Dave Smith Instruments PolyEvolver Owner's Manual

Download

Poly Evolver

Operation Manual

Dave Smith Instruments

Evolver Operation Manual

Version 1.0

April, 2004

Dave Smith Instruments

1590 Sylvaner Avenue

St. Helena, CA 94574 USA

www.DaveSmithInstruments.com

Tested To Comply With FCC Standards FOR OFFICE USE

This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference and (2) this device must accept any interference received, including interference that may cause undesired operation.

This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.

Cet appareil numerique de la classe B respecte toutes les exigences du Reglement sur le materiel brouilleur du Canada.

For Technical Support, E-mail to: help@davesmithinstruments.com

Contents

Quick Start 6

Preset Notes 8

FAQs 9

Chaining Evolvers and Polys 10

Inside Evolver 12

Signal Flow Diagram 13

Basic Operations 14

Global Parameters 16

Program Parameters 19

Analog Oscillators (1 and 2) 19 Digital Oscillators (3 and 4) 20 Lowpass Filter 21 Amplifier (VCA) 22 Feedback 23 Delay 23 Low Frequency Oscillators (LFO) 25 Envelope 3 26 Miscellaneous Audio Parameters 27 Miscellaneous Parameters 28 Miscellaneous Timing Parameters 30 MIDI Modulation Parameters 31 Miscellaneous Modulation Parameters 31 Sequence Parameters 32 Program Name 34

Sequencer Operation 32

Modulation Destination Table 35

Modulation Source Table 37

Combo Parameters 38

MIDI Implementation 42

MIDI Parameters 42 Basic MIDI Messages 46 System exclusive Messages 48 Global Parameter Data 58 Combo Parameter Data 60 Program Parameter Data 62

Welcome…

Thanks for purchasing your Poly Evolver! Listen to the sounds, twiddle some knobs, have some fun!

If you purchased your Poly directly from us, there is no need to register – we already have your contact information. If you purchased it from a music dealer, please go to www.davesmithinstruments.com and register.

Quick Start

Here’s the standard short manual to get started:

First, plug in the power supply. The power supply will work anywhere in the world; use the included Euro AC adapter if necessary. Next, plug the Poly’s signal outputs to your mixer/sound system, and connect a MIDI keyboard to the MIDI in jack.

The Poly Evolver has two main modes, Program and Combo. Program mode sets all 4 voices to the same sound, one of the 128 Programs in 4 Banks (512 total). It powers up in Program mode, ready to play. If you are an Evolver owner, you are already familiar with the basic Poly voice – it is the same, only now there are four of them!

Program mode is usually meant to be played from a keyboard, but you have the

button, and voice 1 will play back the sequence for that

option of hitting the S Program. You can then play along with the other 3 voices. Note that all Programs do not necessarily have sequences programmed.

TART

The upper knob changes the Program number, and the lower knob changes the Bank. If you want to edit a Program, just hit the E

button. Now, the upper knob

DIT

selects parameters (128 of them), and the lower knob changes the value. The P

AGE UP

and P

AGE DOWN

buttons jump through groups of parameters in logical

jumps, i.e. Oscillator 1 to Oscillator 2, etc.

To select Combo mode, just hit the C

button. Combos give you complete

OMBO

flexibility configuring the four voices; you can stack or split the keyboard, assign different Programs to different MIDI channels, set it to play multiple different sequences synchronously, etc.

There are 3 banks of 128 Combos, a total of 384. As with the Programs, you can edit Combos by just hitting the E

button. Again, the top knob selects the

DIT

parameter, the lower changes the value of that parameter. You can have up to 4 Parts to each Combo, though all four do not have to be used. For example, a split Combo, with one voice for bass on the low end of the keyboard, and 3 polyphonic voices on the upper end, would only require 2 parts. The P and P

AGE DOWN

buttons step between the four parts for quick editing.

AGE UP

Your Poly Evolver also has some very cool features for use as a stereo signal processor. In Combo mode you can have one or more voices using the External Signal Input, so the external signal can be routed to all four voices, with each voice doing different things to the signal, such as filtering, envelope following, distortion, feedback, delay, driving a sequence, etc.

Hit the G

button to change higher level parameters, such as MIDI channel

LOBAL

number, Transpose/Detune, etc. These are remembered when the synth is turned off.

Poly Evolver Editor

The Poly Evolver comes with a stand-alone editor for both the PC and the Mac. Place the CDROM in your CD drive to install it.

Summary

You should be up and running now; for more operation information, read on. Or, just look up specific parameters for detailed notes. Pages 35 through 37 contain a handy reference for mod destinations and sources. At some point you should read through the manual to discover all the little features that you might not notice at first.

I should mention that this manual does not include explanations of basic synthesizer functions. It assumes you already know what an oscillator is, how a lowpass filter affects the sound, what an ADSR envelope looks like, etc.

Fortunately, these days it is quite easy to find such resources on the Internet. If you want to learn the lingo and the basics, just try a search in Google (or the search engine of your choice), something like “analog synthesizer tutorial”. You’ll find plenty of good reading material.

Have fun!

Dave Smith

Preset Notes

There are 512 Programs and 384 Combos in your Poly Evolver. The factory sound set is on the website if you ever need to refresh it. You might also want to check for new sounds posted by other Poly owners.

Remember to save your sounds via program dumps occasionally!

The Programs are not set up in any particular order, so you might just want to listen through them to see what you like. There are some test Programs at the end of Bank 4 that you might want to erase. Also, Program 128 in bank 2 is a simple basic Program that can be used as a starting point.

Combos are also mixed, again with some test Combos at the end of bank 3.

When using Combos, remember that changing a Program will affect any Combo that refers to it. Using the editor makes it easier to track Program use in Combos.

Special thanks to Program contributors, including:

Tim Ande Andrew Bode Cameron Brand Chris Curtis Mike Estee Don Gothard Damon Menne Mike Peake Ravi Ivan Sharma Doug Terrebone Goffe Torgerson Stefan Trippler Dave Wyatt

FAQs

The Poly is a very flexible instrument. While this provides a wide range of operational possibilities, it also means that you can put Evolver into a state where it doesn’t seem to work. Here are some hints:

button. Then hit the Y

1) How do I save a Program or Combo? Hit the W

button (also known as the P

button) when prompted. All other switches

AGE UP

are locked out in the meanwhile, though you can hit the N

RITE

button if you change

your mind. You can change the Program and/or Bank and store in a different location using the knobs. You can also use C

OMPARE

to check the sounds in the

Program destinations.

2) When I change Programs, the Sequencer speed always stays the same.

Check the Global Use Program Tempo parameter – if it is Off, then the speed is not updated when Programs change. Set it to On.

3) I can’t get the filter to oscillate. Check the 2 pole/4 pole switch (Row 3, Knob 1,

Shift) – the filter only oscillates when 4 poles are used.

I seem to be getting some distortion in my output. Assuming that the Distortion is off, you are likely just overloading the signal somewhere. There are many signal sources in the Poly, and many sources of gain. If too many are used at levels that are too high, you will likely get some distortion. For example, if you are using all four oscillators, you should have the levels lower, in the 40 – 60 range. Likewise, if using all three delay taps, lower the levels of each.

5) I can’t hear the External input. In addition to turning up the Ext In Volume, the

filter and VCA must be open to hear the signal. You can initially turn up the filter cutoff and the initial VCA Level to hear the signal. The Peak Hold or Envelope Follower can be used to control the VCA or Filter level, or the sequencer can trigger the envelopes. There are many different ways to use different modulations sources to control the VCA and Filter when using external inputs.

Using an Evolver with a Poly Evolver

The Poly Evolver has 4 voices that are identical to the single voice in an Evolver. The Poly is also in a 1U rack, which means that it can be slow to program at times. Fortunately, it is set up so you can use an Evolver with a Poly to have a five voice synth, plus you can use your Evolver as a controller for both synths!

First, connect your MIDI keyboard to the MIDI In on Evolver. Connect MIDI Out on Evolver to the MIDI In on your Poly. Next, connect the Stereo Outputs on the Evolver to the stereo Mix Inputs on the Poly. Finally, the Output of the Poly is connected to your mixer/sound system.

On Evolver, set MIDI Rec and Xmit to ALL, and Poly Chain to ALL. If you want to use an external MIDI clock, set the MIDI Clock to I-O (in-out), otherwise set it to Out. Set the MIDI channel to All or 1-16, whichever is desired.

On the Poly, just set the MIDI channel to match the Evolver, and set the MIDI clock to In. You should be all set to play! Note this setup works best in Program mode on the Poly, where all five voices are set to the same sound. You can now change Programs/Banks from the Evolver, change the Volume, or go into the Program and edit any of the parameters – for example, if you go to the Filter Frequency on Evolver and turn the knob, all five voices respond together.

Note: Remember that if you change a Main parameter on the Evolver, the Poly will change also. For example, changing MIDI channels on the Evolver will also change the MIDI channels on the Poly, which is likely what you would want. However, if you change the MIDI Clock on the Evolver, it may not be what you wanted on the Poly. Usually it all works out, but just be aware of what is happening.

When in Combo mode, the chaining does not work as well, since the first note is always played by the Evolver, and it does not know the configuration of the Combo. So, when using an Evolver with a Poly, it’s best to stay in Program mode when playing from a keyboard.

There are a some minor differences in the Program between the Evolver and the Poly Evolver:

1) In the Poly there are two additional Trigger modes, for advancing the sequencer by external input or by midi note. These are Main parameters in MIDI Clock in the Evolver (version 2.0), but in the Poly they are part of the program to be more flexible.

2) When a gated sequence Trigger is used, the Poly will automatically turn on the sequencer. On the Evolver, you will have to manually hit the S

TART

button.

2) There is now an LFO key sync function. When on, an LFO will reset on each new MIDI note. To be backwards compatible, it's a little strange how it works - if you increase an LFO's Amount over 100, it starts over at zero, but with key sync on. You can see it when you edit with the front panel or with the editor. It can be set individually for each LFO. This is important in a polyphonic setup to allow each LFO to be different than the other voices while playing, for a thicker sound.

Multiple Polys

You can also chain multiple Poly Evolvers in the same manner. Poly Chain needs to be On every synth in the chain except the last one. All other settings will be the same. With multiple Polys, you will be able to use Combo mode in a logical manner most of the time. For example, if you have a Combo with 2 programs stacked, it will play them as a 4 voice with two Polys.

Combos that have Mono parts will be handled differently. This is due to the fact that in Mono, Poly chain does not function, since the Part interprets new notes per the Key Mode (low note, last note, etc), and does not re-transmit the notes. If, for example, you have a 1/3 split with Part 1 playing a mono Program, and Part 2 playing 3 voices polyphonically, with two Polys chained you will still only have a single mono voice in Part 1, but Part 2 will now be 6 voices. So, you will lose a voice in this configuration.

Inside the Poly Voice

Before going through the individual parameters, following is a brief description of the Poly’s architecture of a single Poly voice. The signal flow diagram on the next page is a good starting point for understanding how the Poly works.

The Analog Side

The analog electronics for each voice consist of two identical (Left/Right) synth sections, each with an analog waveshape oscillator, a 2/4 pole resonant lowpass filter, and a Voltage Controlled Amplifier (VCA). Control voltages are generated by the processors to control the analog components.

The Digital Side

Surrounding the Analog electronics is a high-speed Digital Signal Processor (DSP) that both pre- and post-processes the audio signal. Since the DSP also computes the control voltages for the analog circuitry, it can handle a wide range of modulation with high precision.

The DSP provides audio functions such as the Digital Oscillators, Envelope Follower, the Peak/Hold detector (and associated external trigger generator), Highpass filter, Distortion (with noise gate), Pan, Delay, and Hack. It also handles the tuned feedback, as well as the additional Delay feedback paths. And all the modulation calculations (envelopes, LFOs, routing, etc).

Analog-to-Digital (A/D) and Digital-to-Analog (D/A) converters are used to connect the analog and digital. As can be seen, there are two sets of stereo converters; they run at 48 kHz sampling rate with 24 bits of precision for minimum impact on the analog sound.

Each voice is completely independent, except the single stereo External Signal Input is routed to all four voices.

Inputs and Outputs

There are a bunch of audio jacks on the rear panel. All are stereo pairs (two mono jacks), and unbalanced. First, there are the External Inputs, which can be routed to the input or any or all of the voices, for using the Poly as a signal processor.

Next, there are individual voice outputs for all 4 voices. When a plug is inserted into one of these jacks, that signal is disconnected from the mix output. This allows each channel to go to a different mixer channel for separate EQ/processing. It also allows the output of one voice to be routed to the External Input jacks, where it can then be routed to another voice’s input for some interesting effects.

There is also a Mix input; this input is simply mixed with the Poly’s output with no level control. It is a convenience feature, for example when you have two Polys chained, or an Evolver and a Poly chained.

The last jacks are the Stereo Output mix. If you only use the Left/Mono jack, you will get a mono mix of both channels – but you really should use both channels!

Note: always turn down your mixer/amplifier volume when turning the Poly on or off to prevent pops!

Basic Operation

Program Mode: When the Poly is first turned on, it will be in Program Mode with the

ROGRAM

The top line shows the Program (1…128) and Bank (1…4) number of the currently selected Program, and the bottom line shows the 16 character name of the Program. The top knob will change the Program, and the bottom knob will change the Bank. The Program can also be incremented or decremented by using the P D

OWN

LED lit and the following screen active.

Program: xxx B:x xxxxxxxxxxxxxxxx

button respectively.

AGE UP

or P

AGE

If you hold the S change until you release the S the Program or Bank and the sequencer is running, when the S

button while changing the Program or Bank, the sound will not

HIFT

button. If you hold the S

HIFT

button while changing

HIFT

button is released

HIFT

the sequence will complete (according to the length of Sequence 1) before synchronously changing to the new program and it’s sequence.

Edit Program Mode: To edit a Program, simply hit the E

button while in Program

DIT

mode. See the Program Parameters section for a detailed list of all parameters and their functionality.

Combo Mode: When the C

button is hit, it will switch to Combo Mode with the

OMBO

following screen active.

Combo: xxx B:x xxxxxxxxxxxxxxxx

The top line shows the Combo and Bank number of the currently selected Combo, and the bottom line shows the 16 character name of the Combo. The top knob will change the Combo, and the bottom knob will change the Bank. The Combo can also be incremented or decremented by using the P

AGE UP

or P

AGE DOWN

button

respectively.

Edit Combo Mode: To edit a Combo, simply hit the E

button while in Program

DIT

mode. See the Combo Parameters section for a detailed list of all parameters and their functionality.

Program or Combo Save: Hit the W

button and the following screen will appear:

RITE

Write? P:xxx B:x Hit: Yes or No

Simply hit the YES button to save the current Program or Combo, or NO if you changed your mind. To store in a different location, use the upper parameter knob to select a the new Program or Combo destination, and the lower knob for a different bank.

Compare Feature: While editing a Program or Combo, you can hit the C

OMPARE

switch to listen to the original version. If you hit the switch again, the Poly returns to the edited version.

While there is a write pending (see screen above), you can hit the C

OMPARE

switch to

hear what is in a possible target Program or Combo destination before saving. Just be

button to save.

sure to turn Compare off again before you actually hit the Y

Voice Assignment: The Poly has four voices, and as such has to use a specific method for assigning the four voices as MIDI notes are received. The scheme used by the Poly is a circular assignment; that is, as a new notes are received, the next unused voice is assigned to the new note. You can see how this works by watching the 4 voice LEDs as you play.

When all 4 voices are held and a new note is received, it is necessary to “steal” a voice to play the new note, since you always want to hear any new key hit. The algorithm used in the Poly is to steal the oldest note held of the 4 voices playing. This is done to be consistent; you can always predict which note will be stolen.

When in Combo mode, each Part acts as a separate mini-synthesizer, so the same voice assignment rules apply within the Part.

An exception to the voice stealing is when Poly Chain in On; in this case rather than stealing an already-used voice, the Poly will transmit the new note over MIDI so it can be played by another Poly downstream.

Individual Voice Outputs: The Poly has a pair of output jacks for each of the four voices on the back panel, allowing separate mixing/processing of each voice. When a plug is inserted in the jack, that signal will be disconnected from the mix output.

Another trick is to route the output of one voice to the external audio inputs; then, in Combo mode, you can use one (or more) voices to process a different voice. Or take two different voice outputs (programmed in mono) and run one to the Left input and one to the Right input for even more wild results.

Global Parameters

To edit the Global parameters, just hit the G

button at any time, and Global

LOBAL

page 1 is displayed. The upper knob changes the parameter on the upper LCD line, and the lower knob changes the lower parameter. The P

AGE UP

AGE DOWN

and P

buttons select the other pages.

Note: If you hold the P

AGE DOWN

jump to the last page. Similarly, if you hold the P P

AGE DOWN

button, it will jump to the first page.

button while you hit the P

button when you hit the

AGE UP

button, it will

Note: When in Combo mode, many of the Global parameters will be overwritten by the Combo parameters.

Page 1:

Tempo (BPM): xxx Clock Div:xxxxxx

Top Line: Tempo 30…250 Basic speed for the sequencer in BPM. Actual speed also depends on the Clock Divide setting. If using MIDI clock, it will display the BPM of the incoming MIDI clocks. If Use Program Tempo is On, the Tempo and Clock Divide will both be updated on every Program or Combo change.

Bottom Line: Clock Divide see table Used as a clock divider to provide a wider range of sequencer speeds. When set to Quartr (quarter notes), the BPM setting is exact, i.e. 120 BPM = 120 BPM. If set to Half (half note), the actual speed is half, so a setting of 120 BPM will actually play at 60 BPM.

Swing settings add a delay to every the odd steps (1, 3, 5, etc.), while shortening the even steps by the same amount, for a swing feel to the timing. Half swing is the same with less delay.

Here are all the possible settings, with the effect on the overall tempo:

Display Tempo Timing Division

Half Quartr Eighth

8 half

8swing

8 trip

16th 16half 16swng 16trip

32nd 32trip 64trip

BPM/2 Half note

BPM Quarter note

BPM x 2 Eighth note

BPM x 2 Eighth note, half swing timing

BPM x 2 Eighth note, full swing timing

BPM x 3 Eighth note triplets

BPM x 4 Sixteenth note

BPM x 4 Sixteenth note, half swing timing

BPM x 4 Sixteenth note, full swing timing

BPM x 6 Sixteenth note triplets

BPM x 8 Thirty-second note

BPM x 12 Thirty-second note triplets

BPM x 24 Sixty-fourth note triplets

Page 2:

Transpose: xx Fine Tune: xx

Top Line: Transpose: -36…+36 Master Transpose control, 0 is centered. Steps in semitones.

Bottom Line: Fine Tune: -50…+50 Master Fine Tune control; 0 centered. Steps in cents (50 cents = ½ semitone).

Page 3:

MIDI Channel: xx Poly Chain: xx

Top Line: MIDI Channel: ALL, 1…16 Select which MIDI channel to send and receive data, 1 to 16. All receives on any channel.

Bottom Line: Poly Chain: see table Poly Chain is used to link multiple Evolvers and Poly Evolvers into a polyphonic system by selectively passing MIDI data through to the MIDI out jack where it can be routed to another Poly Evolver. Note that MIDI clocks are handled separately per the MIDI Clock parameter (you will likely want to use the MIDI In OUT clock setting). Settings:

Display Poly Chain Status

Off

Note

MIDI operation is normal.

All MIDI information is passed through to the MIDI out jack

Only MIDI note data is passed through to the MIDI out jack.

Page 4:

Clock: xxxxxxxx Prog Tempo: xx

Top Line: Clock: see table Selects the MIDI clock status, and enables External sequencer triggers, as follows:

Display MIDI Clock Setting

Internal

MIDI Out

MIDI In

M In Out

In no ss

MIDI clock is neither sent nor received

MIDI clock is sent

MIDI clock is received

MIDI clock is received and transmitted (use with Poly Chain)

MIDI clock is received, but MIDI start/stop/continue messages are ignored.

Bottom Line: Prog Tempo: Off, On Use Program Tempo – when set to Off, changing a Program or Combo will not change the tempo- this is useful for keeping a constant tempo but using different sounds. If set to On, a Program change will change the tempo to the BPM and Clock Divide values saved with the Program. When on, changing the main BPM will also change the Program BPM, and vice-versa. When off, changing one has no effect on the other.

Page 5:

Input Gain:xxxxx LCD Contrast: xx

Top Line: Input Gain: 0db… 24d Provides extra gain on the Left and Right External Inputs. You can select no gain (0 dB), or a gain in steps of 3 dB up to 24 db.

Bottom Line: LCD Contrast: 1…100 This sets the contrast level for the LCD.

Page 6:

Dump: (Hit S/S) xxxxxxxxxxxxxxxx

MIDI Dumps: see table This screen allows dumping of Programs and combos over MIDI in a number of ways.

Display MIDI Transmit Operation

Single Program

Program Bank

All Program Banks

Single Combo

Combo Bank

All Combo Banks

Everything

When this screen is active, the sequencer S the S

TART/STOP

button is hit, the transmission will start. Handy for saving Programs

Send current program

Send all 128 programs in current bank

Send all programs in all four banks

Send current combo

Send all 128 combos in current bank

Send all combos in all three banks

Sends the whole banana (all of the above)

TART/STOP

LED will start blinking. When

on a computer or sending to another Poly. The Poly’s dumps include Program and Bank numbers, so when received it will be stored in same location.

Program Parameters

The Poly has 128 parameters in a Program, plus another 64 Sequence parameters, followed by the 16 character Program Name. These parameters are the same as in Evolver. Following is a description of every parameter.

The upper knob selects the Parameter, and the lower knob changes the value. The P

The parameters are listed in this section in groups according to the pages; the upper LCD line displays the current page, and the lower line shows the parameter name and value.

and P

AGE UP

Note: If you hold the P jump to the last page. Similarly, if you hold the P P

AGE DOWN

button, it will jump to the first page.

buttons step through parameter groups.

AGE DOWN

button while you hit the P

AGE UP

button when you hit the

AGE UP

button, it will

Page 1:

Oscillator 1

Oscillator 1 is an analog oscillator, and is hardwired to the Left channel. Following are the main controls for Oscillator 1. Note that there are some additional modulation controls that will affect Oscillator 1 – these are found in different sections of the Parameter definitions.

Frequency:

from 8 Hz to 8KHz, stepping in semitones. C3 is middle C, the first octave is –2 (c -2, c#-2, etc.), the second octave is –1 (c -1, c#-1, etc.), the third is zero (c 0, c# 0…), etc.

Fine Freq:

cents = ½ semitone).

Shape:

see table Selects the analog waveshape as follows:

C -2…C 8 Selects base frequency over a 10 octave range,

-50…+50 Fine Tune control; 0 centered. Steps in cents (50

Display Waveshape

Sawtooth Triangle

Saw-Tri

Pulse xx

Level:

Glide:

faster. Normal Glide covers the range from 1 to 100 (0 is no glide). A “fingered” mode

0…100 Sets the volume of Oscillator 1.

0…100; F02…F99; OFF The oscillator 1 Glide rate; low numbers are

Sawtooth

Triangle

Sawtooth – triangle mix

Pulse Wave, with pulse width ranging to minimum (0) to maximum (99). The pulse width will turn off at the two extremes – this allows some interesting modulation possibilities. A square wave will be around P50.

that only glides when more than one note is held down is selected by setting glide over 100, where it ranges from F02 to F00 (equivalent to glides of 2 to 100).

Thought not quite Glide related, if you set glide all the way to maximum, it goes to OFF, which has the effect of disconnecting oscillator 1 from MIDI.

Sync:

also reset oscillator 1 for the classic hard sync sound.

Turns oscillator hard sync on or off. Whenever oscillator 2 resets, it will

Page 2:

Oscillator 2

Oscillator 2 is also an analog oscillator, and is hardwired to the Right channel. The parameters for Oscillator 2 are the same as Oscillator 1 above, except there is no Sync control.

Page 3:

Oscillator 3

Oscillator 3 is a digital waveshape oscillator, and is hardwired to the Left channel. Like the original Prophet VS, the digital oscillators in Evolver get quite trashy at higher frequencies. Following are the controls for Oscillator 3:

Frequency:

from 8 Hz to 8KHz, stepping in semitones. C3 is middle C, the first octave is –2 (c -2, c#-2, etc.), the second octave is –1 (c -1, c#-1, etc.), the third is zero (c 0, c# 0…), etc.

Fine Freq:

cents = ½ semitone).

Wave Shape

correspond to ROM (preset) Waveshapes 32 – 125 in the Prophet-VS. Waveshapes 96 – 128 are user programmable in the Poly via MIDI. In the VS, the user waves were 0 - 31, and wave 127 was noise, which is not included in the Poly since the noise source is separate from the oscillators. Wave 95 (126 on the VS) is a “blank” wave, which can give some options while sequencing waves. The Poly is shipped with waves 96 – 128 the same as 1 – 31. The user waves can be changed using the Editor.

Level:

C -2…C 8 Selects base frequency over a 10 octave range,

-50…+50 Fine Tune control; 0 centered. Steps in cents (50

1…128 Selects a digital waveshape. Waveshapes 1 - 95

0…100 Sets the volume of Oscillator 1.

Glide:

faster. Normal Glide covers the range from 1 to 100 (0 is no glide). A “fingered” mode that only glides when more than one note is held down is selected by setting glide over 100, where it ranges from F02 to F00 (equivalent to glides of 2 to 100).

Thought not quite Glide related, if you set glide all the way to maximum, it goes to OFF, which has the effect of disconnecting oscillator 1 from MIDI.

0…100; F02…F99; OFF The oscillator 1 Glide rate; low numbers are

FM 4 -> 3:

Oscillator 3 from Oscillator 4. Note that each digital oscillator can FM the other at the same time for some wild results.

Shape Seq:

Off if not in use, otherwise select one of the four sequences Seq 1, Seq 2, Seq3, or Seq 4 to change the waveshape on every sequence step. In other words, if sequence 1 is selected, with step 1 = 10 and step 2 = 5, then waveshape 10 will play in the first step, and waveshape 5 will play in the second.

Ring Mod 4>3:

Oscillator 3 from Oscillator 4. Note that each digital oscillator can Ring modulate the other at the same time.

0…100 The amount of Frequency Modulation of

Off, SE1..4 This parameter allows sequencing Waveshapes.

0…100 The amount of Ring (Amplitude) Modulation of

Page 4:

Oscillator 4

Oscillator 4 is a digital waveshape oscillator, and is hardwired to the Right channel. The parameters for Oscillator 2 are the same as Oscillator 1 above, except the FM and Ring Mod parameters go in the opposite direction.

Page 5:

Lowpass Filter

The analog (real analog!) lowpass filter is actually two different filters; one for the Left channel and one for the Right channel. This allows true stereo processing of external audio signals run through Evolver. However, for simplicity and consistency the two filters are driven together in tandem, so they normally respond the same way. Exceptions are when using the Spilt parameter as noted below, and when using the separate filter cutoff and resonance modulation destinations, which allow the two filters to be modulated independently. Note that though they are normally controlled together, since they are analog there will always be some subtle differences between the two filters, which gives the Poly Evolver a more natural sound.

Frequency:

octaves. There is special smoothing on the operation of the filter knob to eliminate stepping as you turn the knob for clean manual filter sweeps.

Resonance:

the filter will self-oscillate in 4-pole mode. If the filter does not oscillate, make sure that 4 pole mode is selected.

Config:

Envelope Amt:

This can be positive or negative, allowing inverted envelope control of the filter.

Env Velocity:

the filter envelope.

0…164 Selects base filter cutoff frequency over more than 13

0…100 Sets the Resonance level of the filter; at high settings

2 Pole, 4 Pole Selects either 2 or 4 pole operation for the filter.

-99…+99 Amount of filter envelope to the cutoff frequency.

0…100 Amount of MIDI velocity controlling the level of

Env Attack:

0…110 Attack time of the filter ADSR envelope generator

Env Decay:

Env Sustain:

Env Release:

Keyboard Amt:

cutoff. A setting of 72 will step the filter one semitone for each MIDI note, 36 would be half-semitones, etc. Also, the MIDI note is derived using Oscillator 1 Glide, allowing Glide tracking.

Audio Mod:

to the filter, separate in left and right channels.

L/R Split:

raising the left and lowering the right. Normally the filters track in both channels; this allows a way to unlock them.

0…110 Decay time

0…100 Sustain Level

0…110 Release time

0…100 Amount of keyboard (MIDI note) to the filter

0…100 Amount of audio modulation from the analog oscillator

0…100 Split separates the cutoff of the left and right filters by

Page 6:

VC Amplifier

Level:

This allows the VCA to be essentially bypassed, which may be necessary for processing external audio signals, or for Programs that drone.

Env Velocity:

VCA envelope.

Envelope Amt:

0…100 Sets a base level for the VCA (Voltage controlled Amplifier).

Note – if VCA Level is on full, then the Envelope Amount will have no effect.

0…100 Amount of MIDI velocity controlling the level of the

0…100 Amount of VCA envelope to the VCA level.

Env Attack:

Env Decay:

Env Sustain:

Env Release:

Output:

allows signal from one channel to feedback into the other, for example.

Display Output Pan Selection

LxxxxR

xLxxRx

xxLRxx

0…110 Attack time of the VCA ADSR envelope generator

0…110 Decay time

0…100 Sustain Level

0…110 Release time

see table pan settings as below. This affects the feedback; it

Stereo 1 – Left channel panned fully left, Right fully to the right

Stereo 2 – Left channel panned mostly left, Right mostly to the right

Stereo 3 – Left channel panned somewhat left, Right somewhat to the right

xMonox

xxRLxx

xRxxLx

RxxxxL

Mono – Both channels mixed to the center – also useful when only using one output

Reverse Stereo 1 – Right channel panned somewhat left, Left somewhat to the right

Reverse Stereo 2 – Right channel panned mostly left, Left mostly to the right

Reverse Stereo 3 – Right channel panned fully left, Left fully to the right

Voice Volume:

volumes between Programs.

0…100 Sets the voice volume; usually used for matching

Page 7:

Tuned Feedback

Feedback is implemented via two identical tuned delay lines, one for each channel – see the diagram on page 13. Since the delay is tuned, it can be played by modulating the feedback frequency, from the sequencer or other sources.

Note – Feedback can also be used to implement plucked string physical models – use Envelope 3 with Noise as a destination (all oscillators off). Assign a sequence to Feedback Frequency, play around with different Feedback Levels, and adjust the filter cutoff frequency.

Frequency:

steps in semitones from C0 to C4 (0 – 48) for a four octave range. The exact frequency is influenced by other factors, such as the filter frequency and number of poles, which can drive it slightly sharp or flat.

Level:

eventually oscillate at the set Frequency. Medium levels of feedback add depth and movement to the sound.

Grunge:

will not have any effect at lower levels of feedback.

0…48 Sets the base frequency of the main feedback loop. It

0…100 Level of feedback. As the level goes up the feedback will

OFF…On When on, it enables nasty feedback at higher levels – it

Page 8:

Delay

The delay takes a mix of both channels as input, and provides up to three independent taps, each which can be separately time or level modulated. The outputs of the three taps are mixed and summed with the Left and Right channels. The delay output also can be mixed back to the input of the delay for more ambience, repeating delays, or tuned feedback if the feedback level is set high.

A second feedback path takes the delay output and routes it back to the input of the analog filter; this path can be used for more extreme feedback effects.

Note – if all three Delay taps are in use, the Levels of each should be set to lower amounts to prevent overload distortion.

Time 1:

0…150, sync Sets the delay time of the first delay tap. 0 - 150 will

adjust the delay from zero to 1 second at 16 bits 48KHz sampling, no compression. The middle range steps are in tuned semitones (noticeable with Feedback 1 turned up high). Since delay is a time measurement, higher delay numbers are lower frequencies. Step 22 corresponds to C7 (2,093 Hz), down to step 94 which is tuned to C1 (32.7 Hz).

After 150 the sync delay times as shown in the table below. The delay time can be set in multiples of a single sequencer step, or exact divisions of a step.

Note - depending on the current sequence speed, the longer sync delays may not be reachable. For example, at Tempo of 60 BPM and Clock Divide of Quartr (quarter note) each beat takes one second, so if you set it to 2 Steps (Delay is 2 steps in length), the delay should be two seconds. But, there is only enough memory for one second of delay, so it will not work. When too slow as in this case, simply clamping it at one second would not likely be a multiple of the step time. So, if the requested time is too long, the requested time is cut in half until it fits within the one second of available memory. So, don’t be surprised if changing longer sync delay times does not make any difference to the sound.

Display Timing Sync

32 Steps 16 Steps

8 Steps 4 Steps 2 Steps

1 Step 1/2 Step 1/4 Step 1/8 Step

1/16Step

Delay is 32 steps in length

Delay is 16 steps in length

Delay is 8 steps in length

Delay is 4 steps in length

Delay is 2 steps in length

Delay is 1 step in length

Delay is one-half step in length

Delay is one-quarter step in length

Delay is one-eighth step in length

Delay is one-sixteenth step in length

6 Steps 3 Steps

1.5 Step

Delay is 6 steps in length

Delay is 3 steps in length

Delay is one and a half steps in length

2/3 Step

Delay is two-thirds of a step in length

1/3 Step 1/6 Step

Delay is one-third step in length

Delay is one-sixth step in length

Level 1:

0…100 Sets the delay amount of the first delay tap. The left and

right channels are mixed into a single delay.

Time 2:

ranges as Time 1.

Level 2:

0…150, sync Sets the delay time of the second delay tap, same

0…100 Sets the delay amount of the second delay tap.

Time 3:

as Time 1.

Level 4:

Feedback 1:

the delay taps to the input of the delay.

Feedback 2:

the delay taps to the input of the filter for more extreme effects.

0…150, sync Sets the delay time of the third delay tap, same ranges

0…100 Sets the delay amount of the third delay tap.

0…100 Amount of feedback from the summed output of all

Page 9:

LFO 1

There are four identical Low Frequency Oscillators (LFOs) in Evolver. Following is the description of LFO 1; the other three have the same four parameters.

Freqncy:

unsynced LFO; speed ranges from slow (30 seconds) to very fast – at 90 (8 HZ, C-2) and above the speed steps in semitones, up to 150 (261 Hz, middle C).

Note - some of the analog functions can’t respond very well to the fastest LFO speeds, due to speed limitations of the control voltages; but it will certainly generate some interesting sounds.

0…150, sync Selects the frequency of LFO. Range 0 – 150 for

Above 150 are the sync speeds as follows:

Display Timing Sync

32 Steps

16 Steps

8 Steps 4 Steps 2 Steps

1 Step 1/2 Step 1/4 Step 1/8 Step

1/16Step

Sequence speed divided by 32; i.e. one LFO cycle takes 32 steps

Sequence speed divided by 16

Sequence speed divided by 8

Sequence speed divided by 4

Sequence speed divided by 2

One cycle per step

Two cycles per step

Four cycles per step

Eight cycles per step

Sixteen cycles per step

Shape:

see table Selects the LFO waveshape:

Display LFO Shape

Triangle

Rev Saw

Sawtooth

Square Random

Triangle

Reverse Sawtooth

Sawtooth

Square Wave

Random – changes once per cycle for sample-and-hold effects

Amount:

on the Poly is the ability to re-start the LFO when a new note is played (Key Sync). To select this mode of operation, set the LFO amount to a value over 100. Each LFO can be set independently.

Dstination:

Destination table on page 35 for a list of possible destinations.

0…100; Ksync 1…100 Sets the amount of LFO. An new feature

see table LFO 1 destination - see the Modulation

Page 10:

LFO 2

Page 11:

LFO 3

Page 12:

LFO 4

These LFOs screens are the same as LFO 1

Page 13:

Envelope 3

Amount:

-99…+99 Amount of envelope 3

Dstination:

Destination table on page 35 for a list of possible destinations.

Velocity:

Delay:

0…100 Delay time of Envelope 3, prior to Attack

Attack:

Decay:

0…110 Decay time

Sustain:

Release:

see table Envelope 3 destination - see the Modulation

0…100 Amount of MIDI velocity controlling the level envelope 3.

0…110 Attack time of ADSR envelope generator 3

0…100 Sustain Level

0…110 Release time

Page 14:

Misc Audio

Highpass:

highpass filter. If set from Out 0 to Out 99, the filter is placed after the analog lowpass filter and VCA, before the Delay. Conversely, if set from In 00 to In 99, the highpass filter is inserted before the analog lowpass filter, and only affects external input. Refer to the Signal Flow diagram on page 13. There are two separate highpass filters, one for each channel, that are controlled in tandem.

Remember that any of the modulation sources can be routed to control the Highpass Filter; for example Envelope 3 can be dedicated to the Highpass.

Noise Vol:

same amount goes into both channels.

Ext In Vol:

In and/or Right In. The same signal is routed to all four voices.

Ext In:

same signal goes to all four voices; this can be useful in Combo mode to do multiple parallel processing of an external audio signal. Or, the output of one voice can be routed to the input of another voice.

Stereo

Right Split

Out 0…99, In 0…99 Sets the cutoff frequency of the four-pole

0…100 The volume of white noise mixed into the filter. The

0…100 The volume of external audio input connected to Left

see table Selects the external signal input mode. Note that the

Display External Audio Input Mode

Stereo – the left channel in goes to the left channel, right to right.

Left

Left – the left channel in goes to both channels (mono in).

Right – the right channel in goes to both channels (mono in).

Split - A mono audio signal is input on the Left Input; a separate control audio signal (for envelope follower, peak hold, and clock source) into the Right Input.

Input Hack:

the analog filter tames it nicely. A good way to mess up a clean stereo signal.

Distortion:

to Out 99, the distortion is after the analog filter and VCA, before the Delay. If set from In 00 to In 99, the distortion is before the analog filter, and only affects external input. There are two separate distortions, one for each channel.

Note - there is a built-in noise gate that is enabled when distortion is not zero. If you want to use the noise gate but without distortion, use a distortion setting of In 01 (noise gate on input signal), or Out 01for a noise gate after the analog electronics. The noise gate uses the Left channel signal level to gate both channels.

Output Hack:

0…14 Trashes the external input signal, quite rudely. But,

Out 0…99, In 0…99 Amount of distortion. If set from Out 0

0…14 Trashes the output signal, quite rudely.

Page 15:

Miscellaneous

There are different ways to control the Poly Evolver; using the internal sequencer, using external MIDI controllers (keyboards, computers, etc), or using external audio sources. And, there are ways of combining these, such as gating the sequencer from a keyboard. It can get more complicated in a Combo, but here we are just discussing the Program side of things.

Control consists mainly of triggers for the envelopes, and note numbers for the oscillators. Beyond that there are all the additional modulation sources/destinations and MIDI controls. Following are the parameters used to select the different control modes.

In the Poly (different from the Evolver) some of the Trigger modes will automatically turn the Sequencer on. This allows gated-sequence Programs to be played without having to manually hit the S

TART/STOP

marked in the table as AUTO on.

button. The Trigger modes that do this are

Trigger:

see table Selects the source of triggers/gates for the envelope

generators.

Display Envelope Trigger Selections

Sq or MD

The envelopes will be triggered by either the sequencer or MIDI notes. When triggered by the sequencer, the gates are on for half the step time. Simply adjust the envelope parameters (ADSR) for the desired effect.

Sequencr

MIDI

MIDI rst

The envelopes will be triggered by the sequencer only.

The envelopes will be triggered by MIDI notes only.

The envelopes will be triggered by MIDI, and the sequencer will be reset on every note (if it is running). The sequencer will not trigger the envelopes.

MID Gate

Gated mode – the envelopes will only be triggered when a MIDI note is held and the sequencer is running; in other words the MIDI notes will gate the sequencer. AUTO on.

MIDI G r

Gated mode, reset – same as Gated mode, except every time a MIDI note is hit, the sequencer is reset to step 1. AUTO on.

Ext In

The envelopes are gated by the Left external audio input signal level, in other words, when the signal gets above a fixed threshold, the envelopes start. The envelopes then go into the release phase when the signal level drops below a second fixed threshold.

Ext In r

Ext Gate

Ext G r

Same as external in, but also resets the sequencer to step 1.

External In signal will gate the sequencer. AUTO on.

External In signal will gate the sequencer, and also resets the sequencer to step 1 on each new gate. AUTO on.

MS Once

Plays a sequence once (according to the length of Sequence 1) when a new MIDI note is received. The sequence is not restarted on multiple MIDI notes until it finishes and stops. AUTO on.

MS Once R

Also plays a MIDI sequence once, but will re-start the sequence on each MIDI note. AUTO on.

EiSqStep

MdSqStep

Plays one step of the sequencer on each External Input audio trigger. AUTO on.

Plays one step of the sequencer on each MIDI note received. AUTO on.

Key Off/Tran:

MIDI notes are ignored. Otherwise, it transposes midi notes from –36 to +36 semitones (+/- 3 octaves).

Note – this is an important parameter! When this is off, MIDI notes will not work. This parameter, with the Trigger Select (above) are the main controls for selecting how Evolver plays.

Another note – you will find that there are other interactions between the sequencer and MIDI. For example, if you make a Program using the sequencer, you will likely set the Oscillator frequencies up to the desired pitch range. But, if you then try to play this Program from a keyboard, the pitches will likely be too high. Rather than lowering all the oscillator frequencies (which would mess up the sequence!) you can simply use the transpose here.

Key Mode:

keyboard. In Program mode, these modes do not have any effect on your playing. They only have an effect in Combo mode, when a Part is set to Mono. Note that interesting results can be programmed in Combo by having multiple Mono Parts with different key priorities.

Display MIDI input mode

Low LoRT High HiRT Last LaRT

Off, -36…+36 Enables and transposes MIDI notes. If Off,

see table Selects the key mode when playing from a MIDI

Low note priority

Low note priority, re-trigger envelopes

High note priority

High note priority, re-trigger envelopes

Last note hit priority

Last note hit priority, re-trigger envelopes

BPM:

30…250 The Programmed basic speed for the sequencer in BPM. Works

the same as the BPM in Main, but is only active when “Use Preset Tempo” is On. When Use Preset Tempo is On, changing this parameter also changes the main BPM, and vise-versa. When Off, changing this parameter has no effect.

Clock Div:

sequencer speeds. Works the same as the Clock Divide in main, but is only active when “Use Preset Tempo” is on. When On, changing this parameter also changes the main Clock Divide, and vise-versa. When Off, changing this parameter has no effect.

see table Used as a clock divider to provide a wider range of

Display Tempo Timing Division

Quartr Eighth

8 half

8swing

8 trip

16half 16swng 16trip

32trip 64trip

Page 16:

Half

16th

32nd

BPM/2 Half note

BPM Quarter note

BPM x 2 Eighth note

BPM x 2 Eighth note, half swing timing

BPM x 2 Eighth note, full swing timing

BPM x 3 Eighth note triplets

BPM x 4 Sixteenth note

BPM x 4 Sixteenth note, half swing timing

BPM x 4 Sixteenth note, full swing timing

BPM x 6 Sixteenth note triplets

BPM x 8 Thirty-second note

BPM x 12 Thirty-second note triplets

BPM x 24 Sixty-fourth note triplets

Mod Sources

Source 1: see table General purpose modulation source select – see list

on page 37 for possible sources. Since all mod sources in Evolver have a single destination, the four general purpose Mods allow a method to send a mod source (such as a sequence or LFO) to another destination, with a different amount. Also, there are some additional mod sources such as noise and the digital oscillators available, allowing audio-rate modulation. As mentioned above, there are some destinations that are not able to keep up with audio mod, but it’s fun anyway.

Note - these mod sources are not filtered, so a MIDI controller going through this route will react quicker, but may produce stepping noise, depending on the controller. For filtered (smoothed) MIDI controller operation, use the direct Pressure, Mod Wheel, Breath Control, or Foot Control parameters.

Amount 1:

Dest 1:

on page 35 for a list of possible destinations.

Mods 2 – 4:

-99…+99 Amount of Mod 1 modulation.

see table Mod 1 Destination - see the Modulation Destination table

Same as Mod 1

Page 17:

MIDI Modulation

Velocity Amt:

Velocity of the most recent MIDI note is used.

Vel Dest:

table on page 35 for a list of possible destinations.

Mod Whl Amt:

parameter has a smoothing filter, which will clean up messy MIDI controller data into a clean response. If you want to bypass the filtering, use one of the four General Purpose Modulation sets, which are unfiltered.

Mod Whl Dest:

Destination table on page 35 for a list of possible destinations.

Pressure Amt:

poly or channel pressure. This parameter has a smoothing filter, which will clean up messy MIDI controller data into a clean response. If you want to bypass the filtering, use one of the four General Purpose Modulation sets, which are unfiltered.

Press Dest:

Destination table on page 35 for a list of possible destinations.

Breath Amt: -99…+99 Amount of MIDI Breath controller modulation. This parameter has a smoothing filter, which will clean up messy MIDI controller data into a clean response. If you want to bypass the filtering, use one of the four General Purpose Modulation sets, which are unfiltered.

Breath Des:

Destination table on page 35 for a list of possible destinations.

Foot Con Amt:

Foot Dest:

Destination table on page 35 for a list of possible destinations.

-99…+99 Amount of MIDI Velocity modulation. The

see table Velocity Destination - see the Modulation Destination

-99…+99 Amount of MIDI Mod Wheel modulation. This

see table Mod Wheel Destination - see the Modulation

-99…+99 Amount of MIDI Pressure modulation, either

see table Pressure Destination - see the Modulation

see table Breath controller Destination - see the Modulation

-99…+99 Amount of MIDI Foot controller modulation. This

see table Foot controller Destination - see the Modulation

Page 18:

Misc Modulation

Osc Slop:

analog and digital oscillators in Evolver are very accurate, and will not drift. This works great for accurate sounds, and allows precise de-tuning. The Oscillator Slop parameter allows subtle amounts of frequency drift. For larger amounts, use a random LFO or white noise mod.

0…5 The amount of random oscillator frequency slop. The

Env Shape:

(straight line) shape, or exponential (curved). Exponential is the more natural of the two.

Exp, Lin Selects whether all three envelopes have a linear

P Bend Range:

In Peak Amt:

momentary peak of the left external audio input, and uses it as a modulation signal.

InPeak Dest:

Destination table on page 35 for a list of possible destinations.

Env Fol Amt:

Generates an envelope from the Left external audio input, and uses it as a modulation signal.

EnvFol Dest:

Modulation Destination table on page 35 for a list of possible destinations.

Seq 1 Dest:

Destination table on page 35 for a list of possible destinations. Note that the Sequencer has a few additional destinations that only work on the sequencer.

Seq 2 Dest:

Seq 3 Dest:

Seq 4 Dest:

0…12 Pitch Bend Range, in semitones.

-99…+99 Amount of Peak Hold modulation. Takes the

see table Peak Mod Destination - see the Modulation

-99…+99 Amount of Envelope Follower modulation.

see table Envelope Follower Destination - see the

see table Sequence 1 Destination - see the Modulation

see table Sequence 2 Destination

see table Sequence 3 Destination

see table Sequence 4 Destination

Pages 19, 20, 21, 22:

Seq: xx Step: xx

The next four pages are for programming the sequencer. The Page buttons will step through Sequence 1 – 4 , and the upper knob selects the steps, from 1 to 16. The lower line then shows the value, 0 to 100, Reset or Rest (Rest is only available on Sequence 1).

Sequencer Operation

Every Poly Evolver Program has a 4 x 16 “analog” style step sequencer. Imagine four rows of 16 knobs. It is really a single sequencer with four controls per step, though the convention in Evolver is to call the four “rows” sequence 1 through 4.

When you hit the S only voice 1 plays the sequence (if one is programmed); the other 3 voices are still controlled via MIDI. In Combo mode, each Part can have the sequencer individually enabled or disabled.

As mentioned in the Trigger section above, some Trigger modes will automatically start the sequencer for gated sequence operation. In this case, all voices in Program mode will use the sequencer, not just voice 1.

button, the sequence will start playing. In Program mode,

TART

Each of the four sequences is basically a modulation source; it can be routed to any of the normal modulation destinations (see table on page 35) using the Seq Dest knobs (last row). Usually at least one of the sequences is routed to an oscillator to control pitch. Using VCA Envelope as a destination allows setting the volume of each step; likewise you can go to the Filter or Filter Envelope Amount to have different filter settings per step.

Beyond this, you can really have some fun with other destinations; go to Delay amount to have the delay level change; or feedback amount, to drastically change the sound every step. FM and Ring Mod are fun to change – you get the idea. With four sequences, you can program a very dynamic sequence.

Note – another very useful way to modulate a sequence is using LFOs with sync; LFO frequency runs 0 – 150, after which you can select the sync settings. A setting of 16 Steps for LFO Frequency with a Triangle wave selected and routed to the filter will provide a clean filter sweep over a 16 step sequence, perfectly in sync! This is much easier (and smoother) than programming a filter sweep using sequence steps.

The sequencer can also be routed to MIDI output destinations, including Note Number, Velocity, Mod Wheel, Pressure, Breath, and Foot Controller. Velocity is a special case – it only works if selected as the destination for Sequence 2 when Sequence 1’s destination routed to Note Number. The same for Sequence 3 and 4 (Sequence 4 can be velocity for Sequence 3). If velocity is not used as a destination, the velocity output is 120. So, it is possible to have up to 4 note sequences sent out over MIDI.

The actual MIDI note transmitted is the sequence step value plus one (since MIDI note on of zero = note off). Note that this is different than the half-semitone when driving the internal oscillators – this was done to provide a wider range of notes. Also, the main Transpose is added/subtracted to the MIDI note output. Velocity and the other controllers are converted from 0 – 100 range to 0 – 127 range for MIDI.

Note: The MIDI output destinations only work on Voice 1; you cannot have multiple voices in Combo mode sending out to MIDI.

Another sequencer destination is Clock Mod. It works via a multiplier based on a step value of 40. If a sequencer step is set to 40, the clock speed stays as set. If set to 20, (half of 40), the clock will be twice as fast for that step. Likewise, a step value of 80 will be twice as slow as normal, and 10 would be 4 times faster.

Note that overall limits of 30 to 250 BPM still apply; for example, if you have a BPM of 120, and a sequencer step of 10, it will try to go four times faster than 120, which is

480. Since it is greater than 250, it will clamp at 250. With clever choices of BPM (using Clock Divide as necessary) you can develop a pretty wide range of timing possibilities. Also, with sequences of different lengths, it can really get quite wild.

The Sequence parameters are in the pages after the synth parameters in Program Edit – the pages jump between sequences 1 – 4 for fast editing.

Note - when routing a sequencer to an oscillator, a sequence value of 24 corresponds to one octave, i.e. each step is one half a semitone.

All four sequences can have separate lengths. This is done by selecting Reset (at the end of the range after 100) as the step value. When this step is reached, the sequence will reset to step one. For example, if you want a four step sequence, simply set step 5 to Reset.

Each sequence can have its own reset, so you will need to set the reset for all four sequences if you want all of them to be the same length. And, if each is a different length, the rests (see below) and clock swing settings will follow sequence 1. In other words, the envelopes are always triggered from one sequence and can’t be separately handled by each of the 4 sequences, which makes sense on a single voice if you think about it.

Sequence 1 controls rests. If set to Rest (after Reset at the end of the range) there will not be a trigger to the envelopes on that step. As mentioned above, the rests will end up in different places on other sequences if they are a different length.

Using rests, resets, and different Clock Divides (half swing, swing, etc.) you can achieve very complex sequences.

TART/STOP

starts and stops the sequencer; the R

button will reset the sequence

ESET

to step one if the sequencer is running or not running.

button also acts as a MIDI all-notes-off, and resets all MIDI

Note – the R

ESET

controllers when hit while the sequencer is not running.

While the sequencer is running, if you hold the S

button when you hit the S

HIFT

TOP

button, the sequence will continue running until finished (according to the length of Sequence 1), and will stop after playing step 1.

button while changing the program or bank and the

Also, If you hold the S sequencer is running, when the S

HIFT

button is released the sequence will complete

HIFT

(according to the length of Sequence 1) before synchronously changing to the new program and it’s sequence.

button is

The Shift functions only work in Program mode; in Combo mode the S

HIFT

ignored.

Page 23:

Edit Name

The lower LCD line displays the name of the Program. The upper knob selects which character is currently active, which is displayed by blinking the letter. The lower knob changes the character.

Modulation Destinations

Display Destination

Off O1Frq O2Frq O3Frq O4Frq OAFrq O1Lev O2Lev O3Lev O4Lev OALev Noise ExtIn

O1 PW O2 PW

OA PW FM4>3 FM3>4 RM4>3 Rm3>4 LPFil Split Reson Hipas

UCA Pan

FB Fr FBAmt D1Tim D2Tim D3Tim DATim D1Amt D2Amt D3Amt DAAmt

D FB1

D FB2

No destination selected

Oscillator 1 Frequency

Oscillator 2 Frequency

Oscillator 3 Frequency

Oscillator 4 Frequency

Oscillator All Frequency – goes to all four

Oscillator 1 Level

Oscillator 2 Level

Oscillator 3 Level

Oscillator 4 Level

Oscillator All Level

Noise Level

External In Level

Oscillator 1 Pulse width

Oscillator 2 Pulse width

Oscillator All Pulse width

Frequency Mod (FM) Amount; Osc 4 -> 3

Frequency Mod (FM) Amount; Osc 3 -> 4

Ring Mod (Amplitude) Amount; Osc 4 -> 3

Ring Mod (Amplitude) Amount; Osc 3 -> 4

Lowpass filter frequency

Filter Split –separation between left / right

Resonance

Highpass filter

VCA amount

Pan

Feedback frequency

Filter Amount

Delay 1 Time

Delay 2 Time

Delay 3 Time

Delay All Time

Delay 1 Amount

Delay 2 Amount

Delay 3 Amount

Delay All Amount

Delay Feedback 1

Delay Feedback 2

L1Frq L2Frq L3Frq L4Frq LAFrq L1Amt L2Amt L3Amt L4Amt LAAmt E1Amt E2Amt E3Amt EAAmt E1Att E2Att E3Att EAAtt E1Dec E2Dec E3Dec EADec E1Rel E2Rel E3Rel EARel F1Frq F2Frq F1Res F2Res

LFO 1 Frequency

LFO 2 Frequency

LFO 3 Frequency

LFO 4 Frequency

LFO All Frequency

LFO 1 Amount

LFO 2 Amount

LFO 3 Amount

LFO 4 Amount

LFO A Amount

Envelope 1 Amount (Level)

Envelope 2 Amount (Level)

Envelope 3 Amount (Level)

Envelope All Amount (Level)

Envelope 1 Attack Rate

Envelope 2 Attack Rate

Envelope 3 Attack Rate

Envelope All Attack Rate

Envelope 1 Decay Rate

Envelope 2 Decay Rate

Envelope 3 Decay Rate

Envelope All Decay Rate

Envelope 1 Release Rate

Envelope 2 Release Rate

Envelope 3 Release Rate

Envelope All Release Rate

Filter 1 (Left) lowpass filter cutoff frequency

Filter 2 (Right) lowpass filter cutoff frequency

Filter 1 (Left) lowpass filter resonance

Filter 2 (Right) lowpass filter resonance

Dist

Distortion - will not work if distortion is set to 0 (off) or 1 (noise gate select)

Additional Sequencer-Only Modulation Destinations

Clock Mnote

M Vel MmodW Mpres Mbrth Mfoot

Sequencer clock (BPM) multiplier

MIDI note number

MIDI Velocity

MIDI Mod Wheel

MIDI Pressure

MIDI Breath Controller

MIDI Foot Controller

Modulation Sources

Display Source

Off Seq 1 Seq 2 Seq 3 Seq 4 LFO 1 LFO 2 LFO 3 LFO 4 F Env A Env Env 3

Peak

EnvFol

Mid PB

Mid MW Mpress Mbreth

M Foot

M Vel

M Note

M Exp

Noise

Osc 3

No Source selected

Sequence 1

Sequence 2

Sequence 3

Sequence 4

LFO 1

LFO 2

LFO 3

LFO 4

Filter Envelope

Amp (VCA) Envelope

Envelope 3

External Audio Input Peak

External Audio Envelope Follower

Midi - Pitch Bend

Midi - Mod Wheel

Midi - Pressure

Midi - Breath Controller

Midi - Foot Controller

Midi – Note Velocity

Midi – Note Number

Midi – Expression

Noise

Oscillator 3

Osc 4

Oscillator 4

Combo Parameters

Combos are used to make different combinations of Programs, and use them in different ways. You can use up to four different Parts, each with its own set of 16 parameters.

The upper knob selects the parameter, and the lower knob changes the value. The P

AGE UP

and P

AGE DOWN

buttons step through the four parts, and to the Edit name

page after the four parts.

Note: If you hold the P

AGE DOWN

button while you hit the P jump to the last page. Similarly, if you hold the P P

AGE DOWN

button, it will jump to the first page.

button when you hit the

AGE UP

button, it will

Below we describe the 16 parameters for Part 1; the other parts are identical. The upper LCD line shows the Part number; lower lines are used for the parameter.

Mode:

see table Selects the polyphony of this Part. When a Combo is selected, it starts assigning voices to Parts with Part 1. You cannot assign more than 4 voices. For example, if you set both Part 1 and Part 2 to Poly 3, the total would be 6 voices, so it obviously it will not work with only a four voice instrument. In this case, it would assign the first 3 voices to Part 1, and the last voice to Part 2, ignoring the rest of the Parts. Looking at the voice LED’s on the front panel will help to see the voice operation.

Display Part Mode

Off Poly 4 Poly 3 Poly 2

Mono

Don’t use this Part

Assign 4 voices to this Part

Assign 3 voices to this Part

Assign 2 voices to this Part

Assign 1 voice monophonically to this Part

Program:

Bank:

1…128 Selects the Program to use for this Part.

1…3 Selects the Bank of the Program to use for this Part.

MIDI Mode:

Display MIDI mode

Off

Notes

Cntrls

On All

see table Selects the Program to use for this Part.

This Part will not respond to MIDI

This Part only responds to MIDI notes

This Part only responds to MIDI controller messages

This Part responds to both MIDI notes and MIDI controller messages

MIDI Ch:

1…16, All Selects the MIDI channel to use for this Part. If All is selected, it responds to any MIDI channel. If MIDI Mode is set to Off, this parameter is ignored.

Sequencer:

Part. Only Parts with the Sequencer enabled will respond to hitting the S

Off, On Enables or disables the Program’s sequencer for this

button

TART

or MIDI Start commands (when MIDI clocks are enabled in the Global setting). If this Part uses a gated sequence Trigger mode (see below), you should leave the Sequencer Off – the voices in this Part will play the gated sequences automatically.

Tempo:

Clock Div:

30…250 Sets the tempo of the Part – ignored if the Sequencer is Off.

see table Sets the clock divider for this Part, also ignored if

Sequencer is Off.

Display Tempo Timing Division

Half Quartr Eighth

8 half

8swing

8 trip

16th 16half 16swng 16trip

32nd 32trip 64trip

BPM/2 Half note

BPM Quarter note

BPM x 2 Eighth note

BPM x 2 Eighth note, half swing timing

BPM x 2 Eighth note, full swing timing

BPM x 3 Eighth note triplets

BPM x 4 Sixteenth note

BPM x 4 Sixteenth note, half swing timing

BPM x 4 Sixteenth note, full swing timing

BPM x 6 Sixteenth note triplets

BPM x 8 Thirty-second note

BPM x 12 Thirty-second note triplets

BPM x 24 Sixty-fourth note triplets

Trigger:

see table Selects the source of triggers/gates for the envelope generators for this Part. Note that the Sequencer and/or MIDI must be enabled to match the Trigger selected.

In the Poly (different from the Evolver) some of the Trigger modes will automatically turn the Sequencer on. This allows gated-sequence Programs to be played without having to manually hit the S

TART/STOP

button. The Trigger modes that do this are

marked in the table as AUTO on.

Display Envelope Trigger Selections

Sq or MD

Sequencr

The envelopes will be triggered by the sequencer only.

MIDI

MIDI rst

MID Gate

MIDI G r

Ext In

Ext In r

Ext Gate

Ext G r

MS Once

MS Once R

EiSqStep

MdSqStep

The envelopes will be triggered by MIDI notes only.

The envelopes will be triggered by MIDI, and the sequencer will be reset on every note (if it is running). The sequencer will not trigger the envelopes.

Gated mode – the envelopes will only be triggered when a MIDI note is held and the sequencer is running; in other words the MIDI notes will gate the sequencer. AUTO on.

Gated mode, reset – same as Gated mode, except every time a MIDI note is hit, the sequencer is reset to step 1. AUTO on.

Same as external in, but also resets the sequencer to step 1.

External In signal will gate the sequencer (sequencer must be on). AUTO on.

External In signal will gate the sequencer (sequencer must be on). And also resets the sequencer to step 1 on each new gate. AUTO on.

Plays a sequence once (according to the length of Sequence 1) when a new MIDI note is received. The sequence is not restarted on multiple MIDI notes until it finishes and stops. AUTO on.

Also plays a MIDI sequence once, but will re-start the sequence on each MIDI note. AUTO on.

Plays one step of the sequencer on each External Input audio trigger. AUTO on.

Plays one step of the sequencer on each MIDI note received. AUTO on.

Transpose:

steps in semitones. Note that it is summed with the Global Transpose, and the overall limit of the two controls is –36 to +36. For example, if the Combo is transposed down two octaves (-24) and you then turn the Global transpose down two octaves, summing the two would be –48, which is out of range. In this case, it automatically adds octaves to keep it in range.

Fine Freq:

steps in cents (50 cents = ½ semitone). As with the Transpose, it is summed with the Global Fine Freq, and the summed limit is –50 to +50.

Volume:

Low Key:

following, sets the keyboard range that this part will respond to. The frequency over a 10 octave range, from 8 Hz to 8KHz, stepping in semitones. C3 is middle C (MIDI note 60). The keyboard range is used for setting up keyboard splits, for example when Part 1 is set from C-2 to C2 with one voice (unison), and Part 2 is set from C#2 to C 8 with 3 voices (Poly 3).

-36…+36 Transpose control for this Part; 0 is centered,

-50…+50 Fine Tune control for this Part; 0 centered,

0…100 Sets the Volume level for this Part.

C -2…C 8 This parameter, along with the High Key parameter

Or, you may want to stack two voices, by setting two Parts to Poly 2, and setting both keyboard ranges to the same range (C-2 to C8). You can even stack four Unison Parts, each with a different Program, for a super-thick mono synth.

High Key:

Part in conjunction with the Low Key parameter.

Lo Velocity:

parameter following, sets the velocity range this Part responds to. This is useful for setting a velocity split point, so one Part plays at low velocity notes, and another plays at higher velocities. Or, you could set multiple velocity split points.

Hi Velocity:

parameter following, sets the velocity range this Part responds to.

Edit Name:

The lower LCD line displays the name of the Combo. The upper knob selects which character is currently active, which is displayed by blinking the letter. The lower knob changes the character.

C -2…C 8 This parameter sets the high keyboard limit for this

0…127 This parameter, along with the Hi Velocity

0…127 This parameter, along with the Lo Velocity

This is displayed on the top line when the last page is selected.

MIDI Implementation

The Poly Evolver receives MIDI data according to the mode controls in the Global Section. When in Combo mode, the Global parameters may be overridden by the Combo settings. In addition, there is interaction between some of the Program parameters which determine the overall response of Evolver to MIDI data. Following are all the parameters that affect response to MIDI.

Global Parameters

MIDI Channel:

and receive data, 1 to 16. All receives on any channel.

Poly Chain:

Poly Evolvers into a polyphonic system by selectively passing MIDI data through to the MIDI out jack where it can be routed to another Poly Evolver. Note that MIDI clocks are handled separately per the MIDI Clock parameter (you will likely want to use the MIDI In and OUT clock setting). Settings:

Display Poly Chain Status

Off

Note

Clock:

sequencer triggers, as follows:

Display MIDI Clock Setting

Internal

MIDI Out

MIDI In

M In Out

In no ss

ALL, 1…16 Select which MIDI channel to send

see table Poly Chain is used to link multiple Evolvers and

MIDI operation is normal.

All MIDI information is passed through to the MIDI out jack

Only MIDI note data is passed through to the MIDI out jack.

see table Selects the MIDI clock status, and enables External

MIDI clock is neither sent nor received

MIDI clock is sent

MIDI clock is received

MIDI clock is received and transmitted (use with Poly Chain)

MIDI clock is received, but MIDI start/stop/continue messages are ignored.

Program Parameters

Trigger:

generators.

see table Selects the source of triggers/gates for the envelope

Display Envelope Trigger Selections

Sq or MD

Sequencr

MIDI

MIDI rst

The envelopes will be triggered by the sequencer only.

The envelopes will be triggered by MIDI notes only.

The envelopes will be triggered by MIDI, and the sequencer will be reset on every note (if it is running). The sequencer will not trigger the envelopes.

MID Gate

Gated mode – the envelopes will only be triggered when a MIDI note is held and the sequencer is running; in other words the MIDI notes will gate the sequencer. AUTO on.

MIDI G r

Gated mode, reset – same as Gated mode, except every time a MIDI note is hit, the sequencer is reset to step 1. AUTO on.

Ext In

Ext In r

Ext Gate

Same as external in, but also resets the sequencer to step 1.

External In signal will gate the sequencer (sequencer must be on). AUTO on.

Ext G r

External In signal will gate the sequencer (sequencer must be on). And also resets the sequencer to step 1 on each new gate. AUTO on.

MS Once

Plays a sequence once (according to the length of Sequence 1) when a new MIDI note is received. The sequence is not restarted on multiple MIDI notes until it finishes and stops. AUTO on.

MS Once R

Also plays a MIDI sequence once, but will re-start the sequence on each MIDI note. AUTO on.

EiSqStep

Plays one step of the sequencer on each External Input audio trigger. AUTO on.

MdSqStep

Plays one step of the sequencer on each MIDI note received. AUTO on.

Key Off/Tran:

Off, -36…+36 Enables and transposes MIDI notes. If Off, MIDI notes are ignored. Otherwise, it transposes midi notes from –36 to +36 semitones (+/- 3 octaves).

Note – this is an important parameter! When this is off, MIDI notes will not work. This parameter, with the Trigger Select (above) are the main controls for selecting how Evolver plays.

Key Mode:

keyboard. These are only active in Combo mode when a Part is Mono.

Display MIDI input mode

Low LoRT High HiRT Last LaRT

see table Selects the key mode when playing from a MIDI

Low note priority

Low note priority, re-trigger envelopes

High note priority

High note priority, re-trigger envelopes

Last note hit priority

Last note hit priority, re-trigger envelopes

Combo Parameters

MIDI Mode:

Display MIDI mode

Off

Notes

Cntrls

On All

MIDI Ch:

selected, it responds to any MIDI channel. If MIDI Mode is set to Off, this parameter is ignored.

Low Key:

High Key:

Part in conjunction with the Low Key parameter.

see table Selects the Program to use for this Part.

This Part will not respond to MIDI

This Part only responds to MIDI notes

This Part only responds to MIDI controller messages

This Part responds to both MIDI notes and MIDI controller messages

1…16, All Selects the MIDI channel to use for this Part. If All is

C -2…C 8 This parameter, along with the High Key parameter

C -2…C 8 This parameter sets the high keyboard limit for this

Lo Velocity:

0…127 This parameter, along with the Hi Velocity

Hi Velocity:

0…127 This parameter, along with the Lo Velocity

parameter following, sets the velocity range this Part responds to.

Trigger:

see table Selects the source of triggers/gates for the envelope generators for this Part. Note that the Sequencer and/or MIDI must be enabled to match the Trigger selected.

Display Envelope Trigger Selections

Sq or MD

Sequencr

MIDI

MIDI rst

The envelopes will be triggered by the sequencer only.

The envelopes will be triggered by MIDI notes only.

The envelopes will be triggered by MIDI, and the sequencer will be reset on every note (if it is running). The sequencer will not trigger the envelopes.

MID Gate

Gated mode – the envelopes will only be triggered when a MIDI note is held and the sequencer is running; in other words the MIDI notes will gate the sequencer. AUTO on.

MIDI G r

Gated mode, reset – same as Gated mode, except every time a MIDI note is hit, the sequencer is reset to step 1. AUTO on.

Ext In

Ext In r

Ext Gate

Same as external in, but also resets the sequencer to step 1.

External In signal will gate the sequencer (sequencer must be on). AUTO on.

Ext G r

External In signal will gate the sequencer (sequencer must be on). And also resets the sequencer to step 1 on each new gate. AUTO on.

MS Once

Plays a sequence once (according to the length of Sequence 1) when a new MIDI note is received. The sequence is not restarted on multiple MIDI notes until it finishes and stops. AUTO on.

MS Once R

Also plays a MIDI sequence once, but will re-start the sequence on each MIDI note. AUTO on.

EiSqStep

Plays one step of the sequencer on each External Input audio trigger. AUTO on.

MdSqStep

Plays one step of the sequencer on each MIDI note received. AUTO on.

RESET button: Acts as a MIDI all-notes-off, and resets all MIDI controllers when hit while the sequencer is not running.

MIDI Messages

Received Channel Messages

Status Second Third Description

1000 nnnn 0kkkkkkk 0vvvvvvv Note Off. Velocity is ignored 1001 nnnn 0kkkkkkk 0vvvvvvv Note On. Note off if vvvvvvv = 0 1010 nnnn 0kkkkkkk 0vvvvvvv Polyphonic Key Pressure 1011 nnnn 0vvvvvvv 0vvvvvvv Control Change; see “Received Controller

1100 nnnn 0ppppppp Program change, 0 – 127 for Programs 1 – 128

1101 nnnn 0vvvvvvv Channel Pressure 1110 nnnn 0vvvvvvv 0vvvvvvv Pitch Bend LS Byte then MS Byte

Messages” table following

within current Bank

Notes: 0kkkkkkk Note number 0 - 127

nnnn Channel number 0 to 15 (MIDI channel 1-16). Ignored if MIDI

channel set to ALL

0vvvvvvv Value

Received Controller Messages

Status Second Third Description

1011 nnnn 0000 0001 0vvvvvvv Mod Wheel – directly assignable controller 1011 nnnn 0000 0010 0vvvvvvv Breath Controller – directly assignable controller 1011 nnnn 0000 0100 0vvvvvvv Foot Controller – directly assignable controller 1011 nnnn 0000 0111 0vvvvvvv Volume – Combined with Master Volume and

Program Volume

1011 nnnn 0000 1101 0vvvvvvv Expression Controller – directly assignable

controller

1011 nnnn 0010 0000 0vvvvvvv Bank Select – 0 to 3 selects banks 1 to 4; others

ignored

1011 nnnn 0100 0000 0vvvvvvv Damper pedal – holds envelopes in Sustain if >

0100 0000 1011 nnnn 0111 1101 0vvvvvvv All Notes Off – clear all MIDI notes 1011 nnnn 0111 1011 0vvvvvvv Reset All Controllers – clears all MIDI controllers

to 0, MIDI volume to maximum

System Common Messages

Status Second Third Description

1111 0010 0vvvvvvv 0vvvvvvv Song Position Pointer – LS Byte then MS Byte.

Positions depends on Clock Divide. For example,

if Clock Divide is set to 4n (quarter note), then

the sequence is 4 measures of 4/4 in length. The

Song Position will calculate correctly within the

four bars.

System Real-time Messages

Status Description

1111 1000 Timing Clock 1111 1010 Start – starts the sequencer from step 1 1111 1011 Continue – re-starts the sequencer from the current step 1111 1100 Stop – Stops the sequencer

Universal System Exclusive Message (Device Inquiry)

Status Description

1111 0000 System Exclusive (SysEx) 0111 1110 Non-realtime message

0vvv vvvv If MIDI channel is set to 1-16, 0vvvvvvv must match (unless MIDI Channel

= ALL); always responds if 0vvvvvvv = 0111 1111. 0000 0110 Inquiry Message 0000 0001 Inquiry Request 1111 0111 End of Exclusive (EOX)

Evolver responds with:

Status Description

1111 0000 System Exclusive (SysEx) 0111 1110 Non-realtime message

0vvv vvvv If MIDI Channel = ALL, 0vvvvvvv = 0111 1111. Otherwise 0vvvvvvv =

Channel Number 0-15. 0000 0110 Inquiry Message 0000 0010 Inquiry Reply 0000 0001 DSI ID 0010 0001 Poly Evolver ID (Family LS) 0000 0000 Family MS 0000 0000 Family Member LS 0000 0000 Family Member MS

0jjj nnnn Main PIC Software version: jjj – Major rev; nnnn – Minor Rev

0jjj nnnn Voice PIC Software version: jjj – Major rev; nnnn – Minor Rev 0vvv vvvv DSP Software version LS 0vvv vvvv DSP MS

1111 0111 End of Exclusive (EOX)

System Exclusive Messages

Note that all the System Exclusive messages use the Evolver ID, rather than the Poly Evolver ID. This maintains compatibility with Evolver, since the Programs are the same.

Program Parameters

If this message is received while in Combo mode, only the Parts with MIDI enabled will respond to the change.

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0000 0001 Program Parameter

0vvv vvvv Parameter Number 0 – 127. Parameters are in the same order as Evolver.

0000 vvvv Parameter value, LS Nibble 0000 vvvv Parameter value, MS Nibble

1111 0111 End of Exclusive (EOX)

The Parameter data starts on page 62.

Sequencer Parameters

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0000 1000 Sequence Parameter

00vv vvvv Sequence step 0 – 63. 0 – 15 are sequence 1 steps, 16- 31 for sequence 2,

0000 vvvv Step value, LS Nibble 0000 vvvv Step value, MS Nibble

1111 0111 End of Exclusive (EOX)

etc.

Combo Parameters

This message is ignored if the synth is in Program mode

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0010 1010 Combo Parameter

00vv vvvv Combo Parameter number 0 – 79. See table on page 60. 0000 vvvv Parameter value, LS Nibble 0000 vvvv Parameter value, MS Nibble

1111 0111 End of Exclusive (EOX)

Global Parameters

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0000 1001 Global Parameter

0000 vvvv Global Parameter Number 0 – 17. Global Parameters are listed starting on

page 58. Note that some parameter numbers are not used; this is to

maintain compatibility with Evolvers. 0000 vvvv Parameter value, LS Nibble 0000 vvvv Parameter value, MS Nibble

1111 0111 End of Exclusive (EOX)

Request Program Dump

Status Description

1111 0000

0000 0001

0010 0000

0000 0001

0000 0101

System Exclusive (SysEx) DSI ID Evolver ID File Version Request Program Transmit

0000 00vv Bank Number, 0 - 3

0vvv vvvv Program Number, 0 - 127

1111 0111

End of Exclusive (EOX)

The Poly Evolver will respond by sending out the Program Data in the format described in the Program Data Dump on page 52. It also sends a Program Name Dump message (also on page 52) after the Program dump. This makes it a complete Program dump while maintaining compatibility with Evolvers.

Request Program Edit Buffer Dump

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0000 0110 Request Program Edit Buffer Transmit 1111 0111 End of Exclusive (EOX)

Evolver will respond by sending out the current Program edit buffer in the format described in the Edit Buffer Dump on page 53

Request Waveshape Dump

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0000 1011 Request Waveshape Transmit

0vvv vvvv Waveshape number, 0 - 127

1111 0111 End of Exclusive (EOX)

Evolver will respond by sending out the requested Waveshape data, in the format described in the Waveshape Data Dump on page 53.

Request Combo Dump

Status Description

1111 0000

0000 0001

0010 0000

0000 0001

0010 0001

System Exclusive (SysEx) DSI ID Evolver ID File Version Request Combo Transmit

0000 00vv Bank Number, 0 - 2

0vvv vvvv Program Number, 0 - 127

1111 0111

End of Exclusive (EOX)

Evolver will respond by sending out the Combo Data in the format described in the Combo Data Dump on page 52.

Request Combo Edit Buffer Dump

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0011 1000 Request Combo Edit Buffer Transmit 1111 0111 End of Exclusive (EOX)

Evolver will respond by sending out the current edit buffer in the format described in the Combo Edit Buffer Dump on page 53

Request Global Parameter Dump

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0000 1110 Request Global Parameter Transmit 1111 0111 End of Exclusive (EOX)

Evolver will respond by sending out the current edit buffer in the format described in the Global Parameter Dump on page 52

Program Data Dump

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0000 0010 Program Data 0000 00vv Bank Number, 0 - 3

0vvv vvvv Program Number, 0 - 127 0vvv vvvv 220 bytes in “packed MS bit” format (see page 55). Includes 128 bytes of

Program parameters and 64 bytes of Sequence data.

1111 0111 End of Exclusive (EOX)

Program Name Data Dump

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0001 0001 Program Name Data 0000 00vv Bank Number, 0 - 3

0vvv vvvv Program Number, 0 - 127 0vvv vvvv 16 name data bytes. Note that the Poly Evolver stores the basic 7 bit data.

The assumption is that the data is ACSCII

1111 0111 End of Exclusive (EOX)

Combo Data Dump

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0010 0010 Combo Data 0000 00vv Bank Number, 0 - 2

0vvv vvvv Combo Number, 0 - 127 0vvv vvvv 92 bytes in “packed MS bit” format (see page 55) = 80 bytes of Combo data

1111 0111 End of Exclusive (EOX)

Program Edit Buffer Data Dump

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0000 0011 Edit Buffer Data

0vvv vvvv 220 bytes in “packed MS bit” format (see page 55). Includes 128 bytes of

Program parameters and 64 bytes of Sequence data.

1111 0111 End of Exclusive (EOX)

Combo Edit Buffer Data Dump

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0011 0111 Edit Buffer Data

0vvv vvvv 220 bytes in “packed MS bit” format (see page 55). Includes 128 bytes of

Program parameters and 64 bytes of Sequence data.

1111 0111 End of Exclusive (EOX)

Global Parameters Data Dump

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0000 1111 Main Parameter Data

0vvv vvvv 34 nibbles (LS then MS) for 17 Global parameters. Global Parameters are

listed starting on page 58.

1111 0111 End of Exclusive (EOX)

Waveshape Data Dump

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0000 1010 Waveshape Data

0vvv vvvv Waveshape number, 0 – 127, corresponds to Waveshapes 1 – 128. Only

Waveshapes 96 – 127 can be sent to Evolver and saved as user

programmable; others will be ignored. 0vvv vvvv 293 bytes in “packed MS bit” format (see page 55). The 293 bytes = 256

data bytes, in the format of LS byte/MS byte, for the 128 16-bit words that

make up a waveshape. The ROM Waveshapes are 12 bit two’s

complement (to match the VS), but the User Waveshapes (97 – 128) can

be a full 16 bits.

1111 0111 End of Exclusive (EOX)

Packed Data Format

Data is packed in 8 byte “packets”, with the MS bit stripped from 7 parameter bytes, and packed into an eighth byte, which is sent at the start of the 8 byte packet.

Example:

Input Data Packed MIDI data

1 A7 A6 A5 A4 A3 A2 A1 A0 1 00 G7 F7 E7 D7 C7 B7 A7 2 B7 B6 B5 B4 B3 B2 B1 B0 2 00 A6 A5 A4 A3 A2 A1 A0 3 C7 C6 C5 C4 C3 C2 C1 C0 3 00 B6 B5 B4 B3 B2 B1 B0 4 D7 D6 D5 D4 D3 D2 D1 D0 4 00 C6 C5 C4 C3 C2 C1 C0 5 E7 E6 E5 E4 E3 E2 E1 E0 5 00 D6 D5 D4 D3 D2 D1 D0 6 F7 E6 E5 E4 E3 E2 E1 E0 6 00 E6 E5 E4 E3 E2 E1 E0 7 G7 G6 G5 G4 G3 G2 G1 G0 7 00 E6 E5 E4 E3 E2 E1 E0

This is why it takes 220 MIDI bytes to transmit 192 Program/Sequence data bytes, and 293 bytes to send 256 Waveshape bytes.

8 00 G6 G5 G4 G3 G2 G1 G0

Start/Stop Button

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0001 0010 Start/Stop button 1111 0111 End of Exclusive (EOX)

Reset Button

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0000 0100 Reset Button 1111 0111 End of Exclusive (EOX)

Shift Button On

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0001 0011 Shift Button On 1111 0111 End of Exclusive (EOX)

Shift Button Off

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0001 0100 Shift Button Off 1111 0111 End of Exclusive (EOX)

Select Program Mode

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0011 0000 Select Program Mode 1111 0111 End of Exclusive (EOX)

Select Combo Mode

Status Description

1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 0000 Evolver ID 0000 0001 File Version 0011 0001 Select Combo Mode 1111 0111 End of Exclusive (EOX)

Global Parameter Data

Parameter Range Description

0 0 - 127 Program Number 1 - 128

1 0 - 3 Bank Number 1 - 4

2 0 - 100 Master Volume 0 - 100

3 0 - 72 Master Transpose; 0 = -36 semitones (- 3 octaves), 36 = 0 (no

4 30 - 250 BPM

transpose), and 72 = +36 semitones.

5 0 - 12 Clock Divide:

6 0 - 1 Use Program tempo; 0 = Off, 1 = On

7 0 - 6 MIDI clock select

8 x Not used (zero sent in Main Dump)

9 0 - 2 Poly Chain

10 0 - 8 Input Gain

11 0 - 100 Master Fine Tune; 0 = -50 cents, 50 = 0 (centered), 100 = + 50

12 x Not used (zero sent in Main Dump)

0 Half Note 1 Quarter Note 2 Eighth Note 3 Eighth Note half swing 4 Eighth Note full swing 5 Eighth Note triplets 6 Sixteenth Note 7 Sixteenth Note half swing 8 Sixteenth Note full swing 9 Sixteenth Note triplets 10 Thirty-second Notes 11 Thirty-second Notes triplets 12 Sixty-Fourth Notes triplets

0 Use Internal clock, don’t send MIDI clock 1 Use Internal clock, send MIDI clock 2 Use MIDI clock In 3 Use MIDI clock In, and retransmit MIDI clock out 4 No change 5 No change 6 Use MIDI clock In, but ignore MIDI Start/Stop

0 Normal MIDI operation 1 Overflow operation – if all 4 voices are playing, any new

note is ignored internally, and re-transmitted out

0 No gain 1 + 3 db 2 + 6 db 3 + 9 db 4 + 12 db 5 + 15 db 6 + 18 db 7 + 21 db 8 + 24 db

cents

13 x Not used (zero sent in Main Dump)

14 0 - 16 MIDI Channel; if = 0, data received on all MIDI channels.

Otherwise = channel number 1 – 16.

15 X Not used (zero sent in Main Dump)

16 0 – 127 Combo number 1 - 128

17 0 – 2 Combo Bank 1 to 3

Note: Some parameters are not used in order to maintain the closest match with standard Evolvers.

Combo Parameter Data

There are 4 identical parts in a Combo; they are listed below. The name of the combo follows the other parameters.

1 2 3 4 Range Description

0 16 32 48 0 - 4 Mode – number of polyphonic voices

1 17 33 49 0 - 127 Program 2 18 34 50 0 - 3 Bank 3 19 35 51 0 - 3 MIDI Mode

4 20 36 52 0 - 16 MIDI Channel; if = 0, data received on all MIDI

5 21 37 53 0 - 1 Sequencer; 0 = Off, 1 = On 6 22 38 54 30 - 250 Tempo 7 23 39 55 0 - 12 Clock Divide:

8 24 40 56 0 - 13 Trigger Select

0 Off 1 Poly 4 2 Poly 3 3 Poly 2 4 Unison

0 Off 1 Notes only 2 Controller messages only 3 All – notes and controllers

channels. Otherwise = channel number 1 – 16.

0 All - The envelopes will be triggered by either

the sequencer or MIDI notes

1 Seq – The envelopes will be triggered by the

sequencer only.

2 MIDI – The envelopes will be triggered by MIDI

notes only.

3 MIDI Reset– Same, with sequencer reset on

Note On

4 Combo - Envelopes will only be triggered with

both a MIDI note and the sequencer is running

5 Combo Reset – same, with sequencer reset on

Note On 6 External Input gates the envelopes 7 External Input gates the envelopes and resets

the sequencer 8 External Input gates the sequencer 9 External Input gates the sequencer and resets

the sequencer 10 Midi note plays sequence once 11 Midi note plays sequence once, resetting on

mulitple notes 12 External Trigger – the sequence plays once on

an external signal 13 MIDI trigger – the sequence plays once when a

MIDI note is received

9 25 41 57 0 - 72 Transpose; 0 = -36 semitones (- 3 octaves), 36 = 0

(no transpose), and 72 = +36 semitones.

10 26 42 58 0 - 100 Fine Freq; 0 = -50 cents, 50 = 0 (centered), 100 = +

50 cents

11 27 43 59 0 - 100 Volume level for this part 12 28 44 60 0 - 127 Low Key 13 29 45 61 0 - 127 High Key 14 30 46 64 0 - 127 Low Velocity 15 31 47 63 0 - 127 High Velocity

Parameters

64 - 79 32 - 127 Name characters 1 - 16

Program Parameter Data

Parameter Range Description

0 0 - 120 Oscillator 1 Frequency, 0 – 120 in semitones (10 octave

1 0 - 100 Oscillator 1 Fine Tune; 0 = -50 cents, 50 = 0 (centered), 100 =

2 0 - 102 Oscillator 1 Shape

3 0 - 100 Oscillator 1 Level 4 0 - 120 Oscillator 2 Frequency, 0 – 120 in semitones (10 octave

5 0 - 100 Oscillator 2 Fine Tune; 0 = -50 cents, 50 = 0 (centered), 100 =

6 0 - 102 Oscillator 2 Shape

7 0 - 100 Oscillator 2 Level

Parameter Range Description

8 0 - 120 Oscillator 3 Frequency, 0 – 120 in semitones (10 octave

9 0 - 100 Oscillator 3 Fine Tune; 0 = -50 cents, 50 = 0 (centered), 100 =

10 0 - 127 Oscillator 3 Shape 1 - 128 11 0 - 100 Oscillator 3 Level 12 0 - 120 Oscillator 4 Frequency, 0 – 120 in semitones (10 octave

13 0 - 100 Oscillator 4 Fine Tune; 0 = -50 cents, 50 = 0 (centered), 100 =

14 0 - 127 Oscillator 4 Shape 1 - 128 15 0 - 100 Oscillator 4 Level

range)

+ 50 cents

0 Sawtooth 1 Triangle 2 Sawtooth/triangle mix 3 – 102 Pulse Wave, Pulse width 0 - 99

range)

+ 50 cents

0 Sawtooth 1 Triangle 2 Sawtooth/triangle mix 3 – 102 Pulse Wave, Pulse width 0 - 99

range)

+ 50 cents

range)

+ 50 cents

Parameter Range Description

16 0 - 164 Filter Frequency, steps in semitones 17 0 - 198 Filter Envelope Amount; -99 to +99 18 0 - 110 Filter Envelope Attack 19 0 - 110 Filter Envelope Decay 20 0 - 100 Filter Envelope Sustain 21 0 - 110 Filter Envelope Release 22 0 - 100 Resonance 23 0 - 100 Filter Keyboard Amount

Parameter Range Description

24 0 - 100 VCA Level 25 0 - 100 VCA Envelope Amount 26 0 - 110 VCA Envelope Attack 27 0 - 110 VCA Envelope Decay 28 0 - 100 VCA Envelope Sustain 29 0 - 110 VCA Envelope Release 30 0 - 6 Output Pan

0 Left channel panned fully left, Right fully to the right 1 Left channel panned mostly left, Right mostly to the right 2 Left channel panned somewhat left, Right somewhat to

the right 3 Mono 4 Right channel panned somewhat left, Left somewhat to

the right 5 Right channel panned mostly left, Left mostly to the right 6 Right channel panned fully left, Left fully to the right

31 0 - 100 Program Volume

Parameter Range Description

32 0 - 48 Feedback Frequency – steps in semitones 33 0 - 100 Feedback Amount 34 0 - 1 Grunge; 0 = off, 1 = on 35 0 - 166 Delay 1 Time 36 0 - 100 Delay 1 Level 37 0 - 100 Delay sum feedback to Delay input 38 0 - 100 Delay sum feedback to filter input 39 0 - 14 Output hack amount

Parameter Range Description

40 0 - 160 LFO 1 Frequency; 0 – 150 unsynced frequency

151 Sequence speed divided by 32 152 Sequence speed divided by 16 153 Sequence speed divided by 8 154 Sequence speed divided by 4 155 Sequence speed divided by 2 156 One cycle per step 157 Two cycles per step 158 Four cycles per step 159 Eight cycles per step 160 Sixteen cycles per step

41 0 - 4 LFO 1 Shape

0 Triangle 1 Reverse Sawtooth 2 Sawtooth 3 Pulse (square) 4 Random

42 0 - 100 LFO 1 Amount 43 0 - 68 LFO 1 Destination (see destination table on page 68) 44 0 - 160 LFO 2 Frequency (same as LFO 1) 45 0 - 4 LFO 2 Shape (same as LFO 1) 46 0 - 100 LFO 2 Amount 47 0 - 68 LFO 2 Destination (see destination table on page 68)

Parameter Range Description

48 0 - 198 Envelope 3 Amount; -99 to +99 49 0 - 68 Envelope 3 Destination (see destination table on page 68) 50 0 - 110 Envelope 3 Envelope Attack 51 0 - 110 Envelope 3 Envelope Decay 52 0 - 100 Envelope 3 Envelope Sustain 53 0 - 110 Envelope 3 Envelope Release 54 0 - 13 Trigger Select

0 All - The envelopes will be triggered by either the

sequencer or MIDI notes 1 Seq – The envelopes will be triggered by the sequencer

only. 2 MIDI – The envelopes will be triggered by MIDI notes

only. 3 MIDI Reset– Same, with sequencer reset on Note On 4 Combo - Envelopes will only be triggered with both a

MIDI note and the sequencer is running 5 Combo Reset – same, with sequencer reset on Note On 6 External Input gates the envelopes 7 External Input gates the envelopes and resets the

sequencer 8 External Input gates the sequencer 9 External Input gates the sequencer and resets the

sequencer 10 Midi note plays sequence once 11 Midi note plays sequence once, resetting on multiple

notes 12 External Trigger – the sequence plays once on an

external signal 13 MIDI trigger – the sequence plays once when a MIDI

note is received

55 0 - 73 Key Off / Transpose – 0 = MIDI notes ignored. 1 = -36

semitones MIDI transpose, 37 = no transposing, 73 = +36 semitones

Parameter Range Description

56 0 - 75 Sequencer 1 Destination (see destination table on page 68) 57 0 - 75 Sequencer 2 Destination (see destination table on page 68) 58 0 - 75 Sequencer 3 Destination (see destination table on page 68) 59 0 - 75 Sequencer 4 Destination (see destination table on page 68) 60 0 - 100 Noise Volume 61 0 - 100 External Input Volume 62 0 - 2 External Input Mode

0 Stereo

1 Left Input channel goes to both channels 2 Right Input channel goes to both channels 3 Left channel audio, Right channel control

63 0 - 14 Input Hack Amount

Parameter Range Description

64 0 - 200 Glide, Oscillator 1; 101 – 199 = Fingered; 200 = osc midi off 65 0 - 1 Sync; 0 = off, 1 = on 66 30 - 250 Program tempo 67 0 - 12 Program Clock Divide (see Master Clock Divide for

selections)

68 0 - 200 Glide, Oscillator 2; 101 – 199 = Fingered; 200 = osc midi off 69 0 - 5 Oscillator Slop 70 0 - 12 Pitch Bend Range, in semitones 71 0 - 5 Key Mode

0 Low note priority 1 Low note priority with re-trigger 2 High note priority 3 High note priority with re-trigger 4 Last note hit priority 5 Last note hit priority with re-trigger

Parameter Range Description

72 0 - 200 Glide, Oscillator 3; 101 – 199 = Fingered; 200 = osc midi off 73 0 - 100 FM, Oscillator 4 to Oscillator 3 74 0 - 4 Shape Mod Oscillator 3; 0 = Off, 1 = Sequence 1, etc. 75 0 - 100 Ring Mod, Oscillator 4 to Oscillator 3 76 0 - 200 Glide, Oscillator 4; 101 – 199 = Fingered; 200 = osc midi off 77 0 - 100 FM, Oscillator 3 to Oscillator 4 78 0 - 4 Shape Mod Oscillator 4; 0 = Off, 1 = Sequence 1, etc 79 0 - 100 Ring Mod, Oscillator 3 to Oscillator 4

Parameter Range Description

80 0 - 1 2/4 Pole Select; 0 = 2 Pole, 1 = 4 Pole 81 0 - 100 Filter Envelope Velocity 82 0 - 100 Filter Audio Modulation 83 0 - 100 Filter Split 84 0 – 199 Highpass Filter cutoff. 0-99 for filter on output; 100 – 199 for

levels 0-99 with filter on input

85 0 - 24 Modulation 1 Source (see Source Table on page 70) 86 0 - 198 Modulation 1 Amount; -99 to +99 87 0 - 68 Modulation 1 Destination (see destination table on page 68)

Parameter Range Description

88 0 - 1 Linear/Exponential envelopes 0 = Exponential, 1 = Linear 89 0 - 100 VCA Envelope Velocity 90 0 - 24 Modulation 2 Source (see Source Table on page 70) 91 0 - 198 Modulation 2 Amount; -99 to +99 92 0 - 68 Modulation 2 Destination (see destination table on page 68) 93 0 - 24 Modulation 3 Source (see Source Table on page 70) 94 0 - 198 Modulation 3 Amount; -99 to +99 95 0 - 68 Modulation 3 Destination (see destination table on page 68)

Parameter Range Description

96 0 - 24 Modulation 4 Source (see Source Table on page 70) 97 0 - 198 Modulation 4 Amount; -99 to +99 98 0 - 68 Modulation 4 Destination (see destination table on page 68)

99 0 - 166 Delay 2 Time 100 0 - 100 Delay 2 Level 101 0 - 166 Delay 3 Time 102 0 - 100 Delay 3 Level 103 0 - 199 Distortion; 0-99 for distortion on output; 100 – 199 for levels

0-99 with distortion on input

Parameter Range Description

104 0 - 160 LFO 3 Frequency (same as LFO 1) 105 0 - 4 LFO 3 Shape (same as LFO 1) 106 0 - 100 LFO 3 Amount 107 0 - 68 LFO 3 Destination (see destination table on page 68) 108 0 - 160 LFO 4 Frequency (same as LFO 1) 109 0 - 4 LFO 4 Shape (same as LFO 1) 110 0 - 100 LFO 4 Amount 111 0 - 68 LFO 4 Destination (see destination table on page 68)

Parameter Range Description

112 0 - 100 Envelope 3 Delay 113 0 - 100 Envelope 3 Velocity 114 0 - 198 External Input Peak Amount; -99 to +99 115 0 - 68 External Input Peak Destination (see destination table on

page 68) 116 0 - 198 External Input Envelope Follower Amount; -99 to +99 117 0 - 68 External Input Envelope Follower Destination (see

destination table on page 68) 118 0 - 198 Velocity Amount; -99 to +99 119 0 - 68 Velocity Destination (see destination table on page 68)

Parameter Range Description

120 0 - 198 Mod Wheel Amount; -99 to +99 121 0 - 68 Mod Wheel Destination (see destination table on page 68) 122 0 - 198 Pressure Amount; -99 to +99 123 0 - 68 Pressure Destination (see destination table on page 68) 124 0 - 198 Breath Controller Amount; -99 to +99 125 0 - 68 Breath Controller Destination (see destination table on page

68) 126 0 - 198 Foot Controller Amount; -99 to +99 127 0 - 68 Foot Controller Destination (see destination table on page

68)

Modulation Destinations

No destination selected

Oscillator 1 Frequency

Oscillator 2 Frequency

Oscillator 3 Frequency

Oscillator 4 Frequency

Oscillator All Frequency – goes to all four

Oscillator 1 Level

Oscillator 2 Level

Oscillator 3 Level

Oscillator 4 Level

Oscillator All Level

Noise Level

External In Level

Oscillator 1 Pulse width

Oscillator 2 Pulse width

Oscillator All Pulse width

Frequency Mod (FM) Amount; Osc 4 -> 3

Frequency Mod (FM) Amount; Osc 3 -> 4

Ring Mod (Amplitude) Amount; Osc 4 -> 3

Ring Mod (Amplitude) Amount; Osc 3 -> 4

Filter frequency

Filter Split –separation between left / right

Resonance

Highpass Frequency

VCA amount

Pan

Feedback frequency

Feedback Amount

Delay Time 1

Delay Time 2

Delay Time 3

Delay Time All

Delay Amount 1

Delay Amount 2

Delay Amount 3

Delay Amount All

Delay Feedback 1

Delay Feedback 2

LFO 1 Frequency

LFO 2 Frequency

LFO 3 Frequency

LFO 4 Frequency

LFO All Frequency

LFO 1 Amount

LFO 2 Amount

LFO 3 Amount

LFO 4 Amount

LFO A Amount

Envelope 1 Amount

Envelope 2 Amount

Envelope 3 Amount

Envelope A Amount

Envelope 1 Attack

Envelope 2 Attack

Envelope 3 Attack

Envelope A Attack

Envelope 1 Decay

Envelope 2 Decay

Envelope 3 Decay

Envelope A Decay

Envelope 1 Release

Envelope 2 Release

Envelope 3 Release

Envelope A Release

Filter 1 (left) Cutoff Frequency

Filter 2 (right) Cutoff Frequency

Filter 1 (left) Resonance

Filter 2 (right) Resonance

Distortion

Sequencer only destinations

Tempo Clock multiplier

MIDI Note Out

MIDI Velocity Out

MIDI Mod Wheel Out

MIDI Pressure Out

MIDI Breath Controller Out

MIDI Foot Controller Out

Modulation Sources

0 No Source selected 1 Sequence 1 2 Sequence 2 3 Sequence 3 4 Sequence 4 5 LFO 1 6 LFO 2 7 LFO 3 8 LFO 4

9 Filter Envelope 10 Amp (VCA) Envelope 11 Envelope 3 12 External Audio Input Peak 13 External Audio Envelope Follower 14 Midi - Pitch Bend 15 Midi - Mod Wheel 16 Midi - Pressure 17 Midi - Breath Controller 18 Midi - Foot Controller 19 Midi – Note Velocity 20 Midi – Note Number 21 Midi – Expression 22 Noise 23 Oscillator 3 24 Oscillator 4

Dave Smith Instruments

1590 Sylvaner Ave.

St. Helena, CA 94574 USA

www.DaveSmithInstruments.com

Dave Smith Instruments PolyEvolver Owner's Manual

Specifications and Main Features

Frequently Asked Questions

User Manual