Full Bucket Music FB-3300 Manual v1.0

FB-3300

Polyphonic Synthesizer

Version 1.0

© 2017-2019 by Björn Arlt @ Full Bucket Music

http://www.fullbucket.de/music

VST is a trademark of Steinberg Media Technologies GmbH

Windows is a registered trademark of Microsoft Corporation

The Audio Units logo is a trademark of Apple Computer, Inc.

FB-3300 Manual Page 2

Table of Contents

Introduction.......................................4

History..............................................4

Digital Transformation.........................4

Acknowledgments...............................5

Architecture.......................................6

Polyphonic Section..............................7

Signal Generators (SG)..........................7

Lowpass Filters (LP)..............................7

Envelope Modifiers (EM).........................8

Monophonic/Paraphonic Section............9

Resonators...........................................9

Amplitude Modulation............................9

Signal Modifiers....................................9

Modulation Generators.........................10

Mixer Section....................................10

Global Modulators.............................11

Sample & Hold....................................11

General Envelope Generator (GEG)........11

Voltage Processors..............................11

LAG Processors and Attenuators............12

External Trigger and Modulation Sources 12

Tweaks............................................13

Context Menus....................................13

Options Menu...................................14

The fb3300.ini Configuration File.........15

MIDI Control Change Messages.............15

MIDI Learn.........................................15

Modulation and Trigger Sources...........16

Block Parameters..............................18

Temperament (Micro-Tuning)................18

Signal Generators...............................18

Lowpass Filter.....................................19

Envelope Modifier................................19

Resonators.........................................20

Signal Modifiers and VCA......................20

Modulation Generators 1/2...................21

Tweaks..............................................21

Global Parameters.............................22

Global VCA and Controls......................22

Sample & Hold....................................22

General Envelope Generator.................22

Voltage Processors 1 and 2...................23

External Modulation and Trigger Sources 23

Tweaks..............................................23

Frequently Asked Questions................24

FB-3300 Manual Page 3

Introduction

The FB-3300 is a software synthesizer plug-in for Microsoft Windows (VST) and Apple
macOS (VST/AU) simulating the classic KORG PS-3300 polyphonic analog synthesizer
from 1977. It is written in native C++ code for high performance even on “lighter”
systems. The main features are:

● Close emulation of behavior and all controls of the original hardware

● Three independent polyphonic synthesizer blocks

● Band-limited oscillators, classic two-pole lowpass filters

● Resonators sections plus two Modulation Generators per bank

● Additional Sample & Hold and paraphonic Envelope Generator

● Semi-modular

● Micro-tuning option

● Additional tweaks

● Plug-in supports Windows and macOS (32 bit and 64 bit)

History

In 1977, KORG released two new synthesizer, the PS-3100 and the PS-3300, where
“PS” is short for Polyphonic Synthesizer. By that time not many polyphonic
synthesizers were around, and being even fully polyphonic the PS brothers (in close
approximation the PS-3300 consists of three PS-3100) were propelled into the noble
company of a Polymoog.

While the PS-3100 is a rather modest instrument, the PS-3300 features no less than 3
independent synthesizer blocks (comparable to almost a full PS-3100): Each block has
48 voices with 48 filters and 48 envelopes but only 12 oscillators generating the top
octave frequencies for the twelve keys C to B. The remaining 36 signals are derived by
frequency division… but the PS-3300 is not just a sophisticated organ.

The PS-3300 is huge.

Compared to the PS-3100, the PS-3300 has lost its “MS-20-like” patch bay. Instead,
the plugs are positioned below the relevant modules which makes the PS-3300 look
like a classic modular system (although it is “just” semi-modular). The three
synthesizer blocks are accompanied by a global mixer section plus some modules
already known from the PS-3100 (Sample & Hold, General Envelope Generator, and
Voice Processors). However, the PS-3100 outnumbers the PS-3300 when it comes to
units produced: Rumor says that only a few hundred 3300ers have ever been built.

1978, one year later, came the PS-3200, KORG's first programmable polyphonic
synthesizer… but that's another story.

Digital Transformation

In 2017 and only forty years after its release, I took a closer look at the PS-3100 and
to my surprise found many features that are pretty unique to this amazing machine.
Having finishing my own simulation, the FB-3100, I consequently started the next
project: The FB-3300.

FB-3300 Manual Page 4

Aim of the project was to provide a close simulation of the original hardware and not
some highly evolved, hyper-extended, next generation SuperPS-3300++ deluxe (be
assured that the PS-3300 does not need that!). As usual, this included some decisions
that some folks maybe do not like:

• The FB-3300 does not react to Velocity.

• The monophonic/paraphonic modulation options of the PS-3300 remain

monophonic/paraphonic in the FB-3300.

• The UI is too small. This is always true. 

• At the same time the UI is too big; it may not fit on smaller screens. But I saw

no acceptable way of shrinking its size without killing usability and elegance.

• The plugs of the FB-3300 do not use virtual patch cords but “patch menus”.

I am pretty sure that especially the last bullet will cause a storm of protest. But here
is my point: Since the panel is already pretty crowded (and of course too small and
too big, see above) I strongly believe that lingering “patch cords” will not help to
visualize the current patch connections either. Another advantage is that patch
junctions (ports that provide multiple “copies” of the original source) are not needed.

On the other hand I added some tweaks not to be found on the PS-3300:

• The three blocks can be individually placed in the stereo panorama.

• The funny Hold mode behavior can be overridden with the somehow more

intuitive “expected standard behavior” of a Hold function.

• The three-step EM Release switch can be overridden by a continuous Release

control knob.

• Modulation Generators and Sample & Hold can be synchronized to the host.

• MIDI controllers can be used as sources for virtual voltages and triggers.

• The FB-3300 features a few more modulation sources than the PS-3300.

• Two LAG processors and three attenuators are added for convenience.

Acknowledgments

 Thanks a lot to Martin Lueders (PG8X…), Taymur Streng, and Manfred

Hasenfus1 for support, beta testing, and patch programming!

 A big Thank you! goes to all the people who share their information about the PS

synthesizers via the Internet.

 Some of the micro-tuning templates are derived from the Microtonal Synthesis

website at http://www.microtonal-synthesis.com/.

 Furthermore a BIG THANKS to Tim Stinchcombe and Will Pirkle for their in-

depth analysis of the K35 filter chip.

 Last not least another THANK YOU! to the KVR Audio community and to the KORG

engineers.

No, I am not affiliated with KORG in what relation ever except that I always find
myself entangled with their instruments. 

1 The factory presets 54 to 62 are Manfred’s creation.

FB-3300 Manual Page 5

Architecture

The FB-3300 provides three synthesizer blocks that run in parallel to each other. Each
block has 64 voices, and each voice features a band-limited Signal Generator (SG), a
2-pole Lowpass filter (LP), an Envelope Modulator (EM), and two Modulation
Generators (MG 1+2). The mix of all voices is sent into a single (!) Resonators section
consisting of three bandpass filters/resonators, followed by an Amplitude Modulation
section and a Voltage Controlled Amplifier (VCA).

Finally, the output of the three blocks is summed up in a final VCA. For modulation
purposes the FB-3300 has a Sample & Hold unit, an additional General Envelope
Generator (GEG), and two Voltage Processors (VP 1+2).

As you can see from the block diagram, there are many signal (solid) and modulation
(dashed) paths between the various modules. The configuration is pretty flexible and
can be reconfigured by using the plugs. You can see, too, that further processing of
the polyphonic signals after the LP section is monophonic (better: paraphonic). For
example the modulation of a VCA does affect the volume of all voices of a block and
not that of an individual voice. In the same sense the GEG acts as a paraphonic
envelope and not per voice. Even more, modulating the final VCA affects all voices of
all blocks.

SG LP

EM

RES AM

VCARES AM VCA

GEG

MG1 MG2

S/H VP2VP1

MG1

1 of 3 Blocks

VCA

FB-3300 Manual Page 6

Polyphonic Section

The following applies to each of the three blocks A, B, and C.

Signal Generators (SG)

The Signal Generators offer six selectable waveforms (Triangle,
Sawtooth, Square, Rectangle, Pulse, and Pulse Width Modulation),

four octave ranges (16' to 2'), fine and coarse tuning and frequency
modulation controls. Note that per key (C to B) only one top-octave
oscillator exists ‒ the lower octaves are generated by frequency
division. Thus, the signals of the same key at different octaves are
always in phase; you can verify this by analyzing the output of the
FB-3300 with an oscilloscope.

Frequency modulation (FM) can be enabled by the orange switch at
the right of the SG section; the other orange switch (“REV.”) to the
left flips the polarity of the modulation. While the first source for FM is
always given by MG1, the second modulation source has to be
selected via the plug FRQ. Pulse Width Modulation is by default
performed by MG2 but can be set to any other source (plug PWM).

An interesting feature is the micro-tuning option. Each of
the 12 keys can be tuned individually, allowing for other (not necessarily
well-tempered) tunings like Pythagorean or Wendy Carlos' Super Just
tuning etc. The small button at the bottom of the tuning knobs opens a
menu with 14 predefined micro-tuning templates. Here it is also possible to
load and/or save the tuning settings from/to a Scala (*.scl) file.

Lowpass Filters (LP)

The output of the Signal Generators is fed into a two-pole lowpass filter
section with adjustable resonance (Peak). Yes, this is an emulation of the
famous KORG K-35 filter but as in the PS-3300 it cannot be pushed to self­oscillation. Sorry.

Cutoff frequency modulation comes in various ways: First of all the cutoff
can be controlled by the note played (KBD Balance) both in positive and
negative direction (here negative means that the cutoff frequency will be
lower for higher notes).

The next knob, Expand, controls the influence of the Envelope Modifier (see
next section) on the cutoff frequency while the remaining options for
frequency modulation resemble those of the Signal Generators: Activated

FB-3300 Manual Page 7

by the orange switch, the filter can be modulated by MG1 and a second source. The
latter setting can be changed via the plug FRQ at the bottom.

Envelope Modifiers (EM)

The envelopes are of the standard ADSR type except that the release time
cannot be controlled continuously but only in three steps: Damp (very
short), Half Damp (pretty short) and Release (pretty long). FB-3300 owners
will love the option to override the Release time by a variable amount (see
section Tweaks).

Another funny feature is the Hold function: When switched on the envelope
does not go into the Release phase once a key is unpressed; instead you
have to press the same key again to release it.

Working with the Hold function can be tricky because it will only get
activated if the Attack time setting is higher than 70% (i.e. the Attack knob
is turned almost fully to the right). Furthermore, deactivating the Hold
function requires the Attack time setting to be less than 30% (i.e. the
Attack knob is turned almost fully to the left). If you are confused now: Go
to the Tweaks section and learn how to override this weird behavior.

The attack time can be externally controlled by a modulation source plugged into ATK
while a trigger signal from a source plugged into REL will put the EM into the release
phase (i.e. stop the envelope). This can be handy when the EM is in Hold mode and
you need to reset the voices without turning Hold mode off (for example use the
manual TRG1 switch as source for REL).

FB-3300 Manual Page 8

Monophonic/Paraphonic Section

The following applies to each of the three blocks A, B, and C.

Resonators

As stated above the individual voice signals are mixed into a single
monophonic signal and sent into the Resonators section. This is
basically a parallel arrangement of three bandpass filters with high
Q (i.e. resonators) and individually adjustable center frequencies.
The “INTENSITY” control determines the mix between original and
effect signal.

The resonator frequencies can be modulated by MG2 via the “MG2
MOD” switch and/or by an additional source that has to be
selected via the plug RES FRQ.

The Resonators section has become pretty famous and is one of
the key features giving the PS-3100/3300 brothers their “signature sound”.
Unfortunately, it was replaced in the PS-3200 by a static (!) 7-stage equalizer.

Amplitude Modulation

Following the Resonators, the signal runs through an Amplitude
Modulator which multiplies it with the signal of MG1 (can be disabled

by using the orange switch to the bottom of the Amplitude Modulation
section). Here, the “AMP MOD” knob sets the intensity and character of
the effect as follows:

• The range from 0% to 50% (i.e. from the very left to the center

of the knob range) will result in a Cross Modulation effect. This
means that the amplitude of the signal is modulated from -∞ dB
to a maximum of 0dB.

• The range from 50% to 100% (i.e. from the center to the very right of the knob

range) will result in a Ring Modulation effect meaning that negative values of
the MG1 signal will (apart from attenuation) cause the modulated signal to be

inverted. This makes perfect sense if you think of Ring modulation as a
multiplication.

The interesting thing is that MG1 is able to generate signals in the kilohertz range
which allows for drastic sound effects. But even in the low range a Ring Modulation
with a sawtooth wave can result in unusual gate effects.

Signal Modifiers

After Amplitude Modulation the signal is treated by a pretty unique
feature: The Keyboard Balance which adjusts the volume of notes
as played on the keyboard. With this control you can attenuate
notes on the lower end or vice versa.

Finally, the Pan control places the output of the whole block in the
stereo panorama.

FB-3300 Manual Page 9

Modulation Generators

Each block has two Modulation Generators (LFOs). The
second one, MG2, only offers a triangle wave while the
first one, MG1, is much more flexible and can produce a
triangle, a falling or rising sawtooth, and a square wave as
well as (pretty uncommon!) Pink Noise and White Noise.
Except for the noise waves (which have a continuous
frequency range) the frequency of MG1 can be set up to
about 1.6kHz ‒ again a very uncommon but nice feature!

Both MGs can be synchronized to the host tempo.
Furthermore, by patching appropriate sources, one can
modulate the intensity (plug MOD) and frequency (plug FRQ) of MG1.

Mixer Section

The signals of all three blocks is
summed up in the Signal Mixer
section. Each signal can be adjusted in
volume and modulated via VCA by a
modulation source (plug MOD).
Furthermore, each signal can be gated
manually or by a different modulation
source (plug GATE). Here, any
“voltage” higher than 0 Volts sets the
gate to “ON” (provided the associated
switch is also set to “ON”) while
voltages lower than 0 Volts sets it to
“OFF”.

Finally, the total signal is sent again
through a final VCA. Note that the final output is a stereo signal since the output of
each block can be placed in the stereo panorama. On the PS-3300, you would need a
separate stereo mixer for this.

FB-3300 Manual Page 10

Global Modulators

Sample & Hold

The Sample & Hold (S/H) unit samples whatever signal is sent into the
input plug IN. The sample rate can be synchronized to the host tempo.

The “SYNC” switch (called “SYNCHRO” on the PS-3300) is bit funny. KORG’s
original documentation states that “when the sampled frequency is near
the clock frequency multiplied by an integer, the clock is synchronized”.
Well, better check it out by yourself. Fact is that a regular/periodic input
signal can produce some regular, repetitive output while noise will create
random patterns. In any case the SYNC function is disabled when the S/H
clock is synchronized to the host tempo.

General Envelope Generator (GEG)

The GEG is a simple AR envelope with an additional Delay parameter. It
can be turned into an AD-like envelope by enabling the “AUTO” switch: In
this case the GEG ‒ once triggered ‒ will ignore the Sustain phase and go
immediately into the Release phase.

The GEG can be triggered by any trigger signal patched into
one of the two plugs TRG1 and TRG2. Of special interest is the
“KBD TRIGGER” source: Here you can select how many keys
(1 to 5) have to be pressed before this trigger source is
triggered (in the “Off” position the keyboard by default does

not trigger at all).

What’s not on the PS-3300 is the status LED that shows the current on/off
state of the GEG ‒ I think this is a very convenient yet non-obstructive
addition.

Voltage Processors

There are two Voltage Processors, VP1 and VP2, on board the FB-

3300. They are used to process the signal of a modulation source
(e.g. a MG or the GEG) and to produce a modified signal. Here is
how that works:

Typically, a signal source can vary from something like -5 to +5
(virtual) Volts. A Voltage Processor will change the range these
input values will be mapped to, for example from -2.5 to +1.8
Volts. The input range even can inverted, for example from +3.4
to -4.2 Volts. The limits of the output ranges are set by the
“LIMITER A” and “LIMITER B” knobs where “LIMITER B” defines the
low end of the range (in the examples above -2.5 and +3.4 Volts)
and “LIMITER A” the high end (in the examples above +1.8 and -

4.2 Volts).

FB-3300 Manual Page 11

LAG Processors and Attenuators

The two LAG processors and three attenuators
are not part of the original PS-3300 design.
However, these little tools are very common in
modular synthesizers and pretty helpful, so I
decided to add them to the FB-3300.

A LAG processor smoothes an incoming signal according to the amount of its control
value setting – a classic example is the Portamento effect where the keyboard control
voltage “glides” between the values of two subsequently pressed keys instead of
abruptly changing. Technically a LAG processor is a lowpass filter with a very low
cutoff frequency.

Attenuators are even simpler: They multiply the incoming signal with a fixed value
and can also be used to invert it.

External Trigger and Modulation Sources

Strictly speaking there are two types of sources and targets:
modulations and triggers. For example the ATK target plug of the EM
continuously modulates the Attack time while the REL target plug
waits for a trigger signal to release the envelopes.

There are some additional modulation (“VC1” to “VC8”) and trigger
sources (“Clk1” to “Clk4”, “Trg1”, “Trg2”) available. The “Clk” sources
provide variable clock triggers synchronized to the host tempo, the
“Trg” sources create trigger signals from assignable MIDI Control
Change messages (the trigger occurs when the controller value passes
from a value above 63 to a value below 63, emulating a “falling-edge
ground trigger”), and the “VC” modulation sources create modulation
signals from assignable MIDI Control Change messages. In the Patch
Bay you can choose these sources like any other source.

When hovering with the mouse over a
modulation/trigger target, the properties
of both the target and the assigned source (if any) will be
displayed in the info block at the bottom right of the FB­3300’s panel.

FB-3300 Manual Page 12

Tweaks

In the section Digital Transformation above it has already been mentioned that the
FB-3300 contains some additional features (tweaks) that the original PS-3300
hardware synthesizer does not have.

• Additional modulation sources “Key”, “PB”, “PB+”, “MW”, “MW+”, “LAG1”,

“LAG2”, “ATT1” to “ATT3”, “VC1” to “VC8”

• Additional S/H input sources “Rnd”

• Additional trigger sources “Clk1” to “Clk4”, “Trg1”, “Trg2”

• Panorama control for each block signal output

• Override for PS-3300 EM Hold mode and Release time

• LAG processors and attenuators.

Not really a tweak (since the PS-3300 does feature a momentary switch) but
nonetheless helpful is the “MANUAL TRG1” push button that ‒ when clicked ‒ raises a
trigger impulse for the “Trg1” trigger source.

Context Menus

It can be pretty tedious to edit all the parameters
of the FB-3300, thus there are several context
menus to help you. For example, you can copy all
the parameters of one block to another block by
clicking the drop down menu at the top right of
each block.

Or you can right-click on any block parameter and copy its
value to the same parameter of another block. This works
also for the Volume/Gate parameters in the mixer section
and the tweak Release parameters.

FB-3300 Manual Page 13

Options Menu

When clicking on the Menu button, a context menu opens with the following options:

Copy Program Copy current program to internal clipboard

Paste Program Paste internal clipboard to current program

Load Program Load a program file containing a patch to the FB-3300's

current program

Save Program Save the FB-3300's current program to a program file

Load Bank Load a bank file containing 64 FB-3300 patches

Save Bank Save the FB-3300’s 64 patches to a bank file

Init Program Initialize the current program

Reload Configuration Reload the FB-3300’s configuration file (see section The

fb3300.ini Configuration File)

Save Configuration Save the FB-3300’s configuration file (see section The

fb3300.ini Configuration File)

Select Startup Bank Select the bank file that should always be loaded when

the FB-3300 is started

Load Startup Bank Load the Startup bank file; can also be used to check

what the current Startup bank is

Unselect Startup Bank Unselect the current Startup bank

Check Online for
Update

When connected to the Internet, this function will
check if a newer version of the FB-3300 is available at
fullbucket.de

Visit fullbucket.de Open fullbucket.de in your standard browser

FB-3300 Manual Page 14

The fb3300.ini Configuration File

The FB-3300 is able to read some settings from a configuration file (fb3300.ini)
located in the same directory as the FB-3300 VST DLL (fb3300.dll or fb330064.dll)
or Mac VST/AU (FB3300.component or FB3300.vst) itself. After you have edited this
INI file in a text editor, you have to reload it using the Reload Configuration command

from the File menu (see section The fb3300.ini Configuration File).

MIDI Control Change Messages

All parameters of the FB-3300 can be controlled by MIDI controllers, or more precise:
Each MIDI controller (except Modulation Wheel and Sustain Pedal) can control one of
FB-3300’s parameters. The mapping is defined in the fb3300.ini for example like

this:

[MIDI Control]
CC7 = 183 # Total Volume
CC70 = 23 # LP Cutoff Block A
CC71 = 24 # LP Peak Block A
...

The syntax is straight forward:

CC<controllernumber> = <parameter ID>

Given the above example, controller 7 directly controls the overall Volume parameter,
controller 74 the LP Cutoff etc. As you can see, comments are introduced by the
Pound sign (#); they are here just for description purposes and completely optional.

MIDI Learn

The easiest way to assign MIDI controllers to FB-3300 parameters is to use the MIDI
Learn function. To activate MIDI Learn, click on the respective button and wiggle both
the MIDI controller and the FB-3300’s parameter that you want to link. If you want to
unlearn the assignment, right-click the MIDI Learn button (the label now reads
“UNLEARN”) and activate it. Now wiggle the MIDI controller or the parameter that you
want to unlearn.

FB-3300 Manual Page 15

Modulation and Trigger Sources

Modulation Sources

Name Voltage Group Description

off 0 ‒ off / default

+5V +5 ‒ on

GE1- 0 to 5 Intern GEG inverted output

GE2+ -5 to 0 Intern GEG normal output

GE3+ 0 to 5 Intern GEG normal output

MG1A -5 to 5 Intern MG1 (block A) output

MG2A -5 to 5 Intern MG2 (block A) output

MG1B -5 to 5 Intern MG1 (block B) output

MG2B -5 to 5 Intern MG2 (block B) output

MG1C -5 to 5 Intern MG1 (block C) output

MG2C -5 to 5 Intern MG2 (block C) output

S/H

2

-5 to 5 Intern S/H output

VP1 -5 to 5 Intern VP1 output

VP2 -5 to 5 Intern VP2 output

Key -5 to 5 Extern last pressed key

PB -5 to 5 Extern Pitch Bend

PB+ 0 to 5 Extern Pitch Bend positive

MW -5 to 5 Extern Mod Wheel

MW+ 0 to 5 Extern Mod Wheel positive

LAG1 -5 to 5 Extern LAG processor 1

LAG2 -5 to 5 Extern LAG processor 2

ATT1 -5 to 5 Extern Attenuator 1

ATT2 -5 to 5 Extern Attenuator 2

ATT3 -5 to 5 Extern Attenuator 3

VC1

to

VC8

-5 to 5 MIDI assignable MIDI CC

2 For the S/H input, this source is replaced by RND, a random signal (white noise).

FB-3300 Manual Page 16

Trigger Sources

Name Group Description

off ‒ off / default

KBD Intern Keyboard Trigger

Sng Intern Keyboard Single Trigger

Mlt Intern Keyboard Multiple Trigger

MG1A Intern MG1 (block A) clock

MG2A Intern MG2 (block A) clock

MG1B Intern MG1 (block B) clock

MG2B Intern MG2 (block B) clock

MG1C Intern MG1 (block C) clock

MG2C Intern MG2 (block C) clock

S/H Intern S/H clock

Clk1

to

Clk4

Extern external clock

Trg1 Extern MIDI CC trigger

Trg2 Extern MIDI CC trigger

FB-3300 Manual Page 17

Block Parameters

Each block has 61 parameters. The ID of a block parameter is given by the ID in the
following tables plus an offset of 61 for block B and an offset of 122 for block C.

Temperament (Micro-Tuning)

parameter ID description

Tune C to B 0 ‒ 11 individual tuning for keys C to B

Signal Generators

parameter ID description

SG Waveform 12 waveform (Triangle, Sawtooth, Square, Rectangle,

Pulse, Pulse Width Modulation)

SG PWM Intensity 13 intensity of the Pulse Width Modulation

SG Fine Tune 14 frequency fine tuning

SG Coarse Tune 15 frequency coarse tuning

SG Octave 16 Octave (16’, 8’, 4’, 2’)

SG Frequency Mod
Enable

17 activates the Frequency Modulation

SG Frequency Mod
Reverse

18 polarity of the Frequency Modulation

SG Frequency Mod
by MG1

19 Frequency Modulation amount of MG1

SG Frequency Mod
by Ext

20 Frequency Modulation amount of external/patched

source

SG Frequency Mod
Source

21 external/patched modulation source for Frequency

Modulation

SG Pulse Width
Mod Source

22 external/patched modulation source for Pulse Width

Modulation

FB-3300 Manual Page 18

Lowpass Filter

parameter ID description

LP Cutoff
Frequency

23 cutoff frequency

LP Peak 24 peak (resonance)

LP Balance 25 keyboard balance (tracking)

LP Expand 26 intensity of modulation by Envelope Modifier

LP Frequency Mod
Enable

27 activates the Cutoff Frequency Modulation

LP Frequency Mod
by MG1

28 Cutoff Frequency Modulation amount of MG1

LP Frequency Mod
by Ext

29 Cutoff Frequency Modulation amount of

external/patched source

LP Frequency Mod
Source

30 external/patched modulation source for Cutoff

Frequency Modulation

Envelope Modifier

parameter ID description

EM Attack 31 Attack time

EM Decay 32 Decay time

EM Sustain 33 Sustain level

EM Release 34 Release time (Damp, Half Damp, Release)

EM Hold 35 activates the Hold function

EM Attack Time
Mod Source

36 external/patched modulation source for Attack time

EM Release Trigger
Source

37 external/patched trigger source for Release phase

FB-3300 Manual Page 19

Resonators

parameter ID description

Resonators
Intensity

38 mix between original and Resonators effect signal

Resonator 1
Frequency

39 peak frequency of first resonator

Resonator 2
Frequency

40 peak frequency of second resonator

Resonator 3
Frequency

41 peak frequency of third resonator

Resonators
Frequency Mod by
MG2

42 activates the Peak Frequency Modulation by MG2

Resonator Peak
Frequencies Mod
Source

43 external/patched modulation source for Peak

Frequency Modulation

Signal Modifiers and VCA

parameter ID description

Amplitude Mod
Intensity

44 intensity of the Amplitude Modulation

Amplitude Mod by
MG1

45 activates the Amplitude Modulation

Keyboard Balance 53 volume balance of low versus high notes

Volume 54 volume of the block

Panorama 55 panorama position of the block

VCA Amplitude
Mod Source

56 external/patched modulation source for VCA

Channel Enable 57 enables/disables the block signal

Gate Mod Source 58 external/patched modulation source for channel gate

FB-3300 Manual Page 20

Modulation Generators 1/2

parameter ID description

MG1 Waveform 46 Waveform (Triangle, Falling Sawtooth, Rising

Sawtooth, Square, Pink Noise, White Noise)

MG1 Frequency 47 frequency

MG1 Frequency
Mod Source

48 external/patched source for frequency modulation

MG Signal Mod
Source

49 external/patched source for MG1 intensity modulation

MG1 Sync to Host 50 sync to host tempo rate

MG2 Frequency 51 frequency

MG2 Sync to Host 52 sync to host tempo rate

Tweaks

parameter ID description

Override EM
Release switch

59 activates the EM Release time override

EM Override
Release Time

60 override for EM Release time

FB-3300 Manual Page 21

Global Parameters

Global VCA and Controls

parameter ID description

Total Volume 183 the overall volume

VCA Amplitude
Mod Source

184 external/patched modulation source for Total VCA

KBD Trigger 185 number of keys to be pressed for KBD triggering

Pitch Bend Range 186 range of the Pitch Bend modulation

Sample & Hold

parameter ID description

S/H Clock
Frequency

187 sample clock rate

S/H Synchro 188 activates the Synchro function

S/H Input Source 189 sample input source

S/H Sync to Host 190 sync to host tempo rate

General Envelope Generator

parameter ID description

GEG Delay 191 Delay time

GEG Attack 192 Attack time

GEG Release 193 Release time

GEG Auto 194 activates the Auto function

GEG Trigger
Source 1

195 external/patched trigger source 1

GEG Trigger
Source 2

196 external/patched trigger source 2

FB-3300 Manual Page 22

Voltage Processors 1 and 2

parameter ID description

VP1 Limiter A 197 Limiter A of VP1

VP1 Limiter B 198 Limiter B of VP1

VP1 Input Source 199 input source of VP1

VP2 Limiter A 200 Limiter A of VP2

VP2 Limiter B 201 Limiter B of VP2

VP2 Source Select 202 sets the input source of VP2 (VP1 or VP2)

VP2 Input Source 203 input source of VP2

External Modulation and Trigger Sources

parameter ID description

Clock1 Source to
Clock4 Source

204 ‒ 207 sync to host rate for Clk1 to Clk 4

Trigger1 Source 208 MIDI CC assignment for Trg1

Trigger2 Source 209 MIDI CC assignment for Trg2

VC1 Source to VC8
Source

210 ‒ 217 MIDI CC assignment for VC1 to VC8

Tweaks

parameter ID description

Use PS3300 Hold
Function Mode

218 activates the PS-3300 Hold function mode behaviour

LAG1 219 slew rate for LAG processor 1

LAG1 Source 220 input source for LAG processor 1

LAG2 221 slew rate for LAG processor 2

LAG2 Source 222 input source for LAG processor 2

Attenuator1 223 factor for Attenuator 1

Attenuator1
Source

224 Input source for Attenuator 1

Attenuator2 225 factor for Attenuator 2

Attenuator2
Source

226 Input source for Attenuator 2

Attenuator3 227 factor for Attenuator 3

Attenuator3
Source

228 Input source for Attenuator 3

FB-3300 Manual Page 23

Frequently Asked Questions

Before you read on here, please make sure that you also have read my statements
regarding the FB-3300's capabilities and limitations at the beginning of this manual
(see section Digital Transformation).

How do I install the FB-3300 (Windows 32 bit version)?

Just copy the files fb3300.dll and fb3300.ini from the ZIP archive you have
downloaded to your system's or favorite DAW's VST plug-in folder. Your DAW should

automatically register the FB-3300 VST plug-in the next time you start it.

How do I install the FB-3300 (Windows 64 bit version)?

Just copy the file fb330064.dll and fb3300.ini from the ZIP archive you have
downloaded to your system's or favorite DAW's VST plug-in folder. Your DAW should

automatically register the FB-3300 VST plug-in the next time you start it.

Note: You may have to remove any existing (32 bit) fb3300.dll from your VST plug­in folder or else your DAW may screw the versions up...

How do I install the FB-3300 (Mac VST/AU universal 32/64 bit)?

Locate the downloaded PKG package file fb3300_1_0_5_mac.pkg in Finder (!) and do
a right- or control-click on it. In the context menu, click on “Open”. You will be asked

if you really want to install the package because it comes from an “unidentified
developer” (me ). Click “OK” and follow the installation instructions.

What is the plug-in ID of the FB-3300?

The ID is fb33.

Will you support the FB-3300?

Yes. If you have problems, found a bug, or have some suggestions about the FB-3300
please send me a mail: [e-mail] .

Does the PS-3300 have a status LED for the GEG?

Nope, I added that to the FB-3300 for convenience.

How do I know if a new version of the FB-3300 is available?

When connected to the Internet, open the Options menu (see section Options Menu)
by clicking the disk icon and select the entry “Check Online for Updates”. If a new
version of the FB-3300 is available on fullbucket.de the respective information will be
shown in a message box.