity).

Waveform

The waveform of the oscillator affects its harmonic content and thereby its “sound quality” (timbre). The
three most common waveforms are sawtooth, pulse wave and triangle.

Looking at the shape of a waveform tells very little about how it sounds. Instead, there’s a better way to
draw it, called a spectrum. Let’s introduce some quick theory:

Mathematically, all waveforms can be considered as built from a number of harmonics, added together.

Each of the harmonics consists of a sine wave, the purest and simple waveform there is (a sine wave has
no harmonics at all). In other words, if you add a number of sine waves together, each one with its own
pitch (frequency) and volume (amplitude), then you can build any waveform you like.

The lowest harmonic is called the fundamental. The fundamental determines the basic pitch of the
sound. If the fundamental has a frequency of 440Hz, we will perceive the entire sound as having a pitch
of 440Hz.

Other harmonics are then added to the fundamental, called overtones. Normally the first overtone ap­pears at a frequency twice the fundamental (in our example 880 Hz). The next harmonic appears at a
frequency three times the fundamental (in our example 1320Hz) and so on.

In a spectral display of a waveform you can see the frequency (pitch) of each harmonic and its amplitude
(level). This is done by drawing each harmonic as a line raising up from a horizontal scale.

Each line’s position on this scale indicates the harmonic’s frequency. The line furthest to the left is the
fundamental, the next is the first harmonic etc. To make life easier, one usually doesn’t label the horizon­tal scale with frequency in Hz, but rather with the number of the harmonic.

Page 78 About Subtractive Synthesis

The height of each line represents the amplitude of each harmonic.

If you understand the principle, you also understand that if the harmonics with high numbers have a high
amplitude, the sound will be perceived as bright.

Let’s take a look at some common waveforms and their spectra.

In the illustrations below, only some of the first harmonics are displayed. In reality, waveforms like these
have an infinite amount of harmonics.

Sawtooth

The Sawtooth wave has a simple spectrum. All harmonics are present in the wave, in proportional values.
As you can see, the high harmonics have a fairly high amplitude, which makes this waveform sound
bright.

Amplitude

Time



Harmonic number

10 20 30 40

(Frequency)

Amplitude

Triangle

The triangle wave does not have very strong harmonics. Furthermore they only appear at odd harmonic
numbers. The first fact makes the tone pure, a bit like a flute, and the second fact gives the sound a slight­ly “hollow” character.

Amplitude

Amplitude

Time

10 20 30 40

Harmonic number
(Frequency)

About Subtractive Synthesis Page 79

Pulse Wave

The pulse wave is slightly more complicated, because it is not one waveform, it is many different ones.
A pulse wave is a waveform that during one period jumps once between full positive amplitude and full
negative and then back.The thing that can be varied is where within the period you jump from maximum
to minimum amplitude. Let’s look at three examples:

Amplitude

Amplitude

5%

Time

95%

Harmonic number

10 20 30 40

(Frequency)

Amplitude

90%

Amplitude

10%

Time

Amplitude

Amplitude

10 20 30 40

Harmonic number
(Frequency)

50%

50%

Time

10 20 30 40

Harmonic number
(Frequency)

Page 80 About Subtractive Synthesis

In the first, the jump happens 5% in from the beginning of the period. This is referred to as a pulse wave
with a 5% pulse width (sometimes called duty cycle). The second wave has a pulse width of 10%. The
third wave has a pulse width of 50%.

This third wave is a special case of the pulse wave, called a square wave, and this has one peculiarity, it
only contains odd number harmonics, which gives it a “hollow” quality.

On many synthesizers (including the Nord Lead) the pulse width can be adjusted, to set the timbre of the
pulse wave. The more narrow the pulse width, the more “thin” the sound will be.

You can also have the pulse width vary continuously, for example from an LFO or envelope. This is re­ferred to as pulse width modulation. Modulating pulse widths from an LFO creates a rich, chorus-like
effect often used in “string” sounds.

About Inharmonic Spectra

Above we have only discussed spectra where the overtones appear at perfect harmonics. While this is
true for the basic waveforms discussed above, it is definitely not true for all sound. If you for example
use the frequency modulation (FM) or Ring Modulation capabilities in the Nord Lead 2, with the two os­cillators set to an “unusual” interval (not octaves or fifths, for example), you will get a spectrum where
the overtones appear at frequencies somewhere between the perfect harmonics. This results in an inhar-
monic sound, which often sounds “metallic”.

Amplitude

Amplitude

Time

Harmonic number 

1 2 3 4 5 6 7 8

(Frequency)

Sync

One some instruments (including the Nord Lead 2), two Oscillators can be synchronized. If you for ex­ample synchronize Oscillator 2 to Oscillator 1, Oscillator 2 will start over with a new period of the wave­form, each time Oscillator 1 does so. If Oscillator 2 then has a higher frequency than 1, it will get a
complex waveform that depends both on its own pitch and on that of the other oscillator.

Oscillator 1

Oscillator 2
(synchronized)

About Subtractive Synthesis Page 81

When sync is applied, the basic pitch of Oscillator 2 is locked to that of Oscillator 1. If you change the
pitch of Oscillator 1 you will affect the basic pitch of both oscillators. Furthermore, when you vary the
pitch of the synchronized oscillator (Oscillator 2), this will be perceived as a change in timbre, rather than
in pitch.

This leads to a spectrum with deep resonances at Osc2’s harmonics, like this:

Amplitude

Osc 2 Harmonics

Harmonic number

10 20 30 40

(Frequency)

If you go even further and let the pitch of the synchronized oscillator vary continuously, for example
from an LFO or envelope, you will change the harmonic content of the sound in an interesting and very
characteristic way.

The Filter

The filter in a synthesizer is used to remove or emphasize frequencies in a spectrum. A filter is a bit like
an amplifier (a volume control) that is applied differently to different parts of the spectrum. For example,
a filter might make low frequencies louder, while at the same time making high frequencies weaker. Ap­plying such a filter would make a sound have more bass and less treble.

Let’s imagine a sound with a spectrum where all harmonics are available at full level. It would look like
this:

Let’s now pass this spectrum through a lowpass filter (this type of filter is discussed in more detail below).
The filter has a characteristic, which can be drawn as a curve.

Page 82 About Subtractive Synthesis

As you can see the curve is flat in the low register (which means it doesn’t affect this part of the spectrum
at all) and then, at a certain point, gradually starts falling. When applied to the wave above, this filter cuts
away some of the high frequency material in the wave, like this:

+ =

Filter Types

There are many types of filters, all with their different purposes. We will here discuss the three most com­mon, the ones found in the Nord Lead 2.

Lowpass filter: The Lowpass filter dampens high frequencies and let’s low frequencies pass through unaf­fected, as in the example above. It is the most common synthesizer filter, since it can be used to “round
off” the sharp sound of sawtooth waves and pulse waves.

Amplitude

Fc (Cutoff Frequency)

Frequency

Highpass Filter: This is the opposite of the lowpass filter. It let’s the high frequencies of the sound pass
through and cuts off the low frequencies. This removes “bass” from a sound, without affecting the high
end.

Amplitude

Fc (Cutoff Frequency)

Frequency

About Subtractive Synthesis Page 83

Bandpass filter: This let’s frequencies in a certain range of the spectrum (the band) pass through while
dampening frequencies both below and above this range. This accentuates the mid-range of a sound.

Amplitude

Fc (Cutoff Frequency)

Frequency

Notch filter: This filter type (also known as Band Reject) can be seen as the opposite of a band pass filter.
It cuts off frequencies in a “mid-range” band, letting the frequencies below and above through.

Amplitude

Fc (Cutoff Frequency)

Frequency

In the Nord Lead 2 the Notch filter is combined with a 12 dB Lowpass filter, for greater musical versatility
(see page 44).

Roll-off

Filters of one and the same type (lowpass, highpass etc) can have different characteristics. One of the
factors determining the exact filter curve is the roll-off, which is measured in dB/Octave (“decibels per
octave”) or poles. The simplest possible filter has a roll-off of 6dB/octave, which is referred to as “1 pole”.
The next step up is 12dB (2 poles), 18db (3 poles) etc.

The most common synth filters are the 12dB and 24dB lowpass filters. The difference between the two
can be studied in the graph below. The 12dB filter let’s more of the high frequency pass through which
gives the sound a brighter and “buzzier” character than the 24dB filter does.

Amplitude

Fc (Cutoff Frequency)

24dB (4-pole)

12dB (2-pole)

Frequency

In the Nord Lead 2, the lowpass filter can be switched between 12 and 24dB modes. For sounds with high
resonance (see below), similar to those in the Roland TB-303, we recommend the 12dB variation. For
most other sounds we recommend 24dB.

Page 84 About Subtractive Synthesis

Cutoff Frequency

The most important parameter for a filter is its cutoff frequency, which is the setting that determines
where in the frequency material it should start cutting. If the cutoff frequency in a low pass filter is set to

a very low value, only the lowest harmonics (the bass) will pass through. If you raise the cutoff all the
way up, all frequencies will be let through, as the figure below illustrates.

Amplitude

Filter Frequency

Frequency

Changing the cutoff frequency is often referred to as “sweeping the filter”. This is probably one of the
most important ways of shaping the timbre of a synthesizer sound. By using an envelope you can for
example have a high cutoff at the beginning of a sound which is then gradually lowered (the filter “clos­es” as the sound decays). This would emulate the way most plucked string sound (piano, guitar etc) be­have; the amplitude of the harmonics decreases as the sound decays.

Key Tracking

When you play different pitches, the oscillators produce different frequencies. This means that the over­tones in the waveform appear at different frequencies. The cutoff frequency of the filter however, is
fixed. This means that different overtones will be cut off at different pitches. To be more precise, the fur­ther up the keyboard you play, the muddier the sound will be.

To remedy this problem many synthesizers have a parameter called Filter Keyboard Tracking. When this
is activated, the filter Cutoff Frequency varies with which key you play, just as the oscillator frequency
does. This ensures a constant harmonic spectrum for all keys.

Amplitude

Frequency

Resonance

Resonance in a filter is created by connecting the output of the filter to its input, in other words setting
up a “feedback loop”. The amount of feedback is then controlled with a Resonance parameter on the
front panel of the instrument.

About Subtractive Synthesis Page 85

When you apply resonance, the frequencies just around the cutoff point of the filter will be emphasized
(louder). As you increase the Resonance further and further, the filter will start to behave more an more
like a bandpass filter, where only the frequencies around the cutoff point are let through. The filter will
start to “ring”, which means it almost sounds like it is adding frequencies to the sound. If the Resonance
is then raised even further (on some synthesizers) the filter will start to self-oscillate, that is produce
sound of its own, just like an oscillator.

Amplitude

Q=1

Q=0.5


Filter
Frequency

Q=4
Q=2

Frequency

High Resonance values are also visible in the waveform. They appear as a “superimposed” waveform
with a frequency equivalent to the filter’s cutoff frequency. The three examples above show the same
wave with increased resonance.

Q=0.5

Q=1

Q=2

If you add Resonance to a sound and then vary the Cutoff frequency (for example with an envelope) you
will get a very typical synthesizer sound.

Page 86 About Subtractive Synthesis

The Amplifier

An amplifier is most often used at the final stage of a synth signal chain, to control volume. By modulating
the amplifier with an envelope, the sound can be given its basic “shape”. In fact, the “volume shape” is
one of the most important factors to how we identify the sound. By setting up a proper volume envelope
you can make a sound “soft”, “hard”, “plucked” “static” etc.

+=

The volume envelope curve (to the left) determines how the amplitude of the waveform changes over time.

Envelopes

ADSR-Envelope

Envelopes are used to modulate pitch, amplitude, filter cutoff and other parameters in a sound. This is
used to give the sound a varying character from the moment the key is pressed to the moment it is re­leased.

The classic synthesizer envelope has four parameters, Attack, Decay, Sustain and Release, and is there­fore often referred to as an “ADSR-envelope”.

When you press a key, the envelope is triggered. This means is starts rasing from zero to maximum level.
How long this should take, depends on the Attack setting. If the Attack time is set to “0”, the envelope
will instantly reach full level. If it is raised it will take longer.

If you for example have an envelope controlling volume, raising the attack will give the sound a “softer”
character. If you have the envelope routed to the filter, it might give the sound a “wah” type of start.

Level

Key Down

Attack

Time

(time)

About Subtractive Synthesis Page 87

After the envelope has reached full level, it starts to fall back again. How long this should take, is set with
the Decay parameter.

Level

Attack
(time)

Key Down

Decay
(time)

Time

The level of the envelope does not necessarily have to fall all the way back to zero level at the end of the
Decay. Instead, the ADSR-envelope has a Sustain setting used to determine the level the envelope should
rest at, after the Decay. If you for example want to create a flute sound, you would have a fairly high
Sustain setting on your Volume envelope, since a flute tone basically stays at a steady level for as long as
you play it. On the other hand, for a piano sound, you would want a Sustain level of “0”, since a piano
sound decays to silence if you hold the key long enough.

Level

Sustain
(level)

Attack
(time)

Key Down

Decay
(time)

Time

Please note that the Sustain parameter represents a level, but all other envelope parameters represent
times.

Page 88 About Subtractive Synthesis

As described above, the envelope stays at the Sustain level until the key is released. It then falls back to
zero level. The time it should take for this to happen is set with the Release parameter, which works just
as the Decay, only it is not applied until you lift your finger off the keys.

Level

Sustain
(level)

Attack
(time)

Decay
(time)

Release
(time)

Time

Key Down

Key Up

▼ If you set Sustain to full level, the Decay setting is of no importance since the volume of the sound is

never lowered.

Level

Time

Key Down

Key Up

▼ If you set Sustain to 0, the sound will become silent after the Decay phase is finished. With short Attacks

moderate Decay times, this can be used to simulate the behaviour of a plucked string instrument (guitar,
piano etc) where the sound always decays to silence after a while.

Level

Key Down

Time

Key Up

About Subtractive Synthesis Page 89

▼ If you release a key before the envelope has reach its sustain, it will immediately “jump” to the Release.

The effect of this can be studied in the illustration below.

Level

Time

▼ Often envelope levels can be made to vary with how hard you play the keys. This is used to make a

sound vary with your playing style, for example to make the sound brighter (filter envelope) or louder
(amplifier envelope).

AD-Envelope

A simpler form of envelope has Attack and Decay parameters only, and is therefore called an AD-enve­lope. In effect, the AD-envelope behaves like an ADSR-envelope with Sustain set to 0 (see the picture at
the top of this page??). This type of envelope, often with amount and inversion controls, is suitable when
you want to affect the start of the sound only.

On the Nord Lead 2, the Modulation Envelope is of AD-type. Typically, it can be made to modulate the
FM amplitude or the pitch of Oscillator 2, to create a different timbre during the attack part of the sounds.

LFOs

An LFO is an oscillator, just like the ones that produce the sound in a synthesizer, but with two main dif­ferences:

▼ The LFO produces very low frequencies, most often below the hearing range (up to 20Hz).

Key Down

Key Up

▼ The LFO is not used to produce sound, instead it is connected to other modules to provide modulation

of parameters.
If you for example route an LFO to pitch, you get a vibrato. If you route it to the filter’s cutoff frequency
you get a wah-wah type of effect. And if you route it to the amplifier of an instrument you get a tremolo.

The three basic parameters for an LFO are Waveform, Rate (frequency) and Amount:

▼ The waveform determines the type of vibrato, for example “regular” (triangle or sine), ramp (sawtooth)

or random.

▼ The Rate determines the speed of the vibrato.
▼ The Amount controls to what degree the LFO affects its destination.

Page 90 About Subtractive Synthesis

MIDI Implementation Page 91

12. MIDI Implementation

Controller Number List

The following is a list of the MIDI Controller numbers used for all knobs and buttons on the front panel.
See page 72.

▼ The reception and transmission of Controllers can be turned on/off. See page 61.
▼ Buttons that control “on/off” functions have a Controller value of “0” corresponding to the “off” position

and a value of “on” corresponding to the “on” position.

▼ Buttons that step through various possibilities start with a Controller value of “0” for the “lowest” setting

and then increment with a value of 1 for each step upwards.

If you want to send Controllers to Percussion Kits, proceed with caution! The Controller message you
send will affect the percussion sound that was last selected for editing, by pressing a black key on the
keyboard (see page 30).

Nord Lead 2 Parameter MIDI Controller # MIDI Controller Name

Gain 7 Main Volume

Oct Shift 17 General Purpose #2

Mod Wheel Destination 18 General Purpose #3

Unison 16 General Purpose #1

Poly/Legato/Mono 15 Undefined

Portamento Auto 65 Portamento On/Off

Portamento Time 5 Portamento Time

LFO 1 Rate 19 General Purpose #4

LFO 1 Waveform 20 Undefined

LFO 1 Destination 21 Undefined

LFO 1 Amount 22 Undefined

LFO 2/Arpeggio Rate 23 Undefined

LFO 2 Destination/Arpeggio Mode 24 Undefined

LFO 2 Amount/Arpeggio Range 25 Undefined

Modulation Envelope Attack 26 Undefined

Modulation Envelope Decay 27 Undefined

Modulation Envelope Destination 28 Undefined

Page 92 MIDI Implementation

Nord Lead 2 Parameter MIDI Controller # MIDI Controller Name

Modulation Envelope Amount 29 Undefined

Osc 1 Waveform 30 Undefined

Osc 2 Waveform 31 Undefined

Osc 2 Semitones 78 Sound Controller 9

Osc 2 Fine Tune 33 LSB for Controller 1

Oscillator FM Depth 70 Sound Controller 1 (Sound Variation)

Osc 2 Keyboard Tracking 34 LSB for Controller 2

Oscillator Pulse Width 79 Sound Controller 10

Oscillator Sync 35 LSB for Controller 3

Oscillator Mix 8 Balance

Amplifier Envelope Attack 73 Sound Controller 4 (Attack)

Amplifier Envelope Decay 36 LSB for Controller 4

Amplifier Envelope Sustain 37 LSB for Controller 5

Amplifier Envelope Release 72 Sound Controller 3 (Release)

Filter Envelope Attack 38 LSB for Controller 6

Filter Envelope Decay 39 LSB for Controller 7

Filter Envelope Sustain 40 LSB for Controller 8

Filter Envelope Release 41 LSB for Controller 9

Filter Mode 44 LSB for Controller 12

Filter Cutoff 74 Sound Controller 2 (Timbre)

Filter Resonance 42 LSB for Controller 10

Filter Envelope Amount 43 LSB for Controller 11

Filter Velocity 45 LSB for Controller 13

Filter Keyboard Track 46 LSB for Controller 14

Filter Distortion 80

In addition to the above, following controllers are used:

▼ The Modulation wheel transmits and receives Controller 1.
▼ If the Pedal input is used with an expression pedal, this is transmitted and received as Controller 11.
▼ If the Pedal input is used for sustain, this is transmitted as Controller 64 (Damper Pedal)
▼ Bank Select messages (Controller 0 and 32) are received.

MIDI Implementation Page 93

System Exclusive Implementation

Numbers are in decimal except when preceded by a “$” character, in which case they are in hexadecimal
format.

General Message format

Byte Description

$F0 System Exclusive

$33 Manufacturer ID (clavia)

<Device ID> = Global MIDI Channel, 0-15

$04 Model ID for Nord Lead

<Message Type> See each type of message, below.

<Message Specification> See each type of message, below.

<Data 1> This and following bytes depend on the Message Type and Message

Specification. Some messages have no data bytes at all.

<Data 2>

<Data 3>

<etc.>

$F7 End Of Exclusive

Patch Dumps

This message contains the actual Patch Dump. One complete message contains the data for one Patch.
It is transmitted from the Nord Lead 2 in one of two cases:

▼ When a Patch Dump is initiated from the front panel.
▼ When a valid Patch Dump Request message has been received.

This message should be sent to the Nord Lead 2 when you want to replace a Patch currently in the instru­ment, with a new one.

The Message Type and Message Specification bytes in the Sys Ex message contains information about
from which location the Patch Dump was sent. When a Patch is sent to the Nord Lead 2, it will end up in
this location.

▼ If the Sys Ex data for a complete Bank is sent (using the “Dump All” command), the Program location

within the Bank is stored for each Patch. When any or all of these Patches are sent back to a Nord Lead
2, they will be stored at their original Program Location, but in the Bank that is currently selected on the
Nord Lead 2.

▼ If the Sys Ex data for a single Patch is sent using the “Dump One” command, it is considered being sent

from the Edit Buffer of the selected Slot. This means, that when the Patch is sent back to a Nord Lead 2, it
will not actually be stored, but temporarily placed in the Edit Buffer of its original Slot.

Page 94 MIDI Implementation

▼ If the Sys Ex data for a single Patch is sent upon receiving a Patch Dump Request message, either the

Program Location or the Edit Buffer will be stored, depending on the Message Type byte in the Request
message. This will also determine where the Patch will be placed when it is sent back to a Nord Lead 2.

Byte (Hex) Byte (Decimal) Description

$F0 240 System Exclusive

$33 51 Manufacturer ID (clavia)

<Device ID> = Global MIDI Channel. 0 to 15 ($0-$F).

$04 4 Model ID for Nord Lead

$00 to $04 0 to 4 Message Type specifies the Bank. 0=Edit Buffer, 1 to

4=Bank 1 to 4

$00 to $03 or $00-$62 0 to 3 or 0 to 98 Message Specification specifies the exact memory loca-

tion, see below.

<Patch Data 1> See page 98.

<Patch Data 2>

<Patch Data 3>

:

<Patch Data 132>

$F7 247 End Of Exclusive

▼ If Message Type = 0 (Edit Buffer), the Message Specification can be 0 to 3, corresponding to Patch Slot

buttons A to D.

▼ If Message Type = 1 to 4, then the Message Specification (00 to 98) corresponds to the Program Number

within the Bank (01 to 99).

Percussion Kit Patch Dump

This message contains all settings in a Percussion Kit. It is transmitted from the Nord Lead 2 in one of two
cases:

▼ When a Patch Dump is initiated from the front panel and a Percussion Kit is selected.
▼ When a valid Patch Dump Request message has been received, specifying a Percussion Kit location or

an Edit Buffer containing a Percussion Kit.

Percussion Kit Patch Dump messages will also be sent if the “Dump All” command is used.

This message should be sent to the Nord Lead 2 when you want to replace a Percussion Kit currently in
the instrument, with a new one. When it comes to the location of the received Percussion Kit Dumps, the
same rules apply as when receiving regular Program Dumps. Just remember that the internal Percussion
Kit locations in the Nord Lead 2 cannot be overwritten.

MIDI Implementation Page 95

Byte (Hex) Byte (Decimal) Description

$F0 240 System Exclusive

$33 51 Manufacturer ID (clavia)

<Device ID> = Global MIDI Channel. 0 to 15 ($0-$F).

$04 4 Model ID for Nord Lead

$00 to $04 0 to 4 Message Type specifies the Bank. 0=Edit Buffer, 1 to

4=Bank 1 to 4

$10 to $13 or $63-$6C 16 to 19 or 99 to

108

<Patch Data 1> Patch data for eight percussion sounds. See page 98.

<Patch Data 2>

<Patch Data 3>

:

<Patch Data 1056>

$F7 247 End Of Exclusive

▼ If Message Type = 0 (Edit Buffer), the Message Specification can be 10 to 13, corresponding to Patch Slot

buttons A to D.

▼ If Message Type = 1 to 4, then the Message Specification (99 to 108) corresponds to the Percussion Kit

locations (P0 to P9).

Message Specification specifies the exact memory loca­tion, see below.

Patch Dump Request

This message is used for requesting the Nord Lead 2 to transmit one Patch or Percussion Kit Dump Mes­sage. The Message Type and Message Specification are used to specify which Patch should be transmit­ted.

This message is never transmitted from the Nord Lead 2.

Byte (Hex) Byte (Decimal) Description

$F0 240 System Exclusive

$33 51 Manufacturer ID (clavia)

<Device ID> = Global MIDI Channel. 0 to 15 ($0-$F).

$04 4 Model ID for Nord Lead

$A to $E 10 to 14 Message Type specifies the Bank. $A=Edit Buffer, $B to

$E=Bank 1 to 4

$00 to $03 or
$00-$6C

$F7 247 End Of Exclusive

▼ If Message Type = 10 (Edit Buffer), the Message Specification can be $00 to $03, corresponding to Patch

Slot buttons A to D.

0 to 3 or 0 to 108 Message Specification specifies the exact memory location,

see below.

Page 96 MIDI Implementation

▼ If Message Type = 11 to 14, then the Message Specification (00 to 98) corresponds to the Program Number

within the Bank (01 to 99).

Performance Dump

This message contains the actual Performance. One complete message contains the data for one Perform­ance.

This message is transmitted from the Nord Lead 2 in one of two cases:

▼ When a Performance Dump is initiated from the front panel.
▼ When a valid Performance Request message has been received.

This message should be sent to the Nord Lead 2 when you want to replace a Performance currently in
the instrument, with a new one. The Message Type and Message Specification then specify in which
memory location the Performance should be stored.

Byte (Hex) Byte (Decimal) Description

$F0 240 System Exclusive

$33 51 Manufacturer ID (clavia)

<Device ID> = Global MIDI Channel. 0 to 15 ($0-$F).

$04 4 Model ID for Nord Lead

$1E or $1F 30 or 31 Message Type specifies Performance Edit Buffer (30) or

PCMCIA Card Performance Bank (31)

$00 or $00-$63 0 or 0 to 99 Message Specification specifies the Performance number,

see below.

<Perf. Data 1> See page 100.

<Perf. Data 2>

<Perf. Data 3>

:

<Perf. Data 708>

$F7 247 End Of Exclusive

▼ If Message Type = 30 (Edit Buffer), the Message Specification should always 0.
▼ If Message Type = 31, the Message Specification corresponds to the Performance Number (00 to 99).

MIDI Implementation Page 97

Performance Dump Request

This message is used for requesting the Nord Lead 2 to transmit one Performance Dump Message. The
Message Type and Message Specification are used to specify which Performance should be transmitted.

This message is never transmitted from the Nord Lead 2.

Byte (Hex) Byte (Decimal) Description

$F0 240 System Exclusive

$33 51 Manufacturer ID (clavia)

<Device ID> = Global MIDI Channel. 0 to 15 ($0-$F).

$04 4 Model ID for Nord Lead

$28 or $29 40 to 41 Message Type specifies Performance Edit Buffer (40) or

the PCMCIA card Performance Bank. (41).

$00 or $00-$63 0 or 0 to 99 Message Specification specifies the Performance number,

see below.

$F7 247 End Of Exclusive

▼ If Message Type = 40 (Edit Buffer), the Message Specification should always 0.
▼ If Message Type = 41 or 42, then the Message Specification (00 to 99) corresponds to the Performance

Number (A0 to L9).

All Controllers Request

This message instructs the Nord Lead 2 to send all current Controller values for a specified Slot (see page

72). The message is never transmitted from the Nord Lead 2.

Byte (Hex) Byte (Decimal) Description

$F0 240 System Exclusive

$33 51 Manufacturer ID (clavia)

<Device ID> = Global MIDI Channel. 0 to 15 ($0-$F).

$04 4 Model ID for Nord Lead

$14 20 Message Type specifies All Controllers Request.

$00-$03 0 to 3 Message Specification specifies the Program Slot.

$F7 247 End Of Exclusive

Page 98 MIDI Implementation

Patch and Performance Data Formats

In the Patch and Performance Dump Messages, the Data Bytes contain the actual Patch/Performance set­tings.

▼ All parameters are in 8 bit format, 2s complement (=signed). Each Byte is Nybbleized and coded into two

MIDI bytes, with the low Nybble transmitted first.

▼ A Patch contains 66 parameters, which means the data block of a Patch Dump is transmitted in 132 (66*2)

Bytes. See the “Patch Dump Format” table, below.

▼ A Performance consists of five blocks. The first four blocks contains the four Patches (A to D) This block

is 528 MIDI Bytes (4*66*2). After this follows 180 (90*2) of data for parameters local to the Performance.
See the “Performance Data Format” table, on page 100.

Patch Dump Format

Size Offset Name Min Max Comment

1 0 osc2pitch 0 120 middle=60
1 1 osc2pitchfine 0 127
1 2 mix 0 127
1 3 cutoff 0 127
1 4 resonance 0 127
1 5 filterenvamt 0 127
1 6 pw 0 127
1 7 fmdepth 0 127
1 8 filterenvattack 0 127
1 9 filterenvdecay 0 127
1 10 filterenvsustain 0 127
1 11 filterenvrelease 0 127
1 12 ampenvattack 0 127
1 13 ampenvdecay 0 127
1 14 ampenvsustain 0 127
1 15 ampenvrelease 0 127
1 16 portamento 0 127
1 17 gain 0 127
1 18 modenvattack 0 127
1 19 modenvdecay 0 127
1 20 modenvlevel 0 127 middle=64
1 21 lfo1rate 0 127
1 22 lfo1level 0 127
1 23 lfo2rate 0 127
1 24 arprange 0 127
1 25 osc2pitch_sens -128 127 velocity/morf sens
1 26 osc2pitchfine_sens -128 127 0=OFF
1 27 mix_sens -128 127
1 28 cutoff_sens -128 127
1 29 resonance_sens -128 127
1 30 filterenvamt_sens -128 127
1 31 pw_sens -128 127
1 32 fmdepth_sens -128 127
1 33 filterenvattack_sens -128 127
1 34 filterenvdecay_sens -128 127
1 35 filterenvsustain_sens -128 127
1 36 filterenvrelease_sens -128 127
1 37 ampenvattack_sens -128 127
1 38 ampenvdecay_sens -128 127
1 39 ampenvsustain_sens -128 127
1 40 ampenvrelease_sens -128 127

MIDI Implementation Page 99

Size Offset Name Min Max Comment

1 41 portamento_sens -128 127
1 42 gain_sens -128 127
1 43 modenvattack_sens -128 127
1 44 modenvdecay_sens -128 127
1 45 modenvlevel_sens -128 127
1 46 lfo1rate_sens -128 127
1 47 lfo1level_sens -128 127
1 48 lfo2rate_sens -128 127
1 49 arprange_sens -128 127
1 50 osc1waveform 0 3 3=sine
1 51 osc2waveform 0 3 3=noise
1 52 sync/ringmod/distortion bit 0 = sync on/off, bit 1 = ring mod on/off, bit 4 = filter dist on/off
1 53 filtertype 0 4
1 54 osc2kbdtrack 0 1
1 55 filterkbdtrack 0 3
1 56 lfo1wave 0 4
1 57 lfo1dest 0 4
1 58 voicemode 0 2
1 59 modwheeldest 0 4
1 60 unison 0 1
1 61 modenvdest 0 3
1 62 auto 0 1
1 63 filtervel 0 1
1 64 octshift 0 4
1 65 lfo2dest/arpmode 0 8 8 = off

For Percussion Kit Sys Ex Dumps, the above parameters will be repeated eight times, once for each sound
in the Percussion Kit.

Page 100 MIDI Implementation

Performance Data Format

Size Offset Name Min Max Comment

264 0 "performance_patch [A,B,C,D]" see PATCH data format
4 264 "midichan [A,B,C,D]" 0 15
4 268 "lfo1sync [A,B,C,D]" 0 7
4 272 "lfo2sync [A,B,C,D]" 0 7
4 276 "filterenvtrig [A,B,C,D]" 0 1
4 280 "filterenvtrigmidichan [A,B,C,D]" 0 15
4 284 "filterenvtrignotenr [A,B,C,D]" 23 127 23=off
4 288 "ampenvtrig [A,B,C,D]" 0 1
4 292 "ampenvtrigmidichan [A,B,C,D]" 0 15
4 296 "ampenvtrignotenr [A,B,C,D]" 23 127 23=off
4 300 "morftrig [A,B,C,D]" 0 1
4 304 "morftrigmidichan [A,B,C,D]" 0 15
4 308 "morftrignotenr [A,B,C,D]" 23 127 23=off
1 312 bendrange 0 8
1 313 unisondetune 0 8
1 314 outmode[cd]+ outmode[ab] 0 3 Upper nybble = mode for output c/d
1 315 globalmidichan 0 15 not received!!!
1 316 midiprogchange 0 1 not received!!!
1 317 midicntrl 0 1 not received!!!
1 318 mastertune -99 99 not received!!!
1 319 pedaltype 0 2 not received!!!
1 320 localcontrol 0 1 not received!!!
1 321 Keyboard Octave Shift 0 4 not received!!!
1 322 selected_channel 0 3
1 323 Arpeggio MIDI Out 0 1 not received!!!
4 324 "channel_actived [A,B,C,D]" 0 1
4 328 "pgmselect [A,B,C,D]" 0 98
4 332 "bankselect [A,B,C,D]" 0 3
4 336 channel pressure amt. [A,B,C,D] 0 7
4 340 channel pressure dest. [A,B,C,D] 0 4
4 344 expression pedal amt. [A,B,C,D] 0 7
4 348 expression pedal dest. [A,B,C,D] 0 4
1 352 keyboard split 0 1
1 353 splitpoint 0 127