John Bowen Solaris User Manual

User Guide

Version 1

Copyright 2011-2012 John Bowen Synth Design. All rights reserved.

This manual, as well as the software and hardware described in it, is furnished under license and may be used or copied
only in accordance with the terms of such license. The content of this manual is furnished for informational use only, is
subject to change without notice and should not construed as a commitment by John Bowen Synth Design.

John Bowen Synth Design assumes no responsibility or liability for any errors or inaccuracies that may appear in this
book. Except as permitted by such license, no part of this publication may be reproduced, stored in a retrieval system, or
transmitted in any form or by any means, electronic, mechanical, recording, or otherwise without the prior written permis­sion of John Bowen Synth Design.

Solaris is a trademark of John Bowen Synth Design. All other trademarks contained herein are the property of their re-

spective owners. All features and specications subject to change without notice.

For the latest revision of this manual, visit our website:
www.johnbowen.com.

Special thanks to:

Marcos Paris, sound design Bank 1-MP
Carl Lofgren, sound design Bank 2-CL
Howard Scarr (HS), Kurt Ader (KA), and Stephen Hummel (SH), sound design Bank 3

Brent Garlow, Solaris User Guide

Scoeld Kid, Solaris Signal Path diagram

And an extra special “Thank You So Much!” to Stefan Stenzel and the directors at Waldorf for their generosity in allowing
me to use the Waldorf wavetables in Solaris!

2 |

Introduction

Welcome to the world of Solaris!

Thank you for purchasing the Solaris keyboard! I’ve worked for years on this design, following my desire to merge the

benets of digital technology with a bit of “old school” layout and control. This approach intends to provide fairly quick ac­cess to a very large number of parameters (over 1250!), due to the exible approach I decided to implement, however, as
with any complex system, work ow and understanding can take time, depending on your experience and interest.

Please register your purchase of the Solaris with me at [e-mail]. Once I have your name and email and se­rial number, I will send you links to some video tutorials to get you started. It is my hope that Solaris will provide you with

many hours of exploration and enjoyment. Please let me know if you have questions or need clarication on any subjects

that are not clearly explained, and I will do my best to answer.

Regards,
John Bowen

WELCOME TO THE WORLD OF SOLARIS

| 3

Dedication

I’d like to dedicate the Solaris project to the memory of my late mom and dad. They were always supportive and encour­aging to me throughout my music career.

I’d also like to thank my wife and family for their patience and understanding, Hans Zimmer for his early enthusiasm and

support of my plugins for the Scope platform, and Goffe Torgerson for having the faith and condence in Solaris to help it

along, and whose assistance in additional graphics design and mechanical engineering we could not have done without.

Also for my colleagues at Sonic Core, Holger Drenkelfort and Juergen Kindermann. It was their early efforts that enabled
my dream to begin taking shape, and I will forever be grateful for their friendship and the many hours of unselsh dedica­tion they contributed to bring the Solaris into the world. “Thank You” a million times over!

As well, all of the Sonic Core team who have worked so tirelessly to bring Solaris to life - Klaus Piehl, Julian Schmidt, Ralf
Dressel, Alex Zielke, Nadia Haubrich and Adriana Leonhard.

Finally, I need to express my thanks to all those initial pre-order customers who “put their money where their mouth is” -

for your unfailing faith and condence that the Solaris would be a product worth waiting for....and having the patience for

waiting! (And for much longer than any of us ever expected.) Without your support, the Solaris would have never hap­pened.

A heartfelt “Thank You” to you all!

4 | DEDICATION

Table of Contents

Introduction ...............................................................3

Welcome to the world of Solaris! ....................................3

Dedication ......................................................................4

Safety Precautions .........................................................7

About this Manual ...........................................................8

Typographical Standards ................................................8

Getting Started ..........................................................9

Quick Start ......................................................................9

Updating the Operating System ................................9

Calibration Routines ..................................................9

Loading samples .......................................................9

There are several ways to select presets: ...............10

Preset Mode: Graphic Display ......................................10

About Preset Categories .........................................11

Storing Presets ............................................................. 11

Loading Samples .......................................................... 11

User Interface and Navigation ............................... 13

General Navigation .......................................................13

Text Displays (x5) .........................................................13

Main Mode and Mod Mode......................................13

Graphic Display ............................................................13

Function Group Shortcut .........................................14

Performance Controls ..................................................14

Performance Buttons ....................................................14

Enable Part Buttons ................................................15

Assignable Performance Knobs ...................................15

Pitch and Modulation Wheels .......................................15

Joystick .........................................................................15

Ribbon Controller .........................................................15

Knob Acceleration ........................................................16

Knob Acceleration and the Shift Button ...................16

Rear Panel Connections ..............................................17

Modulation Basics .................................................. 18

Modular-style Modulation .............................................18

Destination-based Modulation ......................................18

Signal Path .............................................................. 21

Flexible Signal Path ......................................................21

Boosting the signal of each oscillator by 6dB ..........21

Classic synthesizer conguration ............................21

Insert FX before the lters (Mixer → Insert FX →

Filter) .......................................................................21

TABLE OF CONTENTS

Insert FX after the lters (Mixer → Filter → Insert FX)
21

Feedback loop in mixer ...........................................22

Processing External Signals .................................23

External Signals ...........................................................23

Processing External Audio Signals ...............................23

Processing External Control Signals ............................23

Oscillators ............................................................... 24

Oscillators Osc 1-4 .......................................................24

Oscillator Parameters (Main Mode) ..............................24

Page 1 Parameters .................................................24

Page 2 Parameters .................................................25

Glide (on/off) .................................................................25

Oscillator Parameters (Mod Mode) .........................25

Rotors 1-2 .....................................................................26

Rotor Parameters (Main Mode) ....................................26

Page 1 Parameters .................................................26

Page 2 Parameters .................................................26

Page 3 Parameters .................................................26

Rotor Parameters (Mod Mode) .....................................26

Mixers ......................................................................27

Mixers 1-4 .....................................................................27

Mixer Parameters (Main Mode) ....................................27

Page 1 Parameters .................................................27

Page 2 Parameters .................................................27

Mixer Parameters (Mod Mode) .....................................27

Page 1 Parameters .................................................27

Page 2 Parameters .................................................27

Insert FX ..................................................................28

Insert FX 1-4 .................................................................28

Insert FX Parameters (Main Mode) ..............................28

Insert FX Parameters (Mod Mode) ...............................28

Filters ....................................................................... 29

Filters 1-4 .....................................................................29

Filter Parameters (Main Mode) .....................................29

Page 1 Parameters .................................................29

Page 2 Parameters .................................................29

Filter Parameters (Mod Mode) .....................................30

VCAs ........................................................................ 31

VCAs 1-4 ......................................................................31

| 5

VCA Parameters (Main Mode) .....................................31

VCA Parameters (Mod Mode) ......................................31

LFOs ........................................................................32

LFOs 1-4 and Vibrato LFO ...........................................32

LFO 1-4 Parameters (Main Mode) ...............................32

Page 1 Parameters .................................................32

Page 2 Parameters .................................................32

Vibrato LFO Parameters (Main Mode) .........................32

Page 1 Parameters .................................................32

Page 2 Parameters .................................................33

LFO Parameters (Mod Mode) ......................................33

Envelope Generators .............................................34

Envelope Generators 1-6 .............................................34

EG Parameters (Main Mode) .......................................34

Page 1 Parameters .................................................34

Page 2 Parameters .................................................34

EG Parameters (Mod Mode) ........................................34

Page 1 Parameters .................................................34

Page 2 Parameters .................................................34

Graphic Display Functions .................................... 35

Graphic Display ............................................................35

Soft Menus ...................................................................35

Soft Menu Group Organization................................35

Arpeggiator (Arp) .........................................................35

Sequencer (Seq) .........................................................36

Ribbon Controller .........................................................37

Output ...........................................................................38

Effects Channel (FXChan) ...........................................38

Chorus/Flanger (ChorFla) ............................................39

Phaser ..........................................................................39

Delay ............................................................................39

EQ ................................................................................40

Vector Synthesis (VS) ..................................................40

Amplitude Modulation (AM) ..........................................41

Looping Envelope (LoopEG) ........................................41

Key Tables ....................................................................42

Lag Processor ..............................................................43

Envelope Follower (EGFoll) .........................................43

System Menu ...............................................................44

MIDI Menu ....................................................................44

Home Menu ..................................................................45

Sample Pools ...............................................................58

Warranty Regulations ...................................................60

6 | DEDICATION

Safety Precautions

 Avoid exposing your Solaris to moisture, dust or dirt.

Do not place open liquids anywhere near the unit.

If any substances get into the Solaris housing, you
should switch it off, disconnect the power supply and

contact a qualied service technician.

 Avoid exposing the unit to excessive heat or direct

sunlight. Ensure that relatively cool air can circulate
freely around the unit.

 Avoid exposing the unit to physical shock or vibrations.

Make sure it is placed rmly on a at surface.

 Only use the external power supply that was included

with the unit. Never connect the Solaris to a power
outlet that does not fully comply with national safety
regulations. Never use an external power supply which
wasn’t designed to match the local voltage require­ments.

 Disconnect the power whenever you are unlikely to

use the Solaris for a long period of time. Always pull on
the plug itself, not on the cord. Never touch the mains
plug with wet hands.

 The Solaris is capable of generating levels that can

cause irreversible damage to your ears, either via an
external amplier or when using headphones connect­ed directly to the unit. Please keep levels reasonable

at all times! Make sure that the equipment you connect
the Solaris to matches the Solaris’s requirements.

SAFETY PRECAUTIONS

| 7

About this Manual

Typographical Standards

The following typographical standards are used in this
manual:

 When referring to a physical button or other control

on the Solaris’s front panel, the name of the control is
formatted like this.

 When referring to a parameter, the name of the param-

eter is formatted like this.

 When referring to the value of a parameter, the value is

formatted like this.

 When referring to a panel’s Main mode versus

Mod(ulation) mode, the mode name is formatted like

this.

 Sidebar notes, hints, etc. are formatted like this:

This is a sample of how hints and notes are format­ted.

 When describing one of Solaris’s panels or soft menus,

the name of the parameters are often used as section
headings. In those cases, the name of the parameter is
formatted like this.

This is a sample parameter heading

TYPOGRAPHICAL STANDARDS8 | ABOUT THIS MANUAL

Getting Started

Quick Start

This section is designed to get you up and running with

Solaris as quickly as possible. However, Solaris is a very

sophisticated device, and I highly recommend you spend
the time to thoroughly read the entire user guide. The Get­ting Started section is especially important, as it introduces
some concepts that are unique to Solaris, as well as famil­iarizing you with the general layout of the synthesizer and
tips and tricks for navigating its user interface.

A few things to keep in mind:

 Unlike every other synth on the market, there are no

presets or preset memory inside the Solaris! What
this means is that ALL preset data (as well as the OS,
samples, factory patterns, and the Global init le) re­side on your CompactFlash (CF) card. DO NOT LOSE
YOUR CF CARD! It is highly recommended you get a
CF card reader and back up your card to a computer.
You do not need a CF card to get sound from the So­laris; without a CF card inserted, a simple default patch

using a Square wave should sound.

 For most listening applications, Outputs 1 & 2 or the

headphone out are all you need. The factory presets
are designed for listening from Outputs 1 & 2, or the
headphone out. Outputs 1 & 2 act as Left & Right as
well. If you want to use the S/PDIF output, you must
change a System setting.

 Yes, the power supply is outside of the synth. This

avoids noise in the audio, and makes things simpler in
the design.

So, to get started, plug in the power supply and audio
cables, insert your CF card, and turn on the Solaris. Also,
it’s always a good idea to have you system volume down

when turning on gear. The ve text displays should say,

“Booting...”, and the graphics (gfx) display will eventually
also show a number of ‘opening credits’ screens, the last of
which is the gracious support message from Waldorf Music,
giving permission to use their Wavetables.
Your keyboard comes with a CompactFlash card that pro­vides organization and editing of presets, arpeggiator and

sequencer patterns, storage of samples, and several other
basic setup les. In addition, there are a few ‘hidden’ com-

mands to call up system diagnostics and calibration.

Updating the Operating System

There are two ways to update Solaris’s operating system
(OS).

1. There is a le in the OS folder of the CompactFlash card
that came with Solaris, called, “doFlash.txt”. There is a

single value in the text le, either a 1 or a 0. A value of
“1” will cause Solaris to automatically load the OS le in

the same folder. Once the operating system is loaded,
the value doFlash.txt le is rewritten as a 0, prevent­ing Solaris from updating the OS every time you turn it
on. You will see a progress screen, and a message to

reboot Solaris when the OS is nished loading.

2. If you hold down Enter during boot up when the graph-

ics screen rst shows an image, you get a special menu

that offers a menu option to load the OS from the card.

Calibration Routines

You can re-initialize the Joystick, wheels, ribbon, and after­touch sensing by accessing Solaris’s Self Test menu. Press
1, 3 and 8 on the numeric keypad simultaneously and fol­low the instructions shown in the main display. See “Appen­dix 6- Self Test Menu” on page 59 for details about the
Self Test menu.

Loading samples

Samples can be in .raw or .wav format, and have a text

le that describes each sample in a group (sample pool).
Refer to “Appendix 5- Sample Specications” on page 58

for details about creating sample pools. To load an exist­ing sample pool from the CompactFlash card, access the

System soft menu on the Graphic Display. Press the Enter

button, and select from the available sample pools, as
shown in Figure 1.

Samples are loaded into RAM, so the CF card can be
removed while Solaris is on.

Figure 1. Loading a Sample Pool

Rotate the knob beneath the Poolname parameter to se­lect a sample pool, then press Enter again to load. You will
see a progress menu as samples are loaded.

Move off of the System soft menu to avoid reload­ing the sample pool if you hit the Enter key inad­vertently.

Selecting Presets
About 30 seconds after the system is turned on, the Preset
screen should be shown on the graphic display. You should

QUICK START

A FEW THINGS TO KEEP IN MIND | 9

get a short message about the CF card, and the Preset

Store

LED should be lit, as shown in Figure 2. If it isn’t, press the

Preset button.

5. Use the keypad to directly enter a Preset number. You
must press Enter to load the preset.

6. Use the knobs below the Graphic Display to dial up dif­ferent Presets or Banks. You must then press Enter to
load the preset.

A more convenient way to select various Banks is to use
the keypad, as follows:

Any number pressed on the keypad that is followed by the
decimal point button (dot) will be used as the selected Bank
number. Any number following that will be used to select
the Program number. If no new bank number is entered,
i.e., you do not press the dot, then any number entered will
be used as a Program number for the current bank. So, for
example, to select Bank 3, Program 12, you would press

3.12 then Enter.

Preset Mode: Graphic Display

Preset Mode is enabled when you press the Preset button
(above the numeric keypad) on, so that its LED is lit. This
must be on to select any presets. As soon as an edit is
made anywhere on the front panel, the Solaris will automat­ically leave Preset Mode to allow for editing, so when you
want to play through the presets, make sure this Preset
button is lit.

Figure 2.

Numeric Keypad

Figure 3. Data Wheel

There are several ways to select presets:

3. Use the Inc/Dec buttons right above the Data Wheel as
shown in Figure 3. This automatically loads each preset
as you step one by one through the bank.

You must have a CompactFlash (CF) card inserted
to select presets!

For most all of the Graphic Display functions there will be
a pair of numbers on the lower right-hand corner. These
indicate which page of the current functional group you are
on, out of how many total pages there are for that functional
group. For Preset Mode, there are 3 such pages, shown as
1/3, 2/3, and 3/3. (You can read these as page 1 of 3, page
2 of 3, page 3 of 3.) You use the up/down buttons to the
left of the display to access these pages. Note: these are
always working in ‘wrap around’ mode.

Figure 4. Preset Mode, page 1

The rst page of Preset Mode, as shown in Figure 4, dis­plays the preset name, MIDI Bank and Program number,
and the Category logic and Filtering. The bottom line of the
Graphic Display will always show you current information
when any knob is selected. The initial data displayed when
selecting a Preset is the preset name and the two pro­grammed categories (if there are any programmed), shown
as C1: and C2:

4. Use the Data Wheel to scroll through presets. When
you see the one you want, press Enter to load.

PRESET MODE: GRAPHIC DISPLAY10 | QUICK START

Figure 5. Preset Mode, page 2

Figure 7. Storing Presets, page 1

The second page, shown in Figure 5, allows you to assign
5 knobs as Performance Knobs for any preset parameter in
the synth. The third page, shown in Figure 6, allows you to
view 10 presets at a time, to get a better overview of where
you are in the bank. Use the Data Wheel to scroll through
the preset names here. Note that the example shown has

category ltering enabled, so the list of presets displayed

on page 3 is limited to those that match the selected criteria
of C1:Arpeggio OR C2:Bright.

Figure 6. Preset Mode, page 3 with Category Filtering on

About Preset Categories

When you save (store) a preset, you have the option of
assigning two categories to the sound. These categories
allow you to search for matching presets when you use the
Category logic on the Preset Mode’s page 1. When you set
the logic to one of the three choices, scrolling though pre­sets will be limited to only those that satisfy the conditions
of the search. The categories are:

Category 1: Arpeggio, Bass, Drum, Effect, Keyboard, Lead,

Pad, Sequence, and Texture

Category 2: Acoustic, Aggressive, Big, Bright, Chord, Clas­sic, Dark, Electric, Moody, Soft, Short,
Synthetic, and Upbeat.

More categories will be available in the future!

This gives you the rst Store screen, as shown in Figure 7,

and lets you select a new bank and preset location in which
to store your preset. If you just want to store it in the same
location, you don’t need to change anything. If, however,
you want to listen to the new location to see if you don’t
want to keep what’s there, you can press Compare, which
will load the new location’s preset and allow you to play it.

Compare will stay lit when you are listening to the Com-

pare buffer. Turn it off when you are ready to store your ed­ited preset. You can also select category types here. Simply
scroll through both categories using the knobs below the
Cat1 and Cat2 soft labels to select.

Figure 8. Storing Presets, page 2

Press Store a second time, and now you will be taken to
the Naming page, as shown in Figure 8. Each Preset name
can be 25 characters long, and you must use the Data

Wheel and the Inc/Dec buttons above it to select the posi-

tion and character you want to use. Using the Inc/Dec will
shift the current letter position left or right through each of
the 25 positions, and scrolling the wheel will select through
the entire character list. Press Store a third time, and this
time, you are done! Turn on the Preset LED and Inc/Dec
the preset, then go back to your newly edited preset, to
check and make sure all is saved as you wanted.

Loading Samples

If the Category logic is set to AND, both categories must
be valid to select a preset. If the Category logic is set to
OR, either category will be used to select a preset. If the
Category logic is set to NOT, all presets that do NOT have
the 2 categories listed will be available to select. If the logic
is blank, then all presets are available.

Storing Presets

As soon as you edit any parameter, the Preset LED will
go off, putting you in live edit mode. Once you have made
changes that you want to keep, press the Store button
above the numeric keypad.

LOADING SAMPLES

The factory CF card comes with a folder in it labeled,

“Samples”. Inside here you will nd 9 glockenspiel samples

and one harpsichord sample in .raw format, and two text

les called SamplePool-001.txt and SamplePool-002.txt.
These text les describe the name of the sample set, the

number and name of each sample in the set, and various

other aspects, such as root key, ne tuning, and low/high

key mapping.

Any new SamplePool must be numbered in the next avail­able ascending number, otherwise the Solaris will not
recognize it! So, for the current factory CF card, one would
need to create a SamplePool[b]-003[/b].txt to describe the
next set of custom samples to be used. (You can, however,
re-number the factory SamplePools, so that the glocken-

spiel would be numbered -003, and your new le -001,

STORING PRESETS | 11

for example). Subsequent SamplePools would have to be

-004, -005, -006, etc.

And nally, the SamplePools will not automatically load

when you turn on the Solaris, or plug in the CF card! You
must go to your SYSTEM soft key group (in the center
graphics display), and activate the process by turning the
lower left most knob (for the parameter labeled “Sam-

pImg”). Once you turn the knob, you should see a mes-

sage in the bottom line that says, “Press Enter to select im-

age le.” You then press Enter, and the Solaris will go out
to the CF card and look for any SamplePool text les in the

Samples folder to load in the Sample Pool names. Once it
has all of the names loaded from the card, you can turn the
same lower left knob and now see a number and a name of
each SamplePool that is on the card. Once you see the one
you want to load, you press Enter again, and wait until the

Solaris is nished loading the samples, at which point you

should see the message, “Finished sample transfer...”.

To avoid any accidental reloading of the SamplePool
names and/or samples themselves, it’s best to move off of
the SYSTEM screen to some other screen (you can go to
the MIDI screens, or any other soft key group).

Now you can go to any Oscillator, select the WAV type, and
you should be able to hear your loaded samples as you
scroll through the Wave numbers.

The rst time you load a brand new sample pool
into your Solaris, a special ‘map’ le is created from
the SamplePool.txt le. This will take a little bit of

time, depending on how many samples are in the

Sample Pool, and you will nd that, when trying to

select the new pool, you will not see it immediately
in the screen. You do need to attempt to select it,

however, to tell the Solaris to ‘build’ the .map le.

Once it’s done, you will have the SamplePool num­ber available to load.

The format of SamplePool les is described in “Sample
Specications” on page 58.

STORING PRESETS12 | LOADING SAMPLES

Home

Shift

User Interface and Navigation

There are several ways to step through the pages. The

General Navigation

This section introduces some very important con­cepts that will help you easily dive into the depths
of Solaris. It’s well worth your time to read this
chapter!

The Solaris is organized so that you can get to a number of

parameters rather quickly. That’s why I’ve decided to use
six displays: ve text displays and one Graphic Display.

Even so, with over 1200 parameters, inevitably there is
going to be the need to ‘page’ the displayed parameters. All
synthesizers have several basic sections to create sound;

the ve text displays are used to handle the parameters for

seven of these sections (2 of the 5 displays are ‘shared’).
These sections are: Oscillators, LFOs, Mixers/InsertFX,
Filters/VCAs, and Envelopes. The sixth display is called the
graphics (gfx) display, and is used to handle all remaining
parameters of the instrument.

user can decide to step through all pages with the Inc/Dec
buttons, and then stop at the end, or to be able to continu-

ously ‘wrap around’ from the last to the rst page.

Figure 10. System Tab in Graphic Display

This function is called Wrap, and is set on the System tab,
as shown in Figure 10. The System tab is found in the
softkeys sets on the graphic display by pressing the More
button a few times. Also here is Split, which allows you to
stay within the boundaries of either the Main or the Mod

sub-group. This is handy when you want to switch quickly

back and forth between two related pages, say Shape in
the Main pages and a modulation of Shape in the Mod
pages.

Text Displays (x5)

Figure 9. Typical Text Display

Main Mode and Mod Mode

Figure 9 shows the layout of a text display, this one from
the Oscillators section. For each of the text display sec­tions, you have 1 pair of buttons stacked vertically. The pair
of buttons to the left of the displays are Inc/Dec buttons.
Below those is the sub-group toggle button. The upper

subgroup is called Main, the lower one Mod. For each
section, you will nd general settings under the Main

pages, and all possible modulation to that group under the

Mod pages. Typically there are 2 Main pages and 4 Mod

pages per group, although this does vary a bit.

If you want to quickly reach the topmost page of any object
(Oscs, LFOs, Mixers, Filters, VCAs, Envelopes), just quick-

ly ‘double click’ that object’s select button. You can also use
the object select buttons to do a “copy & paste” operation ­simply hold down the button of the object you want to copy
until it starts blinking, and then select the button where you
want to paste the data. Of course, this only works with like
objects - LFOs to other LFOs, Filters to Filters, etc.

Graphic Display

Throughout this manual, we will refer to a panel’s
Main Mode and Mod Mode. Those modes, or sets of
menus, are access by the sub-group toggle button
(or by using Wrap, as described below).

GENERAL NAVIGATION

Figure 11.

The center section with the graphic display is the softkey
functional display area. It also has a Preset Mode when
the Preset switch is on (at the top of the numeric keypad

Graphic Display

GRAPHIC DISPLAY | 13

panel). Other functional buttons located here are Home
and More. The graphic display handles all of the remain­ing parameters that are not covered in the dedicated text
display sections. There are 6 soft key buttons, whose labels
change depending on which functional group is selected.
The top row of knobs operate the upper line of parameters;
the bottom row, the lower line. Sometimes either the up­per or lower knob will adjust the same value (only for the

BPM at this time). You may nd yourself at times operating

a knob that is not the correct one for the parameter line
you are wanting to adjust - something you have to learn to
watch!

The bottom line of the graphic display will always show the
active parameter, i.e., the last knob touched. It will show
the current parameter value, waveshape names, sample
names, etc. The Data Wheel will always affect the active
parameter.

The bottom row of the graphic display shows the
active parameter, i.e., the last knob touched. This
is especially handy when working with the wavet­able and VS oscillators, since you can see the full
wavetable or waveshape name, respectively, in the
graphic display.

Function Group Shortcut

There are currently ve functional groups, which are se­lected by repeatedly pressing the More button. For direct
access to these 5 groups, you can also hold down the

More button for 2 seconds to change the soft key labels

to display the 5 functional groups, as shown in Figure 12.
Pressing one of these will take you to the associated set of
soft key labels. LED above the More button will ash when
you are viewing the Function Group Shortcuts.

SysMid

All other system parameters and MIDI controls are here.

This data is not stored in a preset, but as a glo.ini le.

You can tell how many pages of information are
available for each section of the Graphic Display by
referring to the bottom right corner of the display.

For each of the soft key graphic displays, there may be
more than one page of information. You can tell by the
small numbers in the lower right of the gfx display if there
are additional pages. For example, if you see 1/4, this
means you are looking at page 1 out of 4 possible pages.
Use the up /down buttons to the left of the gfx display to
move through the pages.

Performance
Controls

Solaris provides a number of performance-oriented controls
that give you tremendous control over the expressiveness
of your playing. These controls are described below at a

high level. For further details about how to congure and

customize these controls, please refer to the appropriate
sections in the Solaris User Guide.

Performance Buttons

Figure 13. Performance Buttons

Figure 12. Function Groups shown in Graphic Display

Arp/Seq

The controls for the arpeggiator, sequencer, and ribbon are

here.

FX

The output assignment, effects bussing, and effects con­trols are here.

VS/AM

This page has 2 each of Amplitude Mod and Vector Mixer
sections; also Looping EG.

KeyTab

The 4 Key Tables and 4 Lag processors are here; also the
Env Follower.

On the left side of the unit, between the LFOS panel and
the Ribbon Controller there are 9 performance-oriented
buttons.

Assign 1 and 2

These buttons can be set to momentary or toggle mode.
This is done in the Home menu, page 2, as shown in Figure

14. You also can assign the desired function for each but­ton on this page. The choices are: Keyboard Glide on/off,
Oscillator Glide on/off (for an individual oscillator or for all of
them), start/stop Seq, start/stop Arpeg, and Arpeg Trans­pose. When selected in the Mod Source list, the assignable
buttons generate full value (+Max value) when pressed,
and a zero value when not. For details, refer to “Figure 85.
MIDI Menu, page 2 of 2” on page 45.

Figure 14. Assignable Button setup

PERFORMANCE BUTTONS14 | PERFORMANCE CONTROLS

Octave (Transpose) Up/Down

Enable Part

These buttons should be self explanatory. They change
the range of the keyboard, but must be pressed before you
play to get the transposed values. They will not transpose
keys currently held.

Unison

Activates Unison mode, which is congured in the Home

menu, page 4.

Seq On

Activates the Sequencer, which is congured in the four
sequencer tabs (SeqA, SeqB, SeqC, and SeqD) on the

graphic display.

Arp On

Even though you have ve text screens to edit parameters,

doing so will immediately take you out of Preset Mode.
Also, there are parameters in the graphic display for many
different functional groups, and you might want to have ac-

cess to these. To give you quick access to any parameter in
the system, the bottom ve knobs below the graphic display

can be assigned. You use the Shift button (to the left side
of the lower row of knobs) to assign these knobs.

Figure 16. Performance Knob Assignment

Activates the Arpeggiator, which is congured on the Arp

tab on the graphic display.

Hold

Has the function of a sustain switch. It does not work with

the sequencer, as this is a ‘gated’ sequencer, which only

works when keys are held down. This control can be used
to “latch” the arpeggiator on.

Tempo

This button is actually a Tap Tempo button as well. Holding
it down will allow a pop-up on the screen to show the cur­rent BPM, and allow you to change it with either left most
knob of the Graphic Display. Tapping the Tempo button will
determine an average BPM after 2 taps, and will continue

to average the tempo for subsequent taps. Tempo is stored

with the preset, but can be overridden (ignored) by setting
this in the System page. Select ‘Load BPM - ON’ if you
want the presets to load their programmed tempos.

Enable Part Buttons

Figure 15.

These buttons allow you to disable, or mute, the signal
coming from each of the four mixers. A lit LED above any of
the buttons means that mixer’s output will be heard. Enable
Part settings are stored with presets.

A number of Solaris’s presets have been pro­grammed to take advantage of the Enable Part
buttons to alter the preset in a desirable way. When
creating your own presets, experiment with using
the Enable Part buttons to allow you to alter your
sounds on the y, without having to select a differ­ent preset.

Enable Part Buttons

1. Holding down the Shift button, select which of the 5
Performance Knobs you want to assign by giving it a
turn.

2. Continue to hold down Shift, and select the parameter
you wish to associate with the Performance Knob.

3. Release the Shift button. You should see a descriptive
text string for the assigned knob at the bottom of the
screen.

As shown in Figure 16, you will also see a +/- % value. The
Performance Knobs are relative to the programmed value.
They can add or subtract from the parameter value. Only
a one-to-one assignment is allowed (one parameter per
knob). Since the parameters in the text displays are fairly
easy to reach, usually these Performance Knobs will be
selected from one of the many soft key pages, but they can

be any stored Preset parameter you want, to provide quick

access, and keep the synth in Preset Mode. Performance
Knob assignments are stored with presets.

Pitch and Modulation Wheels

These function as you might expect. The range of the pitch
wheel--both up and down--can be set independently using
the parameters PW Up and PW Down in the Home sec­tion, page 3. Note that since these parameters are bipolar,
the pitch ranges for up and down movement can be inde­pendently adjusted and reversed.

Joystick

The Joystick is a springless controller designed to be used
with vector synthesis types of sounds. Its X and Y position
are available in most modulation source lists, so it can be
used as a real-time controller for most of Solaris’s param­eters.

Ribbon Controller

Assignable Performance Knobs

PERFORMANCE CONTROLS

The Ribbon Controller outputs 2 separate control signals.
If you use a single nger, the output signal for Rib1 and

Rib2 are the same. If you use two ngers, the control signal

associated with the right most nger is output as Rib2.

RIBBON CONTROLLER | 15

More details can be found in “Figure 61. Sequencer Menu,

page 2 of 3” on page 37.

Knob Acceleration

Due to the enormously exible nature of Solaris’s design,

there are often times when the physical knobs will control
parameters with greatly differing value ranges. For ex­ample, the 4th knob in the Oscillators section controls the

oscillator frequency either in semitones (-60 to +60), MIDI
clock divisions, or absolute frequency, from 0Hz to 20kHz.

A sort of “acceleration” scheme has been implemented that
ensures the user is able to interact with a given parameter
in a way that makes the most sense for the parameter--pro-

viding ne adjustment for an LFO’s rate, for example--while

still allowing the full range of values to be accessed without
endlessly turning the knob. In order to accomplish this,
several default knob behaviors have been developed. For

example, the range of the Cutoff frequency of a lter is 10

octaves 6 semitones. This is listed in the Cutoff parameter
as 0.0 to 126 semitones. The default knob behavior ap-

plied to Cutoff is to increase or decrease the frequency by

1 semitone as the knob is turned. There is a small amount
of acceleration programmed in, to ensure the entire range
is available with only a couple of full turns. In this case, the
default knob behavior is to compress the range of values,
which allows faster access to the range of values, but by
making larger “steps” along the way. In contrast, the LFO
Rate parameter uses the opposite scheme. In order to al-

low ne adjustment of LFO Rate, the knob is programmed

to increase or decrease in steps of 1/100th of 1Hz as the

knob is turned. Clearly, this scheme would require many full

rotations of the knob to reach 500Hz.

Knob Acceleration and the Shift Button

Pressing and holding down the Shift button as you turn a
knob will invert its default acceleration scheme. Holding
down the Shift button while turning the LFO Rate knob will

cause the value to jump by 1Hz, making it much quicker to

access values at either end of the range. The exact oppo-

site happens for Cutoff, allowing for very ne control over
the frequency.

The Data Wheel is not affected by the Shift button.

It always scrolls at the nest resolution available for

the parameter.

KNOB ACCELERATION16 | PERFORMANCE CONTROLS

Rear Panel Connections

The illustrations below show the rear panel connections of the Solaris. The illustration is too long to t on a single page of

the manual, so it is represented by Figure 17, which shows the leftmost connections on the rear of the unit, and Figure 18,
which shows the rightmost connections.

Figure 17. Leftmost rear panel connections

Figure 18. Right most rear panel connections

PEDALS
SPDIF
ANALOG OUT
ANALOG IN
MIDI

COMPUTER
CF CARD
POWER
POWER

Table 1. Rear panel connections

The pedal inputs are described in “Home Menu” on page 45.

Optical S/PDIF capable of 48kHz in/out when in Master mode. Solaris will operate at 96kHz in Slave mode.

The analog outputs are described in “Output” on page 38.

See “Processing External Signals” on page 23 for more information about the analog inputs.

Solaris provides standard MIDI In, Out, and Thru connectors. MIDI conguration is covered in “MIDI Menu” on

page 44.

Solaris can transmit and receive MIDI signals over the USB port.

CompactFlash port. See “Quick Start” on page 9 for more information about the CF card.

Power Switch.

Jack for the external power supply. The power supply that ships with Solaris has the following specs:

Input: 100-240V ~1.0A max 50-60Hz (groundless)
Output: +12V DC 2.5A, 30W max
(2.5 x 5.5 x 11.0)mm center positive

REAR PANEL CONNECTIONS

KNOB ACCELERATION | 17

Modulation Basics

Waveform

Wave Shape

Coarse Fine

Exponential FM

Side Chain Linear FM

-1200+120

-600+60

-1000+100

0%0100%

Ctrl In

-100%0+100%

-100%0+100%

Ctrl In

Strength

Side Chain

-100%0+100%

Ctrl In

Strength

Multimode OSC

Pulse

Sine

Saw

Ctrl In

Ctrl In

Side Chain

-100%0+100%

Ctrl In

Strength

Modular-style
Modulation

Destination-based Modulation

Unlike many hard wired synthesizers which use a modula­tion matrix to select a modulation source, and assign where
to send it, Solaris uses a destination-based scheme just
like a big modular synthesizer. In Solaris, you start with a
destination--oscillator pitch, for example--and select which
modulation source you want to use to modulate that pa­rameter. Solaris provides four modulation sources for each

major component (each oscillator, lter, etc.), except for the

LFOs, which have three. These modulation sources can be
accessed by pressing the Mod button--or pressing the Inc/
Dec buttons if Split and Wrap are set appropriately in the
System menu--to the left side of the module you want to
modulate.

Let’s use Solaris’s Oscillators section as an example. Imagine that each
of Solaris’s oscillators is an oscillator module in a large modular system.
Figure 19 depicts Solaris oscillator 1, which currently holds a Multimode
Oscillator, as an imaginary oscillator module in a modular synth. The typi-

cal oscillator controls, waveform, shape, coarse and ne tuning, map 1:1

to our imaginary modular oscillator.

Figure 19.
module.

Solaris Oscillator imagined as a modular synthesizer oscillator

Next, let’s modulate the wave shape of the oscillator using
some modulation source, such as LFO1. If we were to do
this on our modular system, we would connect a patch
cable from the output of our LFO module to the oscillator’s
wave shape control input. To see what is modulating any
particular parameter on any particular module of a modu­lar system, you simply follow the patch cable back to its

source. On Solaris, all you need to do is look at the Mod
mode pages for that module.

DESTINATION-BASED MODULATION18 | MODULAR-STYLE MODULATION

Figure 20.

Waveform

Wave Shape

Coarse Fine

Exponential FM

Side Chain Linear FM

-1200+120

-600+60

-1000+100

0%0100%

Ctrl In

-100%0+100%

-100%0+100%

Ctrl In

Strength

Side Chain

-100%0+100%

Ctrl In

Strength

Multimode OSC

Pulse

Sine

Saw

Ctrl In

Ctrl In

Side Chain

-100%0+100%

Ctrl In

Strength

Waveform

Wave Shape

Coarse Fine

Exponential FM

Side Chain Linear FM

-1200+120

-600+60

-1000+100

0%0100%

Ctrl In

-100%0+100%

-100%0+100%

Ctrl In

Strength

Side Chain

-100%0+100%

Ctrl In

Strength

Multimode OSC

Pulse

Sine

Saw

Ctrl In

Ctrl In

Side Chain

-100%0+100%

Ctrl In

Strength

Solaris oscillator mod source 1 (LFO1) controlling wave shape

Figure 20 shows the Mod mode display of our Solaris
oscillator, directly beneath the imaginary modular oscil­lator. The Mod window is currently displaying modulation
source 1, one of four modulation source slots available for
the oscillator. We can see that modulation Source1 is set
to LFO1, and modulation Dest is set to Shape. This means
that LFO1 will modulate the oscillator’s wave shape pa­rameter with an Amount of 56%. Follow the green “patch
cable” in Figure 20. You can imagine that the current setting
of Source1 is the modular equivalent of patching the con­trol output of LFO1 to the control input for wave shape on
our modular oscillator.

Figure 21.

Solaris oscillator mod source 1 (LFO1) controlling wave shape,

and Poly Aftertouch providing sidechain modulation.

All of Solaris’s modulation sources have an additional Con-

trol, or “sidechain” circuit. This allows a modulation source

to itself be modulated by another control signal, resulting in
very interesting and complex control signal shapes. Figure
21 expands on our previous example by adding a Control
signal to modulate the LFO signal coming in as modulation

Source1. In this case, we have a virtual patch chord run-

ning from the output of the PolyAT module on our modular
synth into the sidechain control input of our modular oscilla­tor’s wave shape parameter.

MODULAR-STYLE MODULATION

DESTINATION-BASED MODULATION | 19

Wave Shape

Waveform

Wave Shape

Coarse Fine

Exponential FM

Side Chain Linear FM

-1200+120

-600+60

-1000+100

0%0100%

Ctrl In

-100%0+100%

-100%0+100%

Ctrl In

Strength

Side Chain

-100%0+100%

Ctrl In

Strength

Multimode OSC

Pulse

Sine

Saw

Ctrl In

Ctrl In

Side Chain

-100%0+100%

Ctrl In

Strength

Waveform

Pulse

Coarse Fine

Multimode OSC

0%0100%

Ctrl In

Side Chain

Strength

-100%0+100%

Ctrl In

Sine

Exponential FM

-1200+120

Ctrl In

-600+60

Saw

Side Chain Linear FM

Strength

-100%0+100%

Ctrl In

-1000+100

-100%0+100%

Ctrl In

Side Chain

Strength

-100%0+100%

Ctrl In

Figure 22. Solaris oscillator with 3 of 4 available modulation sources active
and “wired” to the oscillator.

Figure 22 further expands on our example by activating
three of the four available modulation sources for Osc1.

Source1 and its Control signal modulate the oscillator’s

wave shape. Modulation Source2, LFO3, is providing
exponential (Pitch) modulation of the oscillator, and LFO4
is providing the sidechain Control signal to modulate the
signal from LFO3. Modulation Source3, LpEG1 (Looping
Envelope), is modulating the LinFM (Linear Frequency
Modulation) parameter of the oscillator, and sidechain
modulation is coming from AT (Aftertouch).

Figure 23.

Modulation Sources 2 and 3 modulating oscillator pitch

Figure 23 shows an example of two modulation sourc­es modulating the same parameter. In this case, both

Source2 (LFO3) and Source3 (LpEG1) are connected to

the oscillator’s Exponential Frequency (Pitch) input.

Finally, in all of these examples, the oscillator’s modula­tion Source4 slot is empty, meaning we could create even
more chaos with this oscillator by maybe adding a third
modulation source to the exponential Pitch control input, or

Dest.

DESTINATION-BASED MODULATION20 | MODULAR-STYLE MODULATION

Signal Path

Figure 24. Solaris Signal Path

As Figure 24 illustrates, Solaris has a very exible signal

path.

Flexible Signal Path

The best way to understand how any particular
patch is working is to start with the VCA, and work
your way backward. The VCA’s only have 2 pos-

sible inputs: either the same-numbered lter, or

the same-numbered Insert FX. Working backwards
from there can help you understand the rest of the
signal path, back to the sound source.

Because the signal path of Solaris is so modular, we’ll use

this section to describe some techniques you might nd

useful.

Boosting the signal of each oscillator by 6dB

You can increase the signal of an oscillator by assigning it
to more than one input on a single mixer. For example:

Osc 1  Mixer 1 input 1
Osc 2  Mixer 1 input 2
Osc 1  Mixer 1 input 3
Osc 2  Mixer 1 input 4

Osc 1  Mixer 1 input 1
Osc 1  Mixer 1 input 2
Osc 1  Mixer 1 input 3
Osc 1  Mixer 1 input 4

Classic synthesizer conguration

The most standard conguration, like the Minimoog and

most other synthesizers:

Osc 1  Mixer 1 input 1
Osc 2  Mixer 1 input 2
Osc 3  Mixer 1 input 3
Osc 4  Mixer 1 input 4

Insert FX before the lters (Mixer → Insert FX
→ Filter)

1. Set VCA 1’s VCA1In to Filter

2. Set Filter 1’s Input1 to InsFX1

3. Set InsFX1’s Input1 to Mixer

Insert FX after the lters (Mixer → Filter →

Insert FX)

4. Set VCA 1’s VCA1In to InsFX

Or

MODULAR-STYLE MODULATION

5. Set Filter 1’s Input1 to Mixer1

FLEXIBLE SIGNAL PATH | 21

6. Set InsFX 1’s Input1 to Filter

The Decimation and Bit Chop effects are even more

noticeable when using them after the lter. Set the
Insert FX and play with the lter’s cutoff frequency.

Feedback loop in mixer

Mixer 1 can be routed to Mixer 1, and will have a feedback
effect if there are other signals also coming into the Mixer.
This can be really effective; try this:

Osc1  Mixer 1 input 1
Mixer 1  Mixer 1 input 2

As you adjust the Level of Input 2, you can control the
overdriven sound of Osc 1, prior to the signal going into
the Filter or InsFX. This can give you a real fat sound when
used judiciously. You can also modulate the level of Input2
with an envelope or other controller such as Aftertouch,

Mod Wheel, LFO, Note, etc., so this approach can provide

for some nice controlled feedback.

FLEXIBLE SIGNAL PATH22 | MODULAR-STYLE MODULATION

Processing External Signals

External Signals

Solaris provides extensive processing capabilities for
external signals routed through the synthesizer. External
signals can be routed in via one of the four analog inputs
or the S-PDIF jacks on the rear panel. These inputs appear
in source lists as Input1, Input2, Input3, Input4, SPdifL and
SPdifR, respectively.

Processing External Audio
Signals

External audio signals are essentially played “through” the
Solaris. Though you can process them as you would the
oscillators, it’s important to remember that the external in­puts are not polyphonic. No sampling or pitch shifting or re­synthesis is involved. Just holding down one key (or using
the Hold button and playing one key) will be all you need
to hear external audio as it is routed through the synth.
Pressing multiple keys will just give you the same signal,
but louder, for each key pressed.

The external inputs are on the Audio Source List, and
therefore can be routed just like the oscillators. You can

lter them (in parallel or in series with the 4 lters), use the
insert FX with them (pre- or post-lter), even use them as

inputs to the Rotors, Vector Mixers, or AM sections. Plus,
you can derive an envelope with the envelope follower (see
“Envelope Follower (EGFoll)” on page 43) for any of the
external ins to sweep the lter cutoff or modulate other pa­rameters. You can even use them with the lag processors

for simple 1-pole ltering, as described in “Lag Processor”

on page 43.

Processing External Control
Signals

Control signals from external synthesizer gear, such as a
modular LFO module, can be passed in to Solaris via one
of the four analog inputs. This signal can then be used as a
control source within Solaris to modulate other parameters,
thus providing a way to easily synchronize parameters in
Solaris to external analog gear.

Using external ins with the Vector Mixers allows you to
quad mix 4 inputs with the Joystick. Using them with the
AM sections (such as the Ring Mod algorithm) allows the
external ins to interact more with the oscillators, and vice
versa. Or, you can just use them as Mod Sources to control

an oscillator’s frequency directly.

An additional comment about using external audio signals
with the Rotors: because the Rotors can run at audio rates
like oscillators do, you can use the Rotor to give a “pitch”
to external audio signals, and play them polyphonically that
way. The source material doesn’t even have to be pitched.
You could use trafc sounds, crowd noises, or strange elec­tronic blips and beeps, and then just run the Rotor as an
oscillator. The external inputs will provide the raw material
for the Rotor’s timbre, and the Rotor’s tuning controls and

the keyboard will control the pitch or frequency.

EXTERNAL SIGNALS

PROCESSING EXTERNAL CONTROL SIGNALS | 23

Oscillators

Figure 25. Oscillators Panel

Solaris has four oscillators, as well as several special
sound sources including Rotors, AM and Vector Synthesis.

Oscillators Osc 1-4

Osc1-4 represent 4 “slots”, each of which supports a variety
of different oscillator types. Table 2 lists the oscillator types
available for each of Solaris’s 4 oscillators.

loaded into the active oscillator slot, as indicated by the
LED above the oscillator selection buttons. The parameters
associated with Osc 1-4 are displayed in the Oscillator text
display, grouped into 2 pages which can be accessed by
pressing the up/down arrows to the left of the text display,
as shown in Figure 25. The parameters displayed in the
text display will vary, based upon the type of oscillator
selected.

Page 1 Parameters

Figure 26. Oscillator Main Mode, page 1

Figure 26 shows page 1 of the Multimode oscillator’s
parameters. The actual parameters and their values var­ies across the oscillator types. This section describes the
parameters at a high level. For a detailed description of the
parameters and values available for each oscillator type,
please refer to “Appendix 1- Oscillator Parameters” on
page 48.

Type

OFF
MM1

WT

CEM

WAV

VS

Mini

Table 2. Oscillator types available for Osc 1-4

The oscillator slot is empty

MultiMode oscillator supporting a wide range
of common waveforms, as well as 2 morphing

waveforms (sine to saw and sine to square) and a

special “stacked” sawtooth waveform, called Jaws.

Wavetable oscillator using the same wavetables
as the Waldorf microwave. Contains 63 waveta­bles each with 64 sweepable waveshapes.

Based on the Curtis Electromusic oscillators found

in classic Sequential Circuits analog synthesizers.

Capable of generating single waveforms, or any
combination of Saw, Triangle and Pulse wave­forms.

Sample playback oscillators that plays les loaded

from a CompactFlash card.

Based on the Prophet VS, containing 94 single­cycle waveshapes.

Based on the Minimoog, supporting the same 6
single and combination waveforms.

Oscillator Parameters (Main

This control allows you to select which type of oscillator oc­cupies the currently active oscillator slot (Osc 1-4).

Wave

Determines the waveform generated by the oscillator.

Shape

For variable-shape waveforms, such as Pulse and Morph­Saw, this control determines the shape of the waveform
across its continuum. For a Pulse wave, for example, 0%
and 100% will actually make no sound at all, while 50% will

generate a perfect square wave.

Coarse

Coarse tuning of the oscillator, from -60 to +60 semitones.

Fine

Fine tuning of the oscillator, over a range of -100 to +100,
which represents 1 semitone.

Clock Sync, No Track and Low

Mode)

Oscillator Main mode is active when the LED next to the
Main label is lit. Main mode loads the Oscillator’s panel

with the parameters associated with the type of oscillator

Figure 27. Clock Sync, No Track and Low buttons

The three buttons shown in Figure 27 provide special

control over the frequency of the selected oscillator. Clock

OSCILLATOR PARAMETERS (MAIN MODE)24 | OSCILLATORS OSC 1-4

Sync allows you to synchronize the frequency of the oscil­lator to divisions of the MIDI clock signal. The range is from
1/128 of a beat, to 8 beats. No Track turns off keyboard

tracking, and allows you to specify the oscillators xed
frequency from 0 Hz to 20 kHz. Low simply lowers the
frequency of the oscillator by 60 semitones, as a means to
quickly switch the oscillator into sub-audio rates.

Page 2 Parameters

Figure 28. Oscillator Main Mode, page 2

Figure 28 shows page 2 of the Main mode controls for the
Multimode oscillator. The following section describes the
page 2 parameters at a high level. For a detailed descrip­tion of the parameters and values available for each oscilla­tor type, please refer to “Appendix 2- Modulation Sources”
on page 54.

Sync

This control can be used to synchronize the selected
oscillator to another oscillator, which causes the selected
oscillator (the slave) to restart its waveform every time the
master oscillator cycles its waveform. The pitch of the slave
oscillator is locked to that of the master oscillator, and the

Coarse and Fine frequency controls of the slave oscillator

affect only how many cycles the slave plays relative to the
master. Sweeping the frequency of the slave oscillator cre­ates the classic hard sync sound. Synchronizing the oscil­lator to Gate causes the oscillator to restart with each note
on event. Note that an oscillator cannot be synchronized to
itself.

Phase

Phase controls the start point of the waveform when it re-

ceives a sync’ed signal. If Gate is the sync source, adjust­ing the Phase will allow you to force the oscillator to start
from that phase point for every time a key is pressed. (This
is the same as for the Rotor’s Phase control). This is useful
when you wish to guarantee that the phase of the oscillator
will always restart at the same place when working on cre­ating kick drum sounds, for example; otherwise, repeated
note events would sound different for each key if no Gate
sync is used. Another use would be if you want to use the
Osc as an LFO, and need the modulation to always start at

a specic point (say with a square wave, at the ‘bottom’ of
the square).

Glide (on/off)

Enables or disables oscillator glide for the selected oscilla­tor.

Oscillator Parameters (Mod Mode)

Oscillator Mod mode is active when the LED next to the
Mod label is lit. Mod mode loads the text display of the Os-

cillators panel with the modulation controls of the selected
oscillator. Each oscillator can have up to four modulation
sources assigned to affect various parameters.

Refer to “Modular-style Modulation” on page 18
for further explanation of Solaris’s destination­based modulation.

The section below describes the parameters available in
each of the four oscillator Mod mode pages. Please refer

to “Appendix 2- Modulation Sources” on page 54 for a full
description of the oscillator modulation parameters.

Source 1-4

This control allows you to select a modulation source from
the comprehensive list of modulation sources available
within Solaris. Signal from the selected modulation source
is applied to the selected modulation destination (Dest).

Amount

This control determines the amount the control signal from
the modulation source affects the destination parameter.
When oscillator Pitch is selected as the destination, the
range of this control is -120 to + 120 semitones. When
the destination parameter is linFM or Shape, the range is

-100% to 100%.

Control

Control allows you to select another control signal to act
as a sidechain input that affects the amount of modulation
source signal that is applied to the modulation destina­tion. The Control signal is applied to the Amount control of
the modulation source. The Strngth parameter determines
amount of Control signal to apply, in the same way that the
Amount control determines how much of the Source signal
to apply to the destination.

Strngth

Determines the amount of the Control (sidechain) signal to
apply to the Source control signal.

For the LFO section, Gate Sync is called Retrigger,
and is accessible via the rightmost button on the
LFO panel.

Glide (rate)

Exponential glide setting for the selected oscillator, in the
range 0.0ms-20.0sec. Produces a smooth transition in pitch
between two notes.

GLIDE (ON/OFF)

Dest

The destination parameter, i.e., the oscillator parameter
that will be affected by the incoming control signal from the
modulation source. The destination parameters include:

Parameter
None
Pitch

Description

No parameter will be modulated

Exponential frequency modulation of the oscil­lator, in semitones.

OSCILLATOR PARAMETERS (MAIN MODE) | 25

Parameter

LinFM

Shape

Table 3. Oscillator 1-4 Modulation Destinations

Description

Linear frequency modulation of the oscillator,

in percentage.

Shape of the oscillator waveform (or detuning
spread of the Jaws waveform), in percentage.

Rotors 1-2

Solaris has 2 Rotor processors. There are four inputs to
each Rotor. Each is presented at the Rotor’s output in
series, one after the other. You can think of it as a four-step

wave sequence, where each step’s sound comes from

one of the many sound sources in Solaris. The X-Fade
(cross fade) control ‘smooths’ the transition from one step
to the next, and does it uniformly for all four inputs. If the

X-Fade amount is zero, then the transition from one step

to the next will be abrupt; at full amount (127), each step is
cross faded with the next, providing smooth but constant
changes in the output. When the Rotor runs at audio rates,

the transitions happen so quickly that we hear the results
as a unique waveshape itself – one can change either
the coarse and ne tunings of each input, or the source
material itself to create timbre changes. You will also nd

that at audio rates, the X-fade amount makes the wave­form less bright as you move from zero to max amount, as
the smoothing function takes off the ‘rough edges’ of the
resultant as it is increased. One unusual way of generat­ing new harmonic structures is to run the Rotor at audio
rates, tracking the keyboard. This is almost like a granular
approach in that you will hear small bits of each input at a
rapid rate.

Fine

Fine tuning amount of the Rotor. Allows ne adjustments of

the Rotor’s pitch over the range or +/- 1 semitone.

X-Fade

This parameter controls the amount of cross fade applied
between each of the four steps of the Rotor processor. The
higher the value, the greater the amount of cross fade.

Sync

When Sync is set to Gate, the Phase parameter can be
used to determine at which step in the Rotor’s cycle it will
reset with each new note on event.

Phase

When Synch is set to Gate, the Phase parameter can be
used to control the starting point of the Rotor processor
when new note on events are received.

Page 2 Parameters

Figure 30. Rotor Main Mode, page 2

Inputs 1 - 4

Page 2 of the Rotors Main mode controls allows you to as­sign the inputs to the Rotor’s four inputs. Typically, these in­puts will be assigned to sound sources such as oscillators,
but they can be assigned to control signals as well, opening
the doors to expansive new modulation possibilities.

Page 3 Parameters

Rotor Parameters (Main Mode)

Rotor Main mode comprises three pages of parameters,
accessed by pressing the Inc/Dec buttons to the left of the
text display.

Page 1 Parameters

Figure 29. Rotor Main Mode, page 1

Coarse

Coarse tuning of the Rotor, between -60 and 60 semitones.
This control allows the Rotor to operate as an audio-rate
oscillator.

The Clock Sync, No Track and Low buttons on the
Oscillators panel have the same effect on the Ro­tors as the do on the standard Oscillators Osc 1-4.
Refer to that section for an explanation of how

these buttons affect the oscillator’s frequency.

Figure 31. Rotor Main Mode, page 3

Rotor Parameters (Mod Mode)

The Rotors also have four independent modulation sources

available, but the destination parameters are specic to the

Rotor processors. The Dest options are Pitch and XFade
(cross fade amount).

Parameter
None
Pitch

XFade

Table 4. Rotor Processor 1-2 Modulation Destinations

Clock Sync, No Track and Low

These buttons have the same function as they do with OSC
1-4. Please refer to “Clock Sync, No Track and Low” on
page 24.

Description

No parameter will be modulated

Exponential frequency modulation of the oscil­lator, in semitones.

Crossfade amount.

ROTOR PARAMETERS (MOD MODE)26 | ROTORS 1-2

Mixers

Page 1 Parameters

Figure 35. Mixer Mod Mode, page 1

Page 2 Parameters

Figure 32. The Mixer Panel

Mixers 1-4

Solaris provides four separate mixers, each with fully user­assignable inputs and master output level.

Mixer Parameters (Main Mode)

Page 1 Parameters

Figure 33. Mixer Main Mode, page 1

Page 1 in the Mixer’s Main mode allows you to specify
the input signals to the mixer. See “Signal Path” on page
21 for examples of how signals can be routed within the
Solaris.

Page 2 Parameters

Figure 36. Mixer Mod Mode, page 2

Figure 34. Mixer Main Mode, page 2

Page 2 allows you to set the individual levels of the mixer’s
inputs. You can also set the overall mix level.

Mixer Parameters (Mod Mode)

The level of each mixer input, as well as the overall mix
level, can be modulated separately. The mixer’s Mod mode
pages allow you to specify the modulation source and mod­ulation amount for each. The selected modulation source
affects the level of the mixer channel (or output level) you
are working with.

MIXERS 1-4

MIXER PARAMETERS (MOD MODE) | 27

Insert FX

Figure 37. Insert FX Panel

Insert FX 1-4

Solaris provides four Insert FXs that can be placed in the

signal path between the mixers and lters, or between the
lters and the VCAs. See “Signal Path” on page 21 for

examples.

Insert FX Parameters (Mod
Mode)

Figure 39. Insert FX Mod Mode

Each Insert FX has one available modulation source (with
sidechain modulation), which directly affects the Value
parameter, i.e., it affects the Insert FX’s setting.

Insert FX Parameters (Main
Mode)

Figure 38. Insert FX Main Mode

Mode

Parameter
Decim(ator)

BitChop

Distort

Table 5. Insert FX Modes

Input

The input signal.

Description

Reduces the sample rate of the playback
system. The range is +/- 63, with lower
values increasing the decimation effect.

A “bit crusher” effect that allows you to
reduce the bit length of the playback
signal from 16 to 1. There are 16 discrete
steps, though the parameter value shows
a range of +/- 63.

A soft distortion effect.

Value

The “setting” of the Insert FX, in the range +/- 63.

INSERT FX PARAMETERS (MOD MODE)28 | INSERT FX 1-4

Filters

Mode

Several of Solaris’s lter types support multiple modes of

operation, such as lowpass, highpass, bandpass, band
reject (notch), or combinations of those in series. Some

lter types also support different pole congurations. Refer

to “Filter Types” on page 56 for details.

Cutoff

Figure 40. Filter Panel

Filters 1-4

Solaris has four lters that can be routed in parallel or
series. Any signal can be passed to a lter, though a typical
conguration might have a mixer output routed to a lter

input.

To route 2 or more lters in series, simply select
the rst lter in the series as the input to the next
lter, and so on.

The signal for each lter is sent to its own dedicated VCA,

where its pan position and level can be set. Each VCA can
be controlled by a different envelope, but the EG6 (VCA)

has the nal “say” for the overall output. Using separate
envelopes, you can create articulated shapes for each l-

ter’s output; almost a “multi-timbre” approach to the sound,
enhanced by the fact that each can also have its own enve­lope and pan position.

With the lter outputs as possible signal inputs to other
lters, you can create feedback loops within each lter
section, or place multiple lters in series. You also can get
some useful and strange distortion of the lters if desired,

among many, many other things!

Filter Parameters (Main Mode)

Page 1 Parameters

Figure 41. Filter Main Mode, page 1

The lter’s cutoff frequency, in semitones from 0.0 to 126.0.

Recall from “Knob Acceleration and the Shift Button” on
page 16, that the Cutoff knob is designed to sweep

quickly through its values. For ne control over cutoff
frequency, use the Data Wheel (or press and hold the Shift

button while turning the Cutoff knob) to make adjustments
in 1/10 semitone increments.

Resonance

Resonance control. Each lter type will have a different

resonance characteristic, so you will need to adjust this as

you change the lter type.

Damp

If you are working with a Comb Filter, this parameter ad-

justs a 6 dB LP lter in the feedback circuit.

X-Fade

If Vocal lter type is selected, this parameter adjusts the po­sition of the signal in the ve vowel eld.

Page 2 Parameters

Figure 42. Filter Main Mode, page 2

Typically, the input to a lter will be a sound source such

as a mixer output or the output directly out of an oscillator

or Insert FX. Because Solaris’s lter can take almost any

signal as an input, very interesting effects can be created

by routing control signals through the lters as well.

KeyTrk

Keyboard tracking causes the lter to “open” in relation to

the note number played. With large positive values, notes
played higher on the keyboard will sound brighter because

the lter’s cutoff frequency has been increased relative to

the KeyTrk parameter’s value and the KeyCntr.

Type

Type of lter. Refer to “Appendix 3- Filter Types” on page
56 for a comprehensive list of the lter types available in

Solaris.

FILTERS 1-4

KeyCntr

The key center parameter determines which MIDI note
number is considered the center of the keyboard, which af­fects how keytracking is applied.

FILTER PARAMETERS (MAIN MODE) | 29

Filter Parameters (Mod Mode)

Figure 43. Filter Mod Mode

Each lter has 4 modulation source slots. A lter’s Cutoff
(cutoff frequency) or Reso (resonance) can be modulated

by any of the four modulation sources. Other modulation

sources are available for some lter models, for example
case Damping for the Comb lter and X-Fade (crossfade)
for the Vocal lter.

FILTER PARAMETERS (MOD MODE)30 | FILTERS 1-4

VCAs

Figure 44. VCA Panel

VCAs 1-4

Solaris has four VCAs, each hardwired to accept an input

signal from either its corresponding lter or Insert FX mod­ule (lter or Insert FX with the same number).

VCA Parameters (Main Mode)

Figure 45. VCA Main Mode

The VCA type can be set to linear, logarithmic, or sigma
(s-curve, used on the Minimoog). The VCA type controls

the response of the amplier to control signals.

The Boost control is an emulation of an OTA circuit, or “soft

distortion”, taken from the original Minimoog lter emula­tion. It was moved into the amplier section so that is could
be used with any lter type. Setting its value at around 70

or more will result in a more “analog” sound.

VCA Parameters (Mod Mode)

Figure 46. VCA Mod Mode

The VCA modules have two modulation inputs. Source1

on Mod Mode, page 1 modulates the amplier’s level, and

Source2 on Mod Mode, page 2 modulates the amplier’s

pan position.

VCAS 1-4

VCA PARAMETERS (MOD MODE) | 31

LFOs

control over frequency. To increase the speed at which the
knob sweeps through frequency values, press and hold the

Shift button while turning the Rate knob.

Page 2 Parameters

Figure 49. LFO Main Mode, page 2

Figure 47. LFO Panel

LFOs 1-4 and Vibrato
LFO

Solaris has 5 LFOs, including a special Vibrato LFO, all of
which are available as modulation sources.

Button
Clock Sync

Offset

Retrigger

Table 6. LFO panel buttons

LFO 1-4 Parameters (Main Mode)

Description

Synchronizes the LFO with the MIDI clock
and changes rate to a MIDI clock-related table
of values.

Offset reduces the signal and shifts it all into

the positive quadrant. (Useful particularly with

some Shape modulations.)

This restarts the waveshape at the selected
Phase point for every note-on event.

Parameter
DelStrt

FadeIn

FadeOut

Level

Table 7. LFO Main Mode, page 2 parameters

Description

0.0 ms to 10.0 seconds. Delays the output of
the LFO based on the note-on gate.

0.0 ms to 10.0 seconds. The time it takes to
fade in the LFO output, after the Delay Start is

nished.

0.0ms to 10.0 seconds. The time it takes to
fade out the LFO output after a note/key is
released.

Controls the initial output level of the LFO.

Vibrato LFO Parameters (Main
Mode)

The Vibrato LFO is hard-wired to the vibrato effect (Pitch
mod) of all 4 oscillators. The Vibrato LFO in Solaris is a
multimode LFO, with the same parameters that come with
the other four LFOs. Added are parameters to disconnect
the Mod Wheel, and set a maximum mod amount for the

Mod Wheel (ModWMax).

Page 1 Parameters

Page 1 Parameters

Figure 48. LFO Main Mode, page 1

Each LFO supports sine, triangle, ramp, saw, square, and
sample-and-hold (S/H) or random wave shapes. Frequency

is adjustable between 0.000Hz and 500.000Hz. The LFOs
can be synced to the MIDI clock by pressing the Clock

Sync button above the LCD screen. When synced to MIDI

clock, the LFO’s frequency is displayed as a division of one

beat.

Recall from “Knob Acceleration and the Shift Button” on
page 16 that the LFO Rate knob is congured for ne

Figure 50. Vibrato LFO Main Mode, page 1

By default, the Vibrato LFO is connected to the Mod

Wheel. The ModWhl parameter allows the Vibrato LFO to

be disconnected from the Mod Wheel. When ModWhl is
Off, the Vibrato LFO affects all 4 oscillators’ pitch with full
strength. When ModWhl is On, the ModWMax parameter
controls how much the Vibrato LFO affects oscillator pitch,
relative to the position of the Mod Wheel. The output of any

LFO is controlled overall by the Level parameter, Main
Mode page 2.

If the Level is 0, there will be no output of the LFO,
regardless of any other settings.

VIBRATO LFO PARAMETERS (MAIN MODE)32 | LFOS 1-4 AND VIBRATO LFO

Page 2 Parameters

Figure 51. Vibrato LFO Main Mode, page 2

LFO Parameters (Mod Mode)

Figure 52. LFO Mod Mode

All of the LFOs have 3 modulation source slots. An LFO’s

Rate or Level can be modulated by any of the three modu-

lation sources.

LFOS 1-4 AND VIBRATO LFO

LFO PARAMETERS (MOD MODE) | 33

Envelope Generators

ally a second decay segment that ramps down to 0, or up
to 127, depending on the value. The sustain slope range
is in seconds and ms. In addition, there is a small custom

(VCA)

graphic character to the left of the value – either a “down”

arrowhead if a negative value, or an “up” arrowhead for a
positive value. This is to help describe that any negative
value eventually ends up taking the EG output ‘down’ to 0,
while any positive value takes it ‘up’ to 127 (full +) value.

Figure 53. Envelope Generator Panel

Envelope Generators
1-6

Solaris has six DADSR envelope generators that are fully
assignable and available in the modulation source lists.
There is also a looping envelope generator (see “Looping
Envelope (LoopEG)” on page 41). Each segment can be
separately modulated. Each has variable attack, decay, and
release slopes. Sustain also has a ‘slope’ control, however
in the case of Sustain, this control allows you to set up
an additional segment that either goes to zero value (with
a negative slope), or to the maximum sustain level (with
positive slope). Envelope segment values are show in time
increments, from 0.0 ms to 20.0 seconds.

EG 6 (VCA) is the nal envelope controlling the output of

Solaris’s four VCAs.

EG Parameters (Main Mode)

Page 1 Parameters

EG Parameters (Mod Mode)

Page 1 Parameters

Figure 56. Envelope Generator Mod Mode, page 1

The modulation source list for the envelope generators is
limited to: velocity, key tracking, modulation wheel, and as­signable continuous controllers 1-4.

When using Velocity as a modulation source for a seg­ment, a negative amount will cause shorter time values with
higher velocities; a positive value will cause longer values
with higher velocities. Careful adjustment and balance
between the initial segment’s settings and the mod amount
is usually needed to obtain desired results. Shorter time
values will limit the noticeable effect of velocity modulation.

Page 2 Parameters

Figure 57. Envelope Generator Mod Mode, page 2

The Velocity parameter controls the overall amount of the

envelope to its destination. Higher values require a greater

velocity to reach their maximum value.

Figure 54. Envelope Generator Main Mode, page 1

The delay segment delays the onset of the attack segment

by the time interval specied.

Page 2 Parameters

Figure 55. Envelope Generator Main Mode, page 2

The Slope parameter controls the shape of the segment.
A value of zero is a linear slope, while 127 is exponential.
The sustain slope of Solaris’s envelope generators is actu-

When a segment’s modulation amount is set at zero, the
actual segment time/level is heard. With the amount at

+127, maximum velocity will give results equal to the actual

(original) time/level setting. If time values longer than the

initial setting are desired, you must rst set the velocity

mod amount, and then adjust the initial setting to achieve
desired results. Likewise for amounts of negative value,
minimum velocity will yield the original settings, and higher
values will be ‘shorter’ than the initial setting.

EG PARAMETERS (MOD MODE)34 | ENVELOPE GENERATORS 1-6

Graphic Display Functions

Home

Shift

Soft Menu Group Organization

Graphic Display

As mentioned earlier, the Graphic Display shows six soft
menus at a time, and pressing the More button will bring
up the next “group” of 6 soft menus. We will refer to those
groups of six soft menus as Soft Menu Groups. Table 8 de­scribes the general organization of these groups of menus.

Figure 58.

Solaris uses 5 text display panels with dynamic LCD panels
and hardware controls to provide fast, intuitive access to
common synthesizer modules, such as oscillators, LFOs,

and lters. While those panels are excellent for hands-on

tweaking, much of Solaris’s functionality is too complex to
be represented this way. The graphic display panel, shown
in Figure 58, provides a highly visual means for interacting
with Solaris’s deeper capabilities.

Graphic Display Panel

Soft Menus

The Graphic Display provides access to 25 different menus,
many with multiple pages of parameters. Each menu is
represented at the top of the Graphic display as a “soft”
tab. The display shows up to 6 menus at a time, with other
menus accessible by pressing the More button, or by using

the fast access technique described in “Function Group

Shortcut” on page 14. A menu is selected by pressing the
physical button above its soft menu label. The LED for that
button for the active menu will light.

The soft tab menus will wrap around to the rst

menu, if you continue to press the More button.

The LED above the More button will be off when
you are on the rst, or top, group of menus in the
Graphic Display.

While the soft tabs are always displayed across the top of
the Graphic Display, the contents of the rest of the window
is dependent upon which menu is selected. As described in
“General Navigation” on page 13, multiple pages of pa­rameters can be accessed by pressing the Inc/Dec buttons
to the left of the display.

GRAPHIC DISPLAY

Group 1

Group 2

Group 3

Group 4

Group 5

Table 8. Soft Menu Group Organization

The following sections describe each soft menu in detail.

For live performance, or things that you might want
to adjust while playing, related to the arpeggiator

or sequencers. The Ribbon Controller occupies the

last spot, since it is also a real-time controller that
you might want to adjust during performance.

Group 2 has to do with the Effects and Output bus­sing, since that is all related.

Functional groups related to oscillator-like function­ality, as well as the looping envelope.

Individual soft menus for the 4 Key Tables (to avoid

deep menus), lag processors (which all t into a

single soft menu), and envelope follower.

System and MIDI settings that are not stored with
the preset.

Arpeggiator (Arp)

Figure 59. Arp Menu, page 1 of 1

Solaris provides an arpeggiator with performance-oriented
controls accessible directly on the front panel. The Arp On
button activates the arpeggiator. The Hold button holds the
notes of any keys currently being pressed. This allows the
arpeggiator to be “latched” on. When the Solaris is using its
internal MIDI clock, the Tempo button can be used to set
the arpeggiator’s playback tempo. See “Tempo” on page

15.

Mode

Controls the direction in which the arpeggiator will play a
sequence of notes held by the player. The modes are Up,

Down, Up/Down, AsPlayed, and Random. AsPlayed

plays the series of notes in the order that one presses keys
(and holds down) on the keyboard. There is a buffer limit of
61 notes. A good way to use this is to turn on the Arpeggia-

ARPEGGIATOR (ARP) | 35

tor and the Hold button, then while holding down the rst

note you want with the left hand, play any series of notes
with your right hand (even repeating note selections) to cre­ate a long series of a ‘custom’ pattern. Random randomly
selects the next note to play from the notes being held.

Octaves

Determines the number of octaves (1-4) over which to play
the arpeggiator pattern.

Pattern

Solaris can store 64 arpeggiator patterns. The values are
1-63, and User. Arpeggiator patterns are stored on the So­laris CF card, in the Factory/Arp folder. Only 5 patterns are
currently shipped with the Solaris CF card.

A software editor for sequencer and arpeggiator

patterns is planned. Please refer to the website for
more information.

Resolut.

The MIDI clock division that determines the length of each
step in the arpeggiator pattern.

Length

Adjusts the gate length, or duration of each note played in

the sequence.

and synchronized, and what pattern the row will play. Solar-

is’s sequencer is essentially one step sequencer with four

rows of parallel control outputs, or four “layers”. Each row
can have a different loop point (step length), but the overall

timing is controlled by the rst row (SeqA), and everything

retains the overall feel of the timing, or “reset” intervals, are

set on SeqA.

Note that the sequencer in Solaris is not hardwired to

control the pitch of the oscillators, though that is a common
use. Solaris’s Step Sequencer can be used as a modula­tion source for any other parameter in the synthesizer,
which allows very complex, evolving, and/or rhythmic ma­nipulation of sounds.

The INIT patch that ships with Solaris is designed to
make it very easy to set up a typical patch in which
the step sequencer(s) control the pitch of the oscil­lators. Check the modulation sources for each oscil­lator in the INIT patch. One of the sources should

be set to one of the four sequencer rows (probably
SeqA for Oscillator 1, SeqB for Oscillator 2, etc.).

Note that the Amount of the modulation source is
set to the maximum value of 120.00 semitones.
This setting makes the pattern step values corre­spond to semitones. Using values less than 120 will
cause the steps in the pattern to translate to less
than full semitone values.

BPM

When Solaris is using its own MIDI clock, the BPM knob
can be used to change the playback speed of the arpeggia­tor. When synced to an external MIDI source, this value will
show the BPM of the incoming clock.

Velocity

The velocity of each note played in the arpeggiator pattern
can be controlled by the velocity values stored in the arpeg­giator Pattern, by the velocity at which the notes were
played on the Keyboard, or Both.

Hold

Allows the arpeggiator to be latched on.

PatLen

Sets the number of notes (1-32) used in the arpeggiator
pattern.

Swing

Introduces a delay of every other (or every even) note trig­gered, evoking a swinging or rhythmic feel to the playback.

Sequencer (Seq)

Solaris’s Step Sequencer allows you to develop complex,
pattern-based sequences that can be used to control the

vast modulation possibilities of the synthesizer. The Step

Sequencer comprises four separate rows (SeqA, SeqB,
SeqC, and SeqD), each programmable with up to 16 steps,

and parameters that determine how the rows are triggered

Solaris has 4 exponential lag processors that can be used

to produce a slowing or “gliding” effect on the sequencer’s

control signal. See “Lag Processor” on page 43.

All four sequencer rows are activated by pressing the Seq

On button below the LFO control panel. When the se-

quencer is synchronized to Solaris’s internal MIDI clock, the

Tempo button can be used to set the sequencer’s playback

tempo. See “Tempo” on page 15.

Figure 60. Sequencer Menu, page 1 of 3

Mode

Normal

No Reset

Each step in the sequence retriggers the

envelopes. Each new key press restarts the

sequencer from the rst step, and retriggers the

envelopes.

The sequencer is free running in the back­ground. A key press will retrigger envelopes, but

the sequencer will not restart from the rst step.

It will play whatever step it is currently active.
Each step retriggers the envelopes.

SEQUENCER (SEQ)36 | GRAPHIC DISPLAY

No Gate

NG/NR (No
Gate/No
Reset)

Key Step

Table 9. Sequencer Modes

Only the rst step in the sequence triggers
the envelopes. Subsequent steps do not. The
sequencer does reset with each new key press,
so it will always start with the rst step.

Like No Gate, only the rst step in the se­quence triggers the envelopes, however the se­quencer does not reset with new key presses.

Each new key press will start with whatever

sequencer step is active.

Each key press plays the next active step in the

sequence and retriggers the envelopes. Steps

are only triggered by key press.

Division

The division of the MIDI clock that determines the timing of

each sequencer step.

Step1-Step8

Allows the rst 8 steps of the row’s pattern to be set. If

the Amount parameter in the destination is set to 120.00
semitones, the values of each step correspond to 1 semi­tone.

Division

MIDI clock division that determines the length of each step.
All rows are controlled by the Division setting of SeqA.

Figure 62. Sequencer Menu, page 3 of 3

SeqA controls the MIDI clock division and swing for
the other three sequencers. The other sequencers
will use whatever settings are made for SeqA.

Pattern

Solaris can store 64 sequencer patterns. The values are

1-63, and User. Like the Arp Patterns, these are stored

on the CF card in the Factory/Seq folder. The Solaris only

ships with one pattern.

A software editor for sequencer and arpeggiator

patterns is planned. Please refer to the website for
more information.

Swing

Introduces a delay of every other (or every even) note trig­gered, evoking a swinging or rhythmic feel to the playback.

BPM

The step sequencer can be synchronized to Solaris’ inter­nal MIDI clock by setting the ClkSrc parameter in the MIDI
menu to Int. You can then specify the BPM, clock division,

and swing amount for the steps in the sequencer. The step
sequencer can also be set to synchronize to an incoming

MIDI clock signal by setting the ClkSrc parameter to Ext in
the MIDI menu. See “MIDI Menu” on page 44.

Init

Init provides a convenient way to clear the row’s step set-

tings. Change the Init parameter to Active. The LED above
the Enter button will ash. Pressing the Enter button will
zero out all of the row’s step values. Press Exit to cancel
without clearing the values.

Step9-Step16

Allows steps 9-16 of the row’s pattern to be edited.

Division

MIDI clock division that determines the length of each step.

All sequencer rows are controlled by the Division set-
ting of SeqA. The parameter is simply listed on all 3 menu

pages for convenience.

Ribbon Controller

Figure 63. Ribbon Controller Menu, page 1 of 1

As mentioned in “Ribbon Controller” on page 15, the

Ribbon Controller outputs 2 control signals. If only one

nger is used, both signals are identical. If two are used,
the upper nger controls the Ribbon 2 output.

Figure 61. Sequencer Menu, page 2 of 3

PatLen

Species the length of the sequencer row’s pattern. Each

of the 4 rows can have a different pattern length.

GRAPHIC DISPLAY

Offset

This parameter moves the zero point of the ribbon to the
right from the left most edge. It currently affects the output
whether the ribbon is touched or not. This will be ad­dressed in an upcoming OS update.

Intens

Scales the ribbon output from 0-200%. The most common
usage is 100%.

RIBBON CONTROLLER | 37

Hold

Hold the last touched ribbon position.

TouchOff (Touch Offset)

Resets the zero point to wherever you rst touch the rib­bon. This allows very long sweeps down if you touch the
rightmost edge of the ribbon. This mode is similar to how
the ribbon controller on the classic Yamaha CS-80 synthe­sizer worked.

Output

Figure 64. Output Menu, page 1 of 1

The Solaris’s analog outputs are congured as 4 pairs of

“stereo” outputs. Also available is the S/PDIF stereo output.
For each of these stereo outputs, you can decide the
source of the audio signal. The choices are: Off, Synth,

EXT-1/2, EXT-3/4, S/PDIF, and FXchan1-4.

Synth

EXT-1/2,
EXT-3/4, or
S/PDIF

FXchan1-4

Table 10. Audio output sources

This system provides the maximum in exibility for FX

bussing, but can be a bit confusing. Combined with the FX
Channel input options, several variations of routing are pos­sible. For example:

You want to process the dry synth with 4 effects,
each one having its own direct output assigned. In
this case, you would have a screen like this:

Sends the direct output of the Solaris prior to
any of the FX.

Routes the signals directly from their input
to the outputs, as a ‘pass-thru’ function (no
processing of the External or S/PDIF signals will
occur).

Outputs routes the sum total of that FX channel
to the assigned output.

have something like this:

Figure 65. Sample output routing

You would then set up FXchan1 to take the Synth as input,
and select the Chorus/Flanger only. Then you would set up
FXchan 2 to take FXchan1 as Input, and select the Delay
effect only. With this example, you have 2 FX channels in
series, coming out of analog outs 3/4.

Effects Channel (FXChan)

Figure 66. Effects Channel Menu, page 1 of 4

Solaris provides four separate effect channels, each with
four effect slots. There are four effect modules (Chorus/
Flanger, Phaser, Delay and EQ) that can be plugged in to
these slots. There is only one of each effect module, but
they can be applied to any slot in any of the four effect
channels. The effect modules are described in the next
section.

FX Channels are different from FX Slots. Each Channel (or
FX buss) has room for up to 4 possible effects, however,
the four effects can only be selected once, because of the
‘Effects Pool’ concept - any FX Slot can select from the
available effects in the ‘pool’, but once an effect is selected
somewhere, it is removed from the pool, and no longer
available to any other FX slot.

To navigate between the four effect channels, press
the Inc/Dec buttons beside the Graphic Display
while in the FxChan soft menu.

Table 11. Sample output routing

You would then set up each of the Effects Channels (see
below) with the dry Synth as input, and only one effect
selected for each FX Channel.

You want the dry synth to have a Flanger effect,
and send that to one output, and then send the

anged synth into a Delay, and have that come out

a different output. For the Output page, you would

Each of the four effect channels has the following param­eters:

Input

Synth

Ext-1/2

Ext-3/4
S/P-DIF
FXchan(N)

The audio signal directly from the VCA.

External audio inputs 1 and 2

External audio inputs 3 and 4

S/PDIF input

Output of any of the other three effects chan­nels.

EFFECTS CHANNEL (FXCHAN)38 | GRAPHIC DISPLAY

Table 12. Effects Channel Inputs

FX-1, FX-2, FX-3, FX-4

These are the four effect slots available in each effect chan­nel. Select from the four available effect modules.

Chorus/Flanger (ChorFla)

Figure 67. Chorus Flanger Menu, page 1 of 1

This module is a chorus and anger effect. The anging

effect is achieved by adding positive or negative feedback
into the signal via the Feedbck parameter.

Mode

Bypass or enable the effect.

Freq

Speed of the modulation, from 0.00Hz to 50.0Hz.

Depth

Depth of the modulation effect, from 0% to 100%.

Phase

Figure 68. Phaser Menu, page 1 of 1

Mode

Bypass or enable the effect.

Freq

Speed of the modulation, from 0.00Hz to 50.0Hz.

Depth

Depth of the modulation effect, from 0% to 100%.

Phase

Phase, +/- 180 degrees.

Offset

Allows you to specify the center point of the frequency be­ing swept, in Hertz. The range is 0.00Hz to 20000.0Hz.

InLevel

Gain of the input signal.

Feedbck.

Amount of feedback to be applied, from 0%-100%.

Phase, +/- 180 degrees.

Offset

Shifts the center point of the frequency being swept, from

0-127.

InLevel

Gain of the input signal.

Feedbck.

Amount of feedback to be applied, from 0%-100%.

Dry

The amount of original, unaffected signal passed to the
output.

Wet

The amount of effect sound passed to the output.

Phaser

Dry

The amount of original, unaffected signal passed to the
output.

Wet

The amount of effect sound passed to the output.

Delay

Figure 69. Delay Menu, page 1 of 1

The Delay effect in Solaris is actually two different delay
effects, a ‘normal’ stereo delay and a cross delay. The
standard stereo delay consists of two delay circuits (left
and right) that have feedback loops into their own inputs.
The cross delay features two delay circuits whose feedback
circuits are ‘crossed over’ into the inputs of the other delay,
creating interesting panoramic effects. Both delay types
have the following parameters:

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Mode

Allows you to Bypass the effect, or operate it as a standard

DELAY | 39

Delay, or XDelay (cross delay).

synthesis modules.

Time L

The time (in milliseconds) between the initial input sound

and the rst delayed output of the left channel.

Time R

The time (in milliseconds) between the initial input sound

and the rst delayed output of the right channel.

Feed L

The amount of feedback for the left channel

Feed R

The amount of feedback for the right channel

Damp

The amount of high frequency damping applied. Higher
values dampen high frequencies more quickly, more closely
approximating the natural decay of high frequencies in a

room.

Dry

The amount of original, unaffected signal passed to the
output.

The Prophet VS introduced the idea of changing the

harmonic structure of the ‘raw material’ to be ltered and

shaped by using a 2-dimensional mixer. We called it Vec­tor Synthesis. You can also program this with one of the
regular Mixers, but to make things easier, I put in two of

these ‘Vector Mixers’ (essential quad panners) to simplify

programming. The VS1 mixer has 4 signal inputs, each with
an initial Level. The X-axis (controlled by SourceX) will
crossfade between inputs 1 and 2; the Y-axis (controlled by

SourceY) between inputs 3 and 4. The ‘factory default’ for

Source X & Y are the 2 outputs from the Joystick, but you
could program anything you want.

Figure 71. Vector Synthesis Menu, page 1 of 2

Wet

The amount of effect sound passed to the output.

MIDI Clk

MIDI Sync allows the delay effect to be synchronized to the
MIDI Clock. Clock division selectors replace the millisecond
delay times for the right and left channel.

EQ

Figure 70. EQ Menu, page 1 of 1

The EQ effect module is a 3-band EQ, each band with

an assignable center frequency between 0.00Hz and

20000.0Hz. A Gain cut or boost of 12 dB per band is avail­able. Q controls the bandwidth of the cut or boost; 0.7 is
the minimum Q setting, and allows the widest bandwidth

around the center frequency. 20.00 is the maximum, giving

the narrowest bandwidth.

Figure 72. Vector Synthesis Menu, page 2 of 2

The X/Y “motion” of the vector synthesis module can be
assigned to the hardware Joystick, or modulated by any
of Solaris’ extensive modulation sources. When assigned
to the Joystick, each corner of the control represents the
full level of one of the four input sources. X-Offset and Y-

Offset shift the value of the x/y control, moving the “center”

of the Joystick away from 0,0.

If you take a look at the factory setting (default patch when
you switch on the Solaris without any CF card), you can
see that Input1-Input4 are set to Oscs 1-Osc 4, all at full
Level. Moving to the next VS 1 page, you will see JoyX for

SourceX, and JoyY for SourceY, both at 100%, with no

offsets. If you now set the tuning for each oscillator at obvi­ous different intervals, you can use the Joystick to isolate
each oscillator, and crossfade between the 4 oscillator
outputs, with the center Joystick position being an equal
mix of all 4 inputs.

Amplitude Modulation (AM)

Vector Synthesis (VS)

The Vector Synthesis section allows four different sound
sources to be mixed/morphed dynamically based on a 2 di­mensional x/y vector graph. Vector Synthesis allows Solaris
to achieve swirling, moving dynamic sounds reminiscent

of the Sequential Circuits Prophet VS. Solaris has 2 vector

Figure 73. Amplitude Modulation Menu, page 1 of 1

AMPLITUDE MODULATION (AM)40 | GRAPHIC DISPLAY

Amplitude Modulation (AM) is a process of varying the
amplitude of one sound (the carrier) by the amplitude of

another (the modulator). If the frequency of the modulator is

sub-audio, AM results in a tremolo effect. If the modulator’s

frequency is above around 10hz, the timbre of the carrier

is affected by the introduction of additional partials to the
output. When two sine waves are used, AM results in two

additional sidebands equally spaced around the carrier’s
fundamental frequency. The frequency of the sidebands is

the sum and difference of the carrier and modulator’s fre-

quencies, and the amplitude of the new partials is half the

amplitude of the carrier.

Solaris has 2 AM modules. Any source can be used as the
carrier or modulator, though a classic AM synthesis tech-

nique is to modulate the amplitude of one oscillator with

another oscillator. The following algorithms are available:

Shift

Clip

Abs
(abso­lute)

Ring

Table 13. AM Algorithms

Typical AM that produces two sidebands around the
carrier

Multiplies the two input signals and clips the result.
Creates two strong sidebands (stronger than those

generated by Shift) around the carrier’s frequency,
and on strong sideband at a much lower frequency.

Phase cancellation eliminates the original carrier.

Outputs the absolute value of multiplying the two
input signals without clipping. Creates two weak
sidebands widely spaced around the carrier.

Classic ring modulation that creates two strong
sidebands around the carrier and eliminates the car­rier completely due to phase cancellation.

The AM section can be side chain modulated by selecting a
modulation source for the Control parameter.

Amount

This is a bipolar mixer for the output of the algorithm. Using

Ring Mod as an example: if you have the Offset at 0, the

Amount will seem just like a bipolar mixer (with negative

values just producing an inverted phase signal), and when
the Amount is at 0, you won’t hear anything. However, if
you then adjust the Offset to some other value, you will
hear some of the original Carrier input, and then by adjust­ing the Amount, you can hear the Ring Modulated output
increase.

Offset

Shifts the Carrier input above or below (or around) zero.

Looping Envelope (LoopEG)

The Looping Envelope is a two dimensional, 8-stage bipo­lar envelope with looping capability. This envelope can be
selected as a modulation source for any other modulation
destination.

Figure 74. Looping Envelope diagram

Figure 75. Looping Envelope Menu, page 1 of 4

Parameter

Time1 –

Time8

Start

KeyOff

Table 14. Looping Envelope Main mode, page 1 parameters

Description

These controls determine the length of each
of the 8 segments of the envelope. The default

range of the time controls is 1.0 ms – 20.0

seconds. The Looping Envelope can also be
synced to the MIDI clock by setting the Sync

parameter on menu page 4. When synced to
MIDI clock, the time values for each segment
are shown in time divisions.

When Loop is enabled, this control determines
the starting point of the loop. The envelope
will play as normal up until the KeyOff Point,
then loop back to the segment indicated by this
control. The loop will continue until the key is
released, at which point the release phase of
the loop is activated, from KeyOff Point through
segment 8.

This control serves two purposes. When Loop
Mode is active, KeyOff Point determines the last

segment in the loop. KO Point also denes the

beginning of the release stage of the enve­lope. If Loop Mode is off, segments 1 to KeyOff
Point represent the attack and decay portions
of the envelope. The KeyOff Point represents
the Sustain portion. Segments following the
KeyOff Point represent the release phase of the
envelope. When Loop Mode is on, the envelope
behaves as described above.

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LOOPING ENVELOPE (LOOPEG) | 41

Figure 76. Looping Envelope Menu, page 2 of 4

Parameter

Level 1x –

Level 4x

Level 1y –

Level 4y

Table 15. Looping Envelope Main mode, page 2 parameters

Description

These controls determine the output level
for the X dimension of each segment of the
envelope. Since this is a bipolar envelope, the
range of these controls is -/+ 127.

These controls determine the output level
for the Y dimension of each segment of the
envelope. Since this is a bipolar envelope, the
range of these controls is -/+ 127.

Key Tables

Figure 79. Key Table Menu, page 1 of 1

Solaris provides 4 key tables for use as modulation sourc­es. The key tables take a normal note input and scale it
across the table as an output signal. Each key table is
represented by a separate soft menu.

The key tables allow you to set any value from 0.0%-

100.0% for each key, by using keyboard entry. Simply

select the key you want to adjust by playing it on the
keyboard. You will see the current number appear in the

Current column in the display. Using the Data Wheel (or

lower row knob), you can adjust this value, changing it from

Interpol(ated) to a Fixed value. Values for keys in be-

tween the ones you set are calculated using linear interpo­lation. A Previous eld and Next eld are provided to show
you the values that you have assigned (Fixed).

Figure 77. Looping Envelope Menu, page 3 of 4

Page 3 displays the X and Y levels for the remaining 4 seg­ments.

Figure 78. Looping Envelope, page 4 of 4

Parameter
LevSrc,

TimeSrc

LevAmt,
TimeAmt

Slope

Sync

Repeat

Loop

Table 16. Looping Envelope Main mode, page 4 parameters

Description

These parameters select from a list of modula­tion sources to modulate all segments’ levels
or times.

These parameters select from a list of control­ler values to modulate all segments’ levels or
times.

Adjusts the slope of each segment; 0 is linear,
127 is exponential

Allows use of MIDI Clocks to set the timing
values

Sets the number of times the loop will repeat.
Range is Off, 1-9, Inf(inite).

This enables/disables the looping feature of
this envelope. When enabled, the envelope

will loop between the segments specied by

the Loop Start and KO Point controls.

The Key Tables do not yet have a graphic to show you the
table scaling, so instead we have provided a number of

parameters to dene the table’s output, and to show what

is going on as best as possible. There are three param­eters that determine the table values. These are: Previous,

Current and Next, as shown in Figure 79. The numbers

shown below each of these are MIDI note numbers. If the
key table is empty, then you will see dashes below Previ-

ous and Next, and whichever key you are pressing as the
Current parameter value.

Below these three parameters are: Value, Interpol, and

Value. Again, if the key table is empty, these parameters

will each have a value of 0.0% showing. If there is a valid
key table, the display will show percentage values for any
note played on the keyboard, with Interpolated or Fixed val­ues being adjustable by the user. Notes that have been set
in the table and which are above or below the current note
being played will appear, with their % values, in the Prev.
and Next elds.

Example: Let’s select note 36 (lowest C on the Solaris), and
change the Interpol value to 5.0% (adjust the knob below
Interpol). This label changes to ‘Fixed’, signifying that note
36 now as a xed value of 5.0%. Figure 79 shows the cur­rent state of the graphic display. Now select note 77 (F5).
Set its Value to 10.7%. Now play note 55 (G3). You will see
the following in the display:

KEY TABLES42 | GRAPHIC DISPLAY

Figure 80. Key Table example

Note in the lower right corner a parameter that says Active,
with a value of 5.0%. This tells you that 2 notes have had

their values assigned in the key table. They are now xed.
The display tells us that there is a xed table value below

the current key at note 36 (the Previous note to the current

one that’s assigned a xed value), and another xed value

at note 77 (the ‘Next’ note above the current one that has a

xed value). For all values in between the two xed notes,

the Solaris will interpolate or calculate a value, so for note
55, we are getting an output of 7.6%.

You can assign xed values for every note in the

MIDI scale. Custom tunings or scales can be crafted
this way. Or, the interpolated values output by the
key table can be used as modulation sources for
parameters other than oscillator pitch.

The Active parameter tells you how many points you have
assigned, and the Init parameter allows you to clear the
key table. Just set it to Active, then press Enter. Press

Exit to cancel.

Lag Processor

gradual pitch changes - route the LFO into the lag
processor, then the lag processor into the Pitch
modulation of the osc.

You are modulating the frequency of one oscilla­tor by another at audio rates. Putting the modula­tion source through the lag processor can take the

“edge” off the waveshape by lowpass ltering it,
giving a bit less harsh frequency modulation results.

You have a controller signal (either an internal one
like the ribbon or Joystick or Mod Wheel, or an ex­ternal one like Breath or one of the CC assignables)
and it is being used for pitch control...but you are
hearing some ‘zippering’ or small discreet stepping
of the pitch. Use a Lag processor to smooth these
out - and you usually don’t need much; just a few
ms.

You want to use one of the assignable switches
(lower left front panel) to move pitch or cutoff (or

whatever) up a specic amount (like an octave

jump up and back), but you want it to ‘glide’ on the
way. Since the output of the assignable switches is
either 0 or max +, you can set the Amount of pitch
or cutoff change in the Mod mode pages, and then
feed the switch through a lag processor to give
you an exponential glide affect when you use the
switch.

Figure 81. Lag Processors Menu, page 1 of 1

There are four lag processors that can be used to “smooth”
any signal, either control signals or audio (though mostly
used with control signals). The lag processors are essen-

tially single pole (6 dB) lowpass lters. Some examples of

their use follow:

The output of the step sequencer - say you want to
have a lter cutoff opening and closing gradually,
not abruptly, by using one of the sequence rows.
Just feed a SeqA, SeqB, SeqC, or SeqD output into

a lag processor, and then route the lag processor to

control the lter cutoff.

You want to use the S/H output of an LFO on the
oscillator pitch, but don’t want abrupt pitch chang­es. Maybe you are running the LFO at an extremely
slow rate to give random subtle pitch variations
(like the drift of an unstable analog osc). If you
use a slow lag time, you can have very small and

Envelope Follower (EGFoll)

Figure 82. Envelope Follower Menu, page 1 of 1

The Envelope Follower allows you to derive an envelope
based on the amplitude envelope of the Input signal.
The resulting envelope could be used to control the cutoff

frequency of a lter, for example, allowing a classic “wah”

effect to be created based on the envelope of the incoming
audio signal.

Input

The input signal whose amplitude envelope will be used to
derive a control envelope.

Attack

The length, in milliseconds, of the attack portion of resulting
envelope. Increasing this value will “smooth” the resulting
envelope, by ignoring peaks in the incoming signal’s ampli­tude envelope that are shorter than this value.

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ENVELOPE FOLLOWER (EGFOLL) | 43

Release

The length, in milliseconds, of the release stage of the
resulting envelope. Increasing this value will “smooth” the
resulting envelope, by ignoring amplitude peaks in the
incoming signal that are shorter than the release phase of
the envelope.

InLevel

The gain level of the incoming signal. Increasing this value
increases the envelope follower’s sensitivity to the input
signal.

OutLevel

The output gain of the resulting control signal. Increasing
this value increases the depth of the output signal.

stored for each section, allowing one to go between a

Main page and a Mod mode page.

Wrap

Allows continuous cycling of the parameter pages. If Wrap
is Off, page selection will stop at the nal page, whether
incrementing or decrementing.

System parameters are not stored in presets.

Save

Certain parameters in the Solaris make more sense to be
stored once, for overall use in the synth, instead of per

preset. These parameters are stored in the Global Init le,

abbreviated in the Factory folder on your CF card as ‘glo.
ini’.

System Menu

Figure 83. System Menu, page 1 of 1

Tune

Applies +/- 100 cents tuning to the entire synthesizer. This
is because you may want to play the Solaris along with an
acoustic instrument that is not at concert pitch, and cannot
be retuned easily (such as an old piano). You can set the
Fine Tune as needed, and still select through the presets
without resetting this parameter.

Load BPM

Allows you to override the stored preset values for BPM.
If LoadBPM is Off, the programmed BPM will be ignored,
and the current BPM setting will be used for all presets

Load Outs

This le is created when you set the Save parameter on the

System page to Active, and then press Enter. The Global

init le contains all of the parameters on the System and

MIDI pages, as well as the polarity settings for the foot
switches (set on page 2 of the Home parameters).This glo.

ini le is loaded into the synth for use when you rst turn on

your Solaris.

MIDI Menu

Figure 84. MIDI Menu, page 1 of 2

Channel

MIDI channel the Solaris sends and receives on.

PrgChng

Allows you to override the stored preset values for the
output assignments. If LoadOuts is Off, all programmed
signal routings in the Output section (see “Output” on page

38), including FX routings, will be ignored. The current
Output selection and FX bussing will be used for all Pre­sets.

This will adversely affect many of the presets which

have specic effects designed as an integral part of

the sound. This function is provided if for some rea­son you wish to have the Solaris audio coming from
output jacks that are not normally programmed in
the factory Presets

Split

Limits the Inc/Dec buttons to select pages only from the
Main or Mod group. The most recent displayed page is

When On, Solaris will respond to program change mes­sages over MIDI.

SendArp

When On, Solaris will send the notes played by the internal
arpeggiator to the MIDI Out port.

Omni

Turns MIDI Omni mode On or Off.

LocalOff

When On, Solaris does not respond to MIDI messages
from the physical keyboard.

Tx-NRPN

When On, Solaris will transmit Non-Registered Parameter
Numbers over MIDI.

MIDI MENU44 | GRAPHIC DISPLAY

Rx-NRPN

When On, Solaris will receive Non-Registered Parameter
Numbers over MIDI.

MIDICtrl

This parameter determines whether or not Solaris will send
or receive MIDI signal. It should be defaulted to On.

ClkSrc

Determines whether the Solaris will use its internal MIDI
clock, or sync to an external MIDI clock source. When set
to Ext, Solaris will sync to an external clock. When set to

Send, Solaris will sync to its internal clock and also send

clock signal out over MIDI out.

you would want to route the CC 1 through a Lag proces-

sor rst, and then select that Lag processor as your Mod

Source, using a small amount of lag to ‘smooth out’ the
control signal.

Home Menu

Volume

When On, Solaris will respond to volume change mes­sages over MIDI.

Figure 85. MIDI Menu, page 2 of 2

There are ve assignable MIDI Control “inputs”, labeled CC

1-5. The value that appears below each of these labels is

the actual MIDI Control number that the user wants to as­sign to the CC input. That input is then available as a Mod
Source in all the Mod Lists. This provides for a way to use
a MIDI Controller that wasn’t included in the standard Mod
List. Here’s how it works:

Let’s say you have an external MIDI controller box, such
as the Kawai K5000 Macro Control. This box has some

dedicated knobs that put out specic controller values, such

as Release (72), Attack (73), and Cutoff (74). This means,
when you turn the knob that is called ‘Cutoff’, it will send its
knob output as MIDI Control 74.

Now, let’s say you wanted to use this knob as a source for
modulation in the Solaris. On page 2 of the MIDI menus,
you can assign up to 5 control numbers, and in this exam­ple, we are going to select a value of 74 for CC 1.

If I plug the Macro Control box into the MIDI input of the
Solaris, when I turn the ‘cutoff’ knob on the box, it will send
a value to wherever CC 1 is programmed to go. When you
select Modulation Sources, you will see that CC1 is one
of the choices, so you could go into a Filter modulation
source, set the Destination for Cutoff, and then select CC
1 as the Mod Source with a full Amount, and you would

have the knob from the box controlling the lter cutoff of the

Solaris.

Figure 86. Home Menu, page 1 of 4

GldType

The global glide type setting: portamento (Porta), glissan­do (Gliss), ngered portamento (FingPort) and ngered
glissando (FingGlis). Glissando is “quantized portamento”.

It is as if you were sliding your nger up a guitar neck, with

discreet semitone intervals being played as you slide. “Fin­gered” means it only glides when legato notes are played
(you play a new note before lifting off the old note).

GldMode

Parameter
C-Time

C-Rate

Exp

Table 17. Glide Modes

Description

Constant Time. Allows you to specify the time
of the glide using the GldTime parameter.

Constant Rate. 0% to 100%, with 100% being
the shortest glide time.

Exponential.

GldRange

Describes the range of the glide between two notes. When
set to 100%, you get the full range expected. If you are in
Gliss mode, for example, you will hear each discrete semi­tone played between the two notes. For example, if you
play C2, then C4. At 100%, you hear the full range gliding.
If you set the Range to 50%, the Glide will start from C3 up
to C4.

It is best to set PlayMode to Mono to hear the effect
of glide settings.

GldTime

Duration of the glide from 0.0ms to 10.0sec (or 0% to 100%
for Constant Rate glide mode).

Playmode

The other thing to know about this is that these CC values
are usually 0-127, so they may sound ‘stepped’ when you

use them, especially on frequency controls. In that case,

HOME MENU

Determines if the Solaris will play in polyphonic or mono­phonic mode.

The Unison button on the front panel (under the

MIDI MENU | 45

LFOs panel) will override the PlayMode setting, un­less the UniVoice setting is Chord.

Legato

Determines if a voice is retriggered when it is stolen for use
in legato mode or not. When Legato mode is Off, only the

most frequently pressed key will sound. In Legato mode

(reassign or retrigger), a key that is held down will re-sound
after another key is played and released. Reassign mode
reassigns the voice to the original note, resulting in a legato
effect. Retrig. mode retriggers the original note.

EgReset

Shutdwn mode forces the envelopes to be reset to zero

for each new note-on event. In Running mode, the enve­lopes continue running from wherever they are currently
when a new key is pressed.

NotePri(ority)

When PlayMode is set to Mono mode, note priority deter­mines which key pressed will have priority, i.e., which note
will be sounded. In Low mode, the lowest note played on
the keyboard will sound. In High mode, the highest note
played on the keyboard will sound. In Last mode, the most
recently pressed key will have priority. The early Minimoogs
had a low note priority; most synths now use last priority.

Figure 87. Home Menu, page 2 of 4

ExpPed

Expression Pedal. A continuous value. Can be assigned to
control Expr (volume level) or overall Pan position, relative
to the initial pan setting of each part.

SusPed1 and SusPed2

Sustain Pedals (switches). Values for both pedals can be:

Sostenuto, Sustain (interacts with the front panel Hold

button), Ribbon Hold, Sequencer On, Arpeggiator On,

Arpeggiator Hold, Arpeggiator Transpose. Refer to

Table 18 for details about Arpeggiator Transpose.

Pol.

Each pedal has this parameter. It allows you to set the po­larity of the pedal. Pedals can also be completely disabled
by selecting a value of Off. This value is stored as a global
value.

UniVoice

This parameter determines how many of Solaris’s voices
should be assigned to a single note. The more voices as­signed, the thicker and punchier the sound will be, though
polyphony will be affected if you are using PlayMode set to

Poly. There is an “intelligent assignment” that will allow you

want to stack unison voices in polyphonic mode, however.
By setting UniVoice to 3, for example, each note you play
will have 3 voices assigned to it. The more voices you
assign, the lower your polyphony will be. The current OS

supports 10 voices, so in this conguration you would have

3 voices of polyphony.

The UniTune parameter can be applied to in either
mono or poly mode.

If you want to play a chord stack on one note, set this
parameter to Chord, ensure that PlayMode is set to Poly
and the Unison button on the front panel is off. Press and
hold a chord, then press the Unison button. As long as the

Unison button is on (LED lit), any notes you play will play

back your stacked chord.

UniTune

This parameter acts as a tuning spread (+/- 100 cents)
between the voices specied in UniVoice. The larger the
value, the more detuned from each other the voices will
become. This can result in an extremely “fat” sound.

Assign1 and Assign2

These are the assignable switches on the front panel, to
the left of the Octave switches. Possible values are:

Parameter
GloGlide

Glide
01-Glide 04

Description

This turns Glide Type from Off to whatever is
programmed for global GldType.

This turns on/off the individual oscillator glides,
as programmed on page 2 of the oscillator’s

Main Mode. See “Oscillator Parameters

(Main Mode)” on page 24.

GlideAll
RibHold

ArpTrans

This affects all 4 oscillator glides.

When On, this keeps the most recent value
“touched” on the ribbon (so you don’t need to
keep holding down the ribbon).

Allows you to transpose the active arpeggiator
pattern. Start the arpeggiator and press the

Hold button. Now, press the assignable but-

ton that is congured for ArpTrans. Playing
C4 on the Solaris keyboard will play the pat­tern in its original key. Playing any other note
on the keyboard will transpose the pattern.
Press the assignable button again (turn it off)
to play a new arpeggiator pattern.

Table 18. Assignable Button modes

Mode

Each of the assignable buttons can be congured to func­tion as Toggle buttons, or Moment(ary) buttons.

MIDI MENU46 | HOME MENU

Figure 88. Home Menu, page 3 of 4

Transp(ose)

Transposes Solaris +/- 63 semitones.

PW Up

Denes the range that the pitch wheel outputs in the upper

half of its travel, +/- 63 semitones.

PW Down

Denes the range that the pitch wheel outputs in the lower

half of its travel, +/- 63 semitones.

BPM

Beats Per Minute. When not synced to an external MIDI
clock, this parameter can be used to set the internal tempo
between 1 and 255 BPM.

Free CF-Space

Free storage space on the inserted CompactFlash card.

VTIntens

Velocity Table Intensity, (0-100%). For the table shapes at
50%, the table shape is linear. At 0% it is logarithmic, and
at 100% it is exponential.

VTOff

Velocity Table Offset. This parameter is an offset, which
allows you (at larger values) to shift the zero point of the
control signal from velocity.

ATIntens

Aftertouch Table Intensity, (0-100%). For the table shapes
at 50%, the table shape is linear. At 0% it is logarithmic,
and at 100% it is exponential.

ATOff

Aftertouch Table Offset. This parameter is an offset, which
allows you (at larger values) to shift the zero point of the
control signal from aftertouch.

Figure 89. Home Menu, page 4 of 4

Serial

Internal serial number of the Solaris unit.

OS-Version

Currently loaded operating system version.

HOME MENU

MIDI MENU | 47

Appendix 1- Oscillator Parameters

MM1 Multimode Oscillator

Parameter Parameter Description Values Description

Main mode, page 1 parameters

Type Type of oscillator MM1 Multimode oscillator

Wave Waveform generated by the oscillator Sine Sine wave

Tri Triangle wave

Ramp Sawtooth with upward ramp

Saw Sawtooth with downward ramp

Pulse Pulse waveform, which produces a square wave when

the Shape parameter is 50%. 0% and 100% Shape
produce no sound.

Noise White noise

S/H Tunable noise

MorphSaw A morphing waveform that starts as a sine wave when

the Shape parameter is 0%, and gradually changes
into a sawtooth waveform when the Shape parameter
reaches 100%.

MorphSquare A morphing waveform that starts as a sine wave when

the Shape parameter is 0%, and gradually changes

into a square waveform when the Shape parameter

reaches 100%.

Jaws A special waveform comprising 7 stacked sawtooth

waves, whose tuning spread is controlled by the Shape
parameter.

Shape For waveforms that have variable

shapes, i.e., pulse, morphing, and
Jaws types of waveforms, this pa­rameter determines the shape of the
waveform the oscillator will generate.

Coarse Parameter controls the pitch of the

oscillator, in semitones

Fine Fine tuning of the oscillator, in percent-

age of one semitone

Main mode, page 2 parameters

Sync Species the master oscillator this

oscillator will be synchronized with

Phase The phase the slave oscillator will start

from when its cycle is reset by the
master oscillator.

Glide Exponential glide time for this oscillator 0.0 ms to 20.0

Glide Turns oscillator glide on and off On, Off

Table 19. Parameter Table for Multimode (MM1) Oscillator

0% to 100% Note that this parameter doesn’t affect all waveforms.

When the Jaws waveform is selected, the Shape
parameter affects the tuning spread between the 7
stacked sawtooth waves.

-60 to +60

-100% to 100%

OFF The oscillator is not synced with another oscillator

Gate The oscillator’s waveform phase will be reset with each

note-on event.

Osc 1-Osc 4 The oscillator will be hard synced with the oscillator se-

lected by this parameter. Note that an oscillator cannot
be synchronized to itself.

-180° to +180° For this oscillator, only the Sine, Tri, Ramp, Saw, &
Pulse waveforms can be synced.

sec

48

WT Wavetable Oscillator

Parameter Parameter Description Values Description

Main mode, page 1 parameters

Type Type of oscillator WT Wavetable oscillator

Wave The wavetable the oscillator will play 1-64 There are 64 different wavetables, each with 60+

individual waveshapes that can be swept using
various modulation sources. The wavetables
in Solaris are the original Waldorf Microwave
wavetables, used with special permission from
Waldorf. See Table 21 for the full list of waveta-

bles. The Wave parameter corresponds 1:1 with
the wavetables listed in the table, i.e., Wave 33 in
the Wavetable oscillator is the SawSync 1 wavet­able.

Shape Determines which of the 64 waveshapes to

play from the wavetable chosen in the Wave
parameter.

Coarse Parameter controls the pitch of the oscilla-

tor, in semitones

0% to 100%

-60 to +60

Fine Fine tuning of the oscillator, in percentage of

one semitone

-100% to 100%

Main mode, page 2 parameters

Glide Exponential glide time for this oscillator 0.0 ms to 20.0

sec

Glide Turns oscillator glide on and off On, Off

Table 20. Parameter Table for Wavetable (WT) Oscillator

Wavetables

1 Resonant 17 Formant 1 33 SawSync 1 49 K+Strong2

2 Resonant 2 18 Polated 34 SawSync 2 50 K+Strong3

3 MalletSyn 19 Transient 35 SawSync 3 51 1-2-3-4-5

4 Sqr-Sweep 20 ElectricP 36 PulSync 1 52 19/twenty

5 Bellish 21 Robotic 37 PulSync 2 53 Wavetrip1

6 Pul-Sweep 22 StrongHrm 38 PulSync 3 54 Wavetrip2

7 Saw-Sweep 23 PercOrgan 39 SinSync 1 55 Wavetrip3

8 MellowSaw 24 ClipSweep 40 SinSync 2 56 Wavetrip4

9 Feedback 25 ResoHarms 41 SinSync 3 57 MaleVoice

10 Add Harm 26 2 Echoes 42 PWM Pulse 58 Low Piano

11 Reso 3 HP 27 Formant 2 43 PWM Saw 59 ResoSweep

12 Wind Syn 28 FmntVocal 44 Fuzz Wave 60 Xmas Bell

13 High Harm 29 MicroSync 45 Distorted 61 FM Piano

14 Clipper 30 Micro PWM 46 HeavyFuzz 62 Fat Organ

15 Organ Syn 31 Glassy 47 Fuzz Sync 63 Vibes

16 SquareSaw 32 Square HP 48 K+Strong1 64 Chorus 2

Table 21. Original Waldorf Wavetables

49

CEM Curtis Electromusic Oscillator

Parameter Parameter Description Values Description

Main mode, page 1 parameters

Type Type of oscillator CEM Curtis Electromusic oscillator emulation

Wave Waveform generated by the oscillator OFF No waveform is generated

Saw Sawtooth waveform

Tri Triangle waveform

Pulse Pulse waveform, which produces a square wave

when the Shape parameter is 50%. 0% and
100% Shape produce no sound.

Saw+Tri The oscillator generates a sawtooth and a trian-

gle wave simultaneously

Saw+Pulse The oscillator generates a sawtooth and pulse

wave simultaneously

Tri+Pulse The oscillator generates a triangle and pulse

wave simultaneously

S+T+P The oscillator generates a sawtooth, triangle and

pulse wave simultaneously

Shape For waveforms what have variable shapes,

i.e., pulse, morphing, and Jaws types of
waveforms, this parameter determines the
shape of the waveform the oscillator will
generate.

Coarse Parameter controls the pitch of the oscilla-

tor, in semitones

Fine Fine tuning of the oscillator, in percentage of

one semitone

Main mode, page 2 parameters

Sync Species the master oscillator this oscillator

will be synchronized with

Glide Exponential glide time for this oscillator 0.0 ms to 20.0

Glide Turns oscillator glide on and off On, Off

Table 22. Parameter Table for CEM Oscillator

0% to 100% For the CEM Oscillator, only the Pulse waveform

is affected by the Shape parameter. Pulse width
is affected in any of the waveshape combinations
that include the Pulse waveform.

-60 to +60

-100% to 100%

OFF The oscillator is not synced with another oscillator

Gate The oscillator’s waveform phase will be reset with

each note-on event.

Osc 1-Osc 4 The oscillator will be hard synced with the oscil-

lator selected by this parameter. Note that an
oscillator cannot be synchronized to itself.

sec

50

Wav Sample Playback Oscillator

Parameter Parameter Description Values Description

Main mode, page 1 parameters

Type Type of oscillator Wav Sample playback oscillator

Wave This parameter selects a sample from the

sample set the user has uploaded to Solaris

Shape No effect 0% to 100%

1-N

Coarse Parameter controls the pitch of the oscilla-

tor, in semitones

Fine Fine tuning of the oscillator, in percentage of

one semitone

-60 to +60

-100% to 100%

Main mode, page 2 parameters

Glide Exponential glide time for this oscillator 0.0 ms to 20.0

sec

Glide Turns oscillator glide on and off On, Off

Table 23. Parameter Table for Sample Playback (WAV) Oscillator

51

VS Vector Synthesis Oscillator

Parameter Parameter Description Values Description

Main mode, page 1 parameters

Type Type of oscillator VS Vector synthesis oscillator

Wave This parameter selects among the 94

single-cycle waveforms to play

Shape No effect 0% to 100%

1-94 Number of the single-cycle waveform to play

Coarse Parameter controls the pitch of the oscilla-

tor, in semitones

Fine Fine tuning of the oscillator, in percentage of

one semitone

-60 to +60

-100% to 100%

Main mode, page 2 parameters

Glide Exponential glide time 0.0ms to

20.0sec

Glide Turns oscillator glide on and off On, Off

Table 24. Parameter Table for Vector Synthesis Oscillator

1 SineWave 33 High Pipe 65 Pure
2 Sawtooth 34 Mass Organ 66 Medium Pure
3 Square 35 Reed Organ 67 High Harmonic 2
4 Warm Bell 36 Organ Ahh 68 Full Bell
5 Random Bell 37 Mellow Organ 69 Bell 1
6 Random Bell 2 38 Formant Organ 70 Pinched 2
7 Warm Bell 2 39 Clarinet 71 Cluster
8 Formant Bell 40 Ahh Female 72 Medium Pinched
9 Fuzzy Reed 41 Ahh Homme 73 Vox Pinched
10 Formant Aoh 42 Ahh Bass 74 Organ Pinched
11 Formant Ahh 43 Reg Vox 75 Ahh Pinched
12 TriPlus 44 Vocal 1 76 Piano Organ
13 Dissonant Bell 45 Vocal 2 77 Bright Reed
14 Pulse 1 46 High Ahh 78 No Fundamental
15 Pulse 2 47 Bass 79 Reed Harmonic
16 Square Reed 48 Guitar 80 Light Fundamental
17 Oohh 49 Nice 81 Mellow Organ
18 Eehh 50 Woodwind 82 Bell 2
19 Feedback 51 Oboe 83 Bell 3
20 Piano 1 52 Harp 84 Saw 3rd & 5th
21 E. Piano 53 Pipe 85 Sine 5ths
22 Medium Harmonic 54 Hack 1 86 Sine 2 Octaves
23 HiTop 55 Hack 2 87 Sine 4 Octaves
24 Warm Reed 56 Hack 3 88 Saw 5ths
25 3rd & 5th Harmonic 57 Pinched 1 89 Saw 2 Octaves
26 Hollow 58 Bell Harmonic 90 Square 5ths
27 Heavy 7 59 Bell Vox 91 Square Octave & 5th
28 Bell Organ 60 High Harmonic 1 92 Square 2 Octaves
29 Bass Bell 61 High Reed 93 Warm Low
30 Tine 1 62 Bell Reed 94 Bells
31 Phase Square 63 Warm Whistle
32 Orient 64 Wood

Table 25. Original Prophet VS waveshapes

52

Mini Oscillator

Parameter Parameter Description Values Description

Main mode, page 1 parameters

Type Type of oscillator Mini Minimoog emulation from the Sonic Core Mini-

max.

Wave Waveform generated by the oscillator Tri Triangle wave

Saw+Tri The oscillator generates a sawtooth and triangle

waveform simultaneously

Saw Sawtooth with downward ramp

Pulse1 The oscillator generates a pulse wave of a preset

shape

Pulse2 The oscillator generates a pulse wave of a preset

shape

Pulse3 The oscillator generates a pulse wave of a preset

shape

Shape The Shape parameter has no effect. The

Minimoog had three preset pulse waveform
shapes.

Coarse Parameter controls the pitch of the oscilla-

tor, in semitones

Fine Fine tuning of the oscillator, in percentage of

one semitone

Main mode, page 2 parameters

Glide Exponential glide time for this oscillator 0.0 ms to 20.0

Glide Turns oscillator glide on and off On, Off

Table 26. Parameter Table for Mini Oscillator

0% to 100%

-60 to +60

-100% to 100%

sec

53

Appendix 2- Modulation Sources

Modulation Sources List 1

Table 27 shows the modulation list we will refer to as Modulation Source List 1. This modulation source list is used by the
following components: Oscillators, Mixers, Insert FX, Filters, VCAs, and LFOs.

Source Name

OFF

LFO1 - LFO4 LFO 1 through 4

V-LFO Vibrato LFO
EG1 - EG5 Envelope Generators 1 through 5
EG6 Envelope Generator 6 (amplitude envelope)
LpEG1 X Looping Envelope’s X axis
LpEG1 Y Looping Envelope’s Y axis
Vel Velocity
AT Aftertouch
Note MIDI note number. The center (zero) point is E4 when using for key tracking, etc.
ModWh Modulation Wheel
AT+MW Aftertouch and Modulation Wheel summed
Rib1
Rib2
JoxX
JoyY
CC1 - CC5 User-assignable controllers. Refer to “MIDI Menu” on page 44 for details.

Seq A - D Step sequencers A through D

Ped1 Pedal 1
Ped2 Pedal 2
Btn1 Assignable Button 1
Btn2 Assignable Button 2
EnvFol Envelope Follower
KeyTab1 - KeyTab4 Key Tables 1 through 4
PolyAT Polyphonic Aftertouch
Lag1 - Lag4 Lag processors 1 through 4
Breath Breath controller
MaxVal Maximum value for that parameter
Osc1 - Osc4 Oscillators 1 through 4
Rotor 1 - Rotor 2 Rotor processors 1 and 2
AM1 - AM2 Amplitude Modulation sources 1 and 2
Vector1 - Vector2 Vector synthesis sources 1 and 2
Mixer1 - Mixer 4 Mixers 1 through 4
Filter1 - Filter4 Filters 1 through 4
InsFX1 - InsFX4 Insert effects 1 through 4
VCA1 - VCA4 VCAs 1 through 4
W Noise White noise source
P Noise Pink noise source
Ext1 - Ext4 External inputs 1 through 4
SPdifL S/PDIF output (left)
SPdifR S/PDIF output (right)

Table 27. Modulation Source List 1

Ribbon Controller signal 1
Ribbon Controller signal 2 (higher of 2)
Joystick X position
Joystick Y position

By adding pink and white noise sources to the modulation source list, we have freed up the MM1 oscillator
type from having to provide the noise sources.

54

Modulation Source List 2

Table 28 shows the modulation source list used by the Envelope Generator (EG) components. We will refer to this list as
Modulation Source List 2.

Source Name

OFF

Vel Velocity

KeyTrk Key tracking

ModWh Modulation wheel

CC1 - CC4 Continuous controllers 1 through 4

Table 28. Modulation Source List 2

55

Appendix 3- Filter Types

Table 29 shows the lter types available in Solaris.

LP = Lowpass, HP = Highpass, BP = Bandpass, BR = Band Reject (Notch), AP = Allpass.

The numbers describe the pole count for each, a pole providing 6 dB of ltering. There are several series
lter combinations.

Type Description

MM1 (Multimode) 23 lter variations are selectable. The 24 dB Lowpass (LP4) is very similar to the CEM LP lter of the Rev

3 Prophet 5s. Available modes include: LP4, LP3, LP2, LP1, HP4, HP3, HP2, HP1, BP4, BP2, BP2+LP1,
BP2+LP2, BP2+HP1, BP2+HP2, BR4, BR2, BR2+LP1, BR2+LP2, BR2+HP1, BR2+HP2, AP3, AP3+LP1,
AP3+HP1

SSM Emulation of the Solid State Music chip used in the Rev.1 and Rev.2 Prophet synths. A 4-pole, 24 dB

slope lter.

Mini Emulation of the lter used in the Minimoog. A 4-pole, 24 dB slope lter. Input levels easily distort.

Obie A 2 pole 12 dB state variable lter based on an Oberheim design. Includes: LB, HP, BP, and BR.

Comb The comb lter adds a delayed copy of a signal to itself, in either a feed-forward or feedback loop. Both

cause interference with the original signal, resulting in a frequency response that looks much like a comb.
Solaris’s comb lter can operate in two modes: Tube or Comb. Tube mode is a feedback loop, which

produced higher levels of resonance, making it better for modelling Karplus-Strong “plucked string” algo­rithm. Comb mode is a feed-forward design. The delay length is limited to onboard chip memory, so this

affects how low the cutoff frequency can go.

Vocal

Table 29. Solaris Filter Types

A format lter with ve vowels that can be morphed using the X-Fade control.

56

Appendix 4- MIDI Implementation

Clock Division Description

8/1 1 cycle every 8 measures

6/1 1 cycle every 6 measures

4/1 1 cycle every 4 measures

3/1 1 cycle every 3 measures

2/1 1 cycle every 2 measures

1/1 Whole notes

1/2P 1.5 Half note (3 quarter notes)

1/2 Half notes

1/2T Half note triplets

1/4P 1.5 Quarter note (3 eighth notes)

1/4 Quarter notes

1/4T Quarter note triplets

1/8P 1.5 Eighth note (3 sixteenth notes)

1/8 Eighth notes

1/8T Eighth note TRIPLETS

1/16P 1.5 Sixteenth note (3 32nd notes)

1/16 Sixteenth notes

1/16T Sixteenth note triplets

1/32 Thirty-second notes

1/32T Thirty-second note triplets

1/64 Sixty-fourth notes

1/64T Sixty-fourth note triplets

1/128 One hundred-twenty eighth notes

Table 30. MIDI Clock Divisions

57

Appendix 5- Sample Specications

Sample Pools

Solaris loads samples from the CompactFlash card into the RAM on its DSP chips. Solaris has a total of 32MB of sample

RAM. The samples are stored as mono 16 bit signed headerless (‘raw’) audio les on the CompactFlash card. .Wav les
will work as well. The current OS version looks for a folder named ‘Samples’ to nd the samples. A sample pool consists of
audio sample les and a text le dening how to load and play them. The denition of a sample pool is done with a simple
text le in the same folder (use a naming like ‘SamplePool-001.txt’, ‘SamplePool-002.txt’, etc.).

[Pool]
name = Glockenspiel
[Sample]
sampleindex = 1

lename = Glockenspiel B3.raw
samplerate = 44100
samplelength = 43753
loopstart = 43042
loopend = 43753
rootkey = 59
netune = 0
lowkey = 0
highkey = 127

[Sample]

sampleindex = 2
lename = Glockenspiel B5.raw
samplerate = 44100
samplelength = 40628
loopstart = 39628
loopend = 40628
rootkey = 83
netune = 0
lowkey = 0
highkey = 127

Figure 90. Example SamplePool text le

The sample pool le shown in Figure 90 contains two individual samples. These two samples will show up as samples 1

and 2 in the Wave parameter of any oscillator slot running a sample playback (Wav) oscillator type. It is possible to cre­ate multi-samples for use with Solaris, by editing the lowkey and highkey values of each sample, to indicate over which
MIDI note range they should each play.

Each new note will play the sample currently selected by the active oscillator(s). You could play and hold
sample 1 from the example above (using the sustain pedal or Hold button), change the oscillator’s Wave
parameter to the second sample, and press another key. The new note-on event will cause the oscillator

to play the second sample, even though the rst sample may still be playing.

58

Appendix 6- Self Test Menu

To access the Self Test Menu, press and hold the 1, 8 and 3 buttons on the numeric keypad simultaneously. Follow the
on-screen instructions to perform various diagnostic tests or to calibrate the analog controls, such as the Joystick, Rib-

bon Controller, and wheels.

Figure 91. Self Test Menu - page 1

Figure 91 shows the main menu of the Self Test Menu. In this case, you can see that the DSP diagnostic test has been
run. Figure 92 shows the second page of self-test menu options. Press Exit to leave the Self Test Menu.

Figure 92. Self Test Menu - page 2

The menu you are most likely to use is the Analog Ctrls menu. Access this menu by pressing 4 on the numeric keypad
when you are on the main Self Test menu page. The Analog Ctrls menu allows you to re-calibrate the physical controls
on Solaris.

Figure 93. Self Test Menu - Analog Ctrls menu

59

Appendix 7- Warranty

Warranty Regulations

Warranty Regulations

Zarg Music LLC warrants, that the described product has been free of failures within parts or components of the hardware
and was found to be fully functional. Please carefully read the following information, which is important in the case of prob­able damages or malfunctions:

If goods are being found defective, missing features described within the present documentation or becoming defective

due to eventual fabrication deciency or material defects within the rst twelve months after purchase, then Zarg Music

LLC shall at its sole discretion and evaluation replace or repair the defective parts or goods at no cost. Multiple repairs

shall be permissible. In case the malfunction or physical failure can not be xed, customer receives the right to cancel the

purchase with refund of the amount originally paid for the defective product. In case testing shows no physical damages,
customer will be charged for testing procedure and services.

Any deciencies caused by transportation have to be declared within a 14 days period after receipt of goods by written
notice. Please note, that any warranty repair at no cost ruled by the above regulations requires registration of name and

address by sending the proof of purchase together with the defective product.

To return defective goods, please contact the retailer where you purchased the product. As an alternative you can also
contact Zarg Music LLC directly to receive a RMA number for the defective product. PLEASE NOTE: It is mandatory to
return the product with the referring RMA number to avoid delays in repair. If possible, please also add a description of the
failure occurred to enable us executing the repair as soon as possible.

Zarg Music, LLC.
phone [phone]
[e-mail]

The hardware described within this documentation is herewith certied to conform to the requirements set forth in the

guidelines for electromagnetic acceptability (89/336/EWG)

Dipl. Inform. Jürgen Kindermann
SONIC CORE DSP Audio Technology GmbH, March 2009

60

Appendix 8- NRPN Table

None0 0 - 0
None0 0 - 1
None0 0 - 2
Master0PitchWheelRange1 - 5
None0 0 - 8
None0 0 - 9
Env1Delay0 - 10
Env1Att0 - 11
Env1Dec0 - 12
Env1Sus0 - 13
Env1Rel0 - 14
Env1ASlope0 - 15
Env1DSlope0 - 16
Env1SSlope0 - 17
Env1RSlope0 - 18
Env1LvlVel0 - 19
Env1AMod0 - 20
Env1DMod0 - 21
Env1SMod0 - 22
Env1RMod0 - 23
Env1ATMSrc0 - 24
Env1DTMSrc0 - 25
Env1SLMSrc0 - 26
Env1RTMSrc0 - 27
Env2Delay0 - 28
Env2Att0 - 29
Env2Dec0 - 30
Env2Sus0 - 31
Env2Rel0 - 32
Env2ASlope0 - 33
Env2DSlope0 - 34
Env2SSlope0 - 35
Env2RSlope0 - 36
Env2LvlVel0 - 37
Env2AMod0 - 38
Env2DMod0 - 39
Env2SMod0 - 40
Env2RMod0 - 41
Env2ATMSrc0 - 42
Env2DTMSrc0 - 43
Env2SLMSrc0 - 44
Env2RTMSrc0 - 45
Env3Delay0 - 46
Env3Att0 - 47
Env3Dec0 - 48
Env3Sus0 - 49
Env3Rel0 - 50
Env3ASlope0 - 51
Env3DSlope0 - 52
Env3SSlope0 - 53
Env3RSlope0 - 54
Env3LvlVel0 - 55
Env3AMod0 - 56
Env3DMod0 - 57
Env3SMod0 - 58
Env3RMod0 - 59
Env3ATMSrc0 - 60
Env3DTMSrc0 - 61
Env3SLMSrc0 - 62
Env3RTMSrc0 - 63
Env4Delay0 - 64
Env4Att0 - 65
Env4Dec0 - 66
Env4Sus0 - 67
Env4Rel0 - 68
Env4ASlope0 - 69
Env4DSlope0 - 70
Env4SSlope0 - 71
Env4RSlope0 - 72
Env4LvlVel0 - 73
Env4AMod0 - 74

Env4DMod0 - 75
Env4SMod0 - 76
Env4RMod0 - 77
Env4ATMSrc0 - 78
Env4DTMSrc0 - 79
Env4SLMSrc0 - 80
Env4RTMSrc0 - 81
Env5Delay0 - 82
Env5Att0 - 83
Env5Dec0 - 84
Env5Sus0 - 85
Env5Rel0 - 86
Env5ASlope0 - 87
Env5DSlope0 - 88
Env5SSlope0 - 89
Env5RSlope0 - 90
Env5LvlVel0 - 91
Env5AMod0 - 92
Env5DMod0 - 93
Env5SMod0 - 94
Env5RMod0 - 95
Env5ATMSrc0 - 96
Env5DTMSrc0 - 97
Env5SLMSrc0 - 98
Env5RTMSrc0 - 99
Env6Delay0 - 100
Env6Att0 - 101
Env6Dec0 - 102
Env6Sus0 - 103
Env6Rel0 - 104
Env6ASlope0 - 105
Env6DSlope0 - 106
Env6SSlope0 - 107
Env6RSlope0 - 108
Env6LvlVel0 - 109
Env6AMod0 - 110
Env6DMod0 - 111
Env6SMod0 - 112
Env6RMod0 - 113
Env6ATMSrc0 - 114
Env6DTMSrc0 - 115
Env6SLMSrc0 - 116
Env6RTMSrc0 - 117
Lfo1ModCMix1 - 118
Lfo1ModAmount1 - 119
Lfo1ModCMix2 - 120
Lfo1ModAmount2 - 121
Lfo1ModCMix3 - 122
Lfo1ModAmount3 - 123
Lfo1ModSource1 - 126
Lfo1ModSource2 - 127
Lfo1ModSource3 - 128
Lfo1ModControl1 - 130
Lfo1ModControl2 - 131
Lfo1ModControl3 - 132
Lfo1ModDest1 - 134
Lfo1ModDest2 - 135
Lfo1ModDest3 - 136

Lfo1Frequency0 - 138

Lfo1WaveSel0 - 139
Lfo1Phase0 - 140
Lfo1KeySyncSw0 - 141
Lfo1FadeInTime0 - 142
Lfo1FadeOutTime0 - 143
Lfo1DelayTime0 - 144
Lfo1OffsetSw0 - 145
Lfo1Level0 - 147
Lfo2ModCMix1 - 148
Lfo2ModAmount1 - 149
Lfo2ModCMix2 - 150
Lfo2ModAmount2 - 151

Lfo2ModCMix3 - 152
Lfo2ModAmount3 - 153
Lfo2ModSource1 - 156
Lfo2ModSource2 - 157
Lfo2ModSource3 - 158
Lfo2ModControl1 - 160
Lfo2ModControl2 - 161
Lfo2ModControl3 - 162
Lfo2ModDest1 - 164
Lfo2ModDest2 - 165
Lfo2ModDest3 - 166

Lfo2Frequency0 - 168

Lfo2WaveSel0 - 169
Lfo2Phase0 - 170
Lfo2KeySyncSw0 - 171
Lfo2FadeInTime0 - 172
Lfo2FadeOutTime0 - 173
Lfo2DelayTime0 - 174
Lfo2OffsetSw0 - 175
Lfo2Level0 - 177
Lfo3ModCMix1 - 178
Lfo3ModAmount1 - 179
Lfo3ModCMix2 - 180
Lfo3ModAmount2 - 181
Lfo3ModCMix3 - 182
Lfo3ModAmount3 - 183
Lfo3ModSource1 - 186
Lfo3ModSource2 - 187
Lfo3ModSource3 - 188
Lfo3ModControl1 - 190
Lfo3ModControl2 - 191
Lfo3ModControl3 - 192
Lfo3ModDest1 - 194
Lfo3ModDest2 - 195
Lfo3ModDest3 - 196

Lfo3Frequency0 - 198

Lfo3WaveSel0 - 199
Lfo3Phase0 - 200
Lfo3KeySyncSw0 - 201
Lfo3FadeInTime0 - 202
Lfo3FadeOutTime0 - 203
Lfo3DelayTime0 - 204
Lfo3OffsetSw0 - 205
Lfo3Level0 - 207
Lfo4ModCMix1 - 208
Lfo4ModAmount1 - 209
Lfo4ModCMix2 - 210
Lfo4ModAmount2 - 211
Lfo4ModCMix3 - 212
Lfo4ModAmount3 - 213
Lfo4ModSource1 - 216
Lfo4ModSource2 - 217
Lfo4ModSource3 - 218
Lfo4ModControl1 - 220
Lfo4ModControl2 - 221
Lfo4ModControl3 - 222
Lfo4ModDest1 - 224
Lfo4ModDest2 - 225
Lfo4ModDest3 - 226

Lfo4Frequency0 - 228

Lfo4WaveSel0 - 229
Lfo4Phase0 - 230
Lfo4KeySyncSw0 - 231
Lfo4FadeInTime0 - 232
Lfo4FadeOutTime0 - 233
Lfo4DelayTime0 - 234
Lfo4OffsetSw0 - 235
Lfo4Level0 - 237
Lfo5ModCMix1 - 238
Lfo5ModAmount1 - 239
Lfo5ModCMix2 - 240

Lfo5ModAmount2 - 241
Lfo5ModCMix3 - 242
Lfo5ModAmount3 - 243
Lfo5ModSource1 - 246
Lfo5ModSource2 - 247
Lfo5ModSource3 - 248
Lfo5ModControl1 - 250
Lfo5ModControl2 - 251
Lfo5ModControl3 - 252
Lfo5ModDest1 - 254
Lfo5ModDest2 - 255
Lfo5ModDest3 - 256

Lfo5Frequency0 - 258

Lfo5WaveSel0 - 259
Lfo5Phase0 - 260
Lfo5KeySyncSw0 - 261
Lfo5FadeInTime0 - 262
Lfo5FadeOutTime0 - 263
Lfo5DelayTime0 - 264
Lfo5OffsetSw0 - 265
Lfo5Level0 - 267
Osc1ModCMix1 - 268
Osc1ModAmount1 - 269
Osc1ModCMix2 - 270
Osc1ModAmount2 - 271
Osc1ModCMix3 - 272
Osc1ModAmount3 - 273
Osc1ModCMix4 - 274
Osc1ModAmount4 - 275
Osc1ModSource1 - 276
Osc1ModSource2 - 277
Osc1ModSource3 - 278
Osc1ModSource4 - 279
Osc1ModControl1 - 280
Osc1ModControl2 - 281
Osc1ModControl3 - 282
Osc1ModControl4 - 283
Osc1ModDest1 - 284
Osc1ModDest2 - 285
Osc1ModDest3 - 286
Osc1ModDest4 - 287

Osc1Frequency0 - 288

Osc1Mode0 - 289
Osc1WaveSel01 - 290
Osc1Tune0 - 296
Osc1Shape0 - 297
Osc1Phase0 - 298
Osc1KeytrackSw0 - 299
Osc1GlideSw0 - 300
Osc1GlideTime0 - 301
Osc1SyncSrc0 - 302
Osc2ModCMix1 - 305
Osc2ModAmount1 - 306
Osc2ModCMix2 - 307
Osc2ModAmount2 - 308
Osc2ModCMix3 - 309
Osc2ModAmount3 - 310
Osc2ModCMix4 - 311
Osc2ModAmount4 - 312
Osc2ModSource1 - 313
Osc2ModSource2 - 314
Osc2ModSource3 - 315
Osc2ModSource4 - 316
Osc2ModControl1 - 317
Osc2ModControl2 - 318
Osc2ModControl3 - 319
Osc2ModControl4 - 320
Osc2ModDest1 - 321
Osc2ModDest2 - 322
Osc2ModDest3 - 323
Osc2ModDest4 - 324

61

Osc2Frequency0 - 325

Osc2Mode0 - 326
Osc2WaveSel02 - 327
Osc2Tune0 - 333
Osc2Shape0 - 334
Osc2Phase0 - 335
Osc2KeytrackSw0 - 336
Osc2GlideSw0 - 337
Osc2GlideTime0 - 338
Osc2SyncSrc0 - 339
Osc3ModCMix1 - 342
Osc3ModAmount1 - 343
Osc3ModCMix2 - 344
Osc3ModAmount2 - 345
Osc3ModCMix3 - 346
Osc3ModAmount3 - 347
Osc3ModCMix4 - 348
Osc3ModAmount4 - 349
Osc3ModSource1 - 350
Osc3ModSource2 - 351
Osc3ModSource3 - 352
Osc3ModSource4 - 353
Osc3ModControl1 - 354
Osc3ModControl2 - 355
Osc3ModControl3 - 356
Osc3ModControl4 - 357
Osc3ModDest1 - 358
Osc3ModDest2 - 359
Osc3ModDest3 - 360
Osc3ModDest4 - 361

Osc3Frequency0 - 362

Osc3Mode0 - 363
Osc3WaveSel03 - 364
Osc3Tune0 - 370
Osc3Shape0 - 371
Osc3Phase0 - 372
Osc3KeytrackSw0 - 373
Osc3GlideSw0 - 374
Osc3GlideTime0 - 375
Osc3SyncSrc0 - 376
Osc4ModCMix1 - 379
Osc4ModAmount1 - 380
Osc4ModCMix2 - 381
Osc4ModAmount2 - 382
Osc4ModCMix3 - 383
Osc4ModAmount3 - 384
Osc4ModCMix4 - 385
Osc4ModAmount4 - 386
Osc4ModSource1 - 387
Osc4ModSource2 - 388
Osc4ModSource3 - 389
Osc4ModSource4 - 390
Osc4ModControl1 - 391
Osc4ModControl2 - 392
Osc4ModControl3 - 393
Osc4ModControl4 - 394
Osc4ModDest1 - 395
Osc4ModDest2 - 396
Osc4ModDest3 - 397
Osc4ModDest4 - 398

Osc4Frequency0 - 399

Osc4Mode0 - 400
Osc4WaveSel04 - 401
Osc4Tune0 - 407
Osc4Shape0 - 408
Osc4Phase0 - 409
Osc4KeytrackSw0 - 410
Osc4GlideSw0 - 411
Osc4GlideTime0 - 412
Osc4SyncSrc0 - 413
Rot1ModCMix1 - 416
Rot1ModAmount1 - 417
Rot1ModCMix2 - 418
Rot1ModAmount2 - 419
Rot1ModCMix3 - 420

62

Rot1ModAmount3 - 421
Rot1ModCMix4 - 422
Rot1ModAmount4 - 423
Rot1ModSource1 - 424
Rot1ModSource2 - 425
Rot1ModSource3 - 426
Rot1ModSource4 - 427
Rot1ModControl1 - 428
Rot1ModControl2 - 429
Rot1ModControl3 - 430
Rot1ModControl4 - 431
Rot1ModDest1 - 432
Rot1ModDest2 - 433
Rot1ModDest3 - 434
Rot1ModDest4 - 435
Rot1In1Gain0 - 436
Rot1In2Gain0 - 437
Rot1In3Gain0 - 438
Rot1In4Gain0 - 439

Rot1Frequency0 - 440

Rot1Tune0 - 441
Rot1XFade0 - 442
Rot1Phase0 - 443
Rot1KeytrackSw0 - 444
Rot1In1Src0 - 445
Rot1In2Src0 - 446
Rot1In3Src0 - 447
Rot1In4Src0 - 448
Rot1SyncSrc0 - 449
Rot2ModCMix1 - 452
Rot2ModAmount1 - 453
Rot2ModCMix2 - 454
Rot2ModAmount2 - 455
Rot2ModCMix3 - 456
Rot2ModAmount3 - 457
Rot2ModCMix4 - 458
Rot2ModAmount4 - 459
Rot2ModSource1 - 460
Rot2ModSource2 - 461
Rot2ModSource3 - 462
Rot2ModSource4 - 463
Rot2ModControl1 - 464
Rot2ModControl2 - 465
Rot2ModControl3 - 466
Rot2ModControl4 - 467
Rot2ModDest1 - 468
Rot2ModDest2 - 469
Rot2ModDest3 - 470
Rot2ModDest4 - 471
Rot2In1Gain0 - 472
Rot2In2Gain0 - 473
Rot2In3Gain0 - 474
Rot2In4Gain0 - 475

Rot2Frequency0 - 476

Rot2Tune0 - 477
Rot2XFade0 - 478
Rot2Phase0 - 479
Rot2KeytrackSw0 - 480
Rot2In1Src0 - 481
Rot2In2Src0 - 482
Rot2In3Src0 - 483
Rot2In4Src0 - 484
Rot2SyncSrc0 - 485
Mix1In1Gain0 - 488
Mix1In2Gain0 - 489
Mix1In3Gain0 - 490
Mix1In4Gain0 - 491
Mix1In1GMod0 - 492
Mix1In2GMod0 - 493
Mix1In3GMod0 - 494
Mix1In4GMod0 - 495
Mix1In1Src0 - 496
Mix1In2Src0 - 497
Mix1In3Src0 - 498
Mix1In4Src0 - 499

Mix1In1GMSrc0 - 500
Mix1In2GMSrc0 - 501
Mix1In3GMSrc0 - 502
Mix1In4GMSrc0 - 503
Mix1OutputGain0 - 504
Mix1OutputGMod0 - 505
Mix1OutputGMSrc0 - 506
Mix2In1Gain0 - 507
Mix2In2Gain0 - 508
Mix2In3Gain0 - 509
Mix2In4Gain0 - 510
Mix2In1GMod0 - 511
Mix2In2GMod0 - 512
Mix2In3GMod0 - 513
Mix2In4GMod0 - 514
Mix2In1Src0 - 515
Mix2In2Src0 - 516
Mix2In3Src0 - 517
Mix2In4Src0 - 518
Mix2In1GMSrc0 - 519
Mix2In2GMSrc0 - 520
Mix2In3GMSrc0 - 521
Mix2In4GMSrc0 - 522
Mix2OutputGain0 - 523
Mix2OutputGMod0 - 524
Mix2OutputGMSrc0 - 525
Mix3In1Gain0 - 526
Mix3In2Gain0 - 527
Mix3In3Gain0 - 528
Mix3In4Gain0 - 529
Mix3In1GMod0 - 530
Mix3In2GMod0 - 531
Mix3In3GMod0 - 532
Mix3In4GMod0 - 533
Mix3In1Src0 - 534
Mix3In2Src0 - 535
Mix3In3Src0 - 536
Mix3In4Src0 - 537
Mix3In1GMSrc0 - 538
Mix3In2GMSrc0 - 539
Mix3In3GMSrc0 - 540
Mix3In4GMSrc0 - 541
Mix3OutputGain0 - 542
Mix3OutputGMod0 - 543
Mix3OutputGMSrc0 - 544
Mix4In1Gain0 - 545
Mix4In2Gain0 - 546
Mix4In3Gain0 - 547
Mix4In4Gain0 - 548
Mix4In1GMod0 - 549
Mix4In2GMod0 - 550
Mix4In3GMod0 - 551
Mix4In4GMod0 - 552
Mix4In1Src0 - 553
Mix4In2Src0 - 554
Mix4In3Src0 - 555
Mix4In4Src0 - 556
Mix4In1GMSrc0 - 557
Mix4In2GMSrc0 - 558
Mix4In3GMSrc0 - 559
Mix4In4GMSrc0 - 560
Mix4OutputGain0 - 561
Mix4OutputGMod0 - 562
Mix4OutputGMSrc0 - 563
Fil1ModCMix1 - 564
Fil1ModAmount1 - 565
Fil1ModCMix2 - 566
Fil1ModAmount2 - 567
Fil1ModCMix3 - 568
Fil1ModAmount3 - 569
Fil1ModCMix4 - 570
Fil1ModAmount4 - 571
Fil1ModSource1 - 572
Fil1ModSource2 - 573
Fil1ModSource3 - 574

Fil1ModSource4 - 575
Fil1ModControl1 - 576
Fil1ModControl2 - 577
Fil1ModControl3 - 578
Fil1ModControl4 - 579
Fil1ModDest1 - 580
Fil1ModDest2 - 581
Fil1ModDest3 - 582
Fil1ModDest4 - 583
Fil1Mode0 - 584
Fil1Sel0 - 585
Fil1Vowel1 - 586
Fil1Vowel2 - 587
Fil1Vowel3 - 588
Fil1Vowel4 - 589
Fil1Vowel5 - 590
Fil1Resonance0 - 591
Fil1Damp0 - 592
Fil1Tune0 - 593
Fil1Keycenter0 - 594
Fil1Keytrack0 - 595
Fil1InSrc0 - 596
Fil1XFade0 - 597
Fil2ModCMix1 - 599
Fil2ModAmount1 - 600
Fil2ModCMix2 - 601
Fil2ModAmount2 - 602
Fil2ModCMix3 - 603
Fil2ModAmount3 - 604
Fil2ModCMix4 - 605
Fil2ModAmount4 - 606
Fil2ModSource1 - 607
Fil2ModSource2 - 608
Fil2ModSource3 - 609
Fil2ModSource4 - 610
Fil2ModControl1 - 611
Fil2ModControl2 - 612
Fil2ModControl3 - 613
Fil2ModControl4 - 614
Fil2ModDest1 - 615
Fil2ModDest2 - 616
Fil2ModDest3 - 617
Fil2ModDest4 - 618
Fil2Mode0 - 619
Fil2Sel0 - 620
Fil2Vowel1 - 621
Fil2Vowel2 - 622
Fil2Vowel3 - 623
Fil2Vowel4 - 624
Fil2Vowel5 - 625
Fil2Resonance0 - 626
Fil2Damp0 - 627
Fil2Tune0 - 628
Fil2Keycenter0 - 629
Fil2Keytrack0 - 630
Fil2InSrc0 - 631
Fil2XFade0 - 632
Fil3ModCMix1 - 634
Fil3ModAmount1 - 635
Fil3ModCMix2 - 636
Fil3ModAmount2 - 637
Fil3ModCMix3 - 638
Fil3ModAmount3 - 639
Fil3ModCMix4 - 640
Fil3ModAmount4 - 641
Fil3ModSource1 - 642
Fil3ModSource2 - 643
Fil3ModSource3 - 644
Fil3ModSource4 - 645
Fil3ModControl1 - 646
Fil3ModControl2 - 647
Fil3ModControl3 - 648
Fil3ModControl4 - 649
Fil3ModDest1 - 650
Fil3ModDest2 - 651

Fil3ModDest3 - 652
Fil3ModDest4 - 653
Fil3Mode0 - 654
Fil3Sel0 - 655
Fil3Vowel1 - 656
Fil3Vowel2 - 657
Fil3Vowel3 - 658
Fil3Vowel4 - 659
Fil3Vowel5 - 660
Fil3Resonance0 - 661
Fil3Damp0 - 662
Fil3Tune0 - 663
Fil3Keycenter0 - 664
Fil3Keytrack0 - 665
Fil3InSrc0 - 666
Fil3XFade0 - 667
Fil4ModCMix1 - 669
Fil4ModAmount1 - 670
Fil4ModCMix2 - 671
Fil4ModAmount2 - 672
Fil4ModCMix3 - 673
Fil4ModAmount3 - 674
Fil4ModCMix4 - 675
Fil4ModAmount4 - 676
Fil4ModSource1 - 677
Fil4ModSource2 - 678
Fil4ModSource3 - 679
Fil4ModSource4 - 680
Fil4ModControl1 - 681
Fil4ModControl2 - 682
Fil4ModControl3 - 683
Fil4ModControl4 - 684
Fil4ModDest1 - 685
Fil4ModDest2 - 686
Fil4ModDest3 - 687
Fil4ModDest4 - 688
Fil4Mode0 - 689
Fil4Sel0 - 690
Fil4Vowel1 - 691
Fil4Vowel2 - 692
Fil4Vowel3 - 693
Fil4Vowel4 - 694
Fil4Vowel5 - 695
Fil4Resonance0 - 696
Fil4Damp0 - 697
Fil4Tune0 - 698
Fil4Keycenter0 - 699
Fil4Keytrack0 - 700
Fil4InSrc0 - 701
Fil4XFade0 - 702
Vca1Mode0 - 704
Vca1Boost0 - 705
Vca1Gain0 - 706
Vca1ModAmount0 - 707
Vca1MSrc0 - 708
Vca1InSrc0 - 709
Vca2Mode0 - 710
Vca2Boost0 - 711
Vca2Gain0 - 712
Vca2ModAmount0 - 713
Vca2MSrc0 - 714
Vca2InSrc0 - 715
Vca3Mode0 - 716
Vca3Boost0 - 717
Vca3Gain0 - 718
Vca3ModAmount0 - 719
Vca3MSrc0 - 720
Vca3InSrc0 - 721
Vca4Mode0 - 722
Vca4Boost0 - 723
Vca4Gain0 - 724
Vca4ModAmount0 - 725
Vca4MSrc0 - 726
Vca4InSrc0 - 727
Pan1Pos0 - 728

Pan1Mod0 - 729
Pan1MSrc0 - 730
Pan1OutSw0 - 731
Pan2Pos0 - 732
Pan2Mod0 - 733
Pan2MSrc0 - 734
Pan2OutSw0 - 735
Pan3Pos0 - 736
Pan3Mod0 - 737
Pan3MSrc0 - 738
Pan3OutSw0 - 739
Pan4Pos0 - 740
Pan4Mod0 - 741
Pan4MSrc0 - 742
Pan4OutSw0 - 743
Ifx1Mode0 - 744
Ifx1Offset0 - 745
Ifx1ModCMix0 - 746
Ifx1ModAmount0 - 747
Ifx1InSource0 - 748
Ifx1ModSource0 - 749
Ifx1ModControl0 - 750
Ifx2Mode0 - 751
Ifx2Offset0 - 752
Ifx2ModCMix0 - 753
Ifx2ModAmount0 - 754
Ifx2InSource0 - 755
Ifx2ModSource0 - 756
Ifx2ModControl0 - 757
Ifx3Mode0 - 758
Ifx3Offset0 - 759
Ifx3ModCMix0 - 760
Ifx3ModAmount0 - 761
Ifx3InSource0 - 762
Ifx3ModSource0 - 763
Ifx3ModControl0 - 764
Ifx4Mode0 - 765
Ifx4Offset0 - 766
Ifx4ModCMix0 - 767
Ifx4ModAmount0 - 768
Ifx4InSource0 - 769
Ifx4ModSource0 - 770
Ifx4ModControl0 - 771
Am1Mode0 - 772
Am1Offset0 - 773
Am1ModCMix0 - 774
Am1ModAmount0 - 775
Am1InSource0 - 776
Am1ModSource0 - 777
Am1ModControl0 - 778
Am2Mode0 - 779
Am2Offset0 - 780
Am2ModCMix0 - 781
Am2ModAmount0 - 782
Am2InSource0 - 783
Am2ModSource0 - 784
Am2ModControl0 - 785
Vec1In1Gain0 - 786
Vec1In2Gain0 - 787
Vec1In3Gain0 - 788
Vec1In4Gain0 - 789
Vec1XOffset0 - 790
Vec1YOffset0 - 791
Vec1XMod0 - 792
Vec1YMod0 - 793
Vec1In1Src0 - 794
Vec1In2Src0 - 795
Vec1In3Src0 - 796
Vec1In4Src0 - 797
Vec1XMSrc0 - 798
Vec1YMSrc0 - 799
Vec2In1Gain0 - 800
Vec2In2Gain0 - 801
Vec2In3Gain0 - 802
Vec2In4Gain0 - 803

Vec2XOffset0 - 804
Vec2YOffset0 - 805
Vec2XMod0 - 806
Vec2YMod0 - 807
Vec2In1Src0 - 808
Vec2In2Src0 - 809
Vec2In3Src0 - 810
Vec2In4Src0 - 811
Vec2XMSrc0 - 812
Vec2YMSrc0 - 813
Leg1T1 - 814
Leg1X1 - 815
Leg1Y1 - 816
Leg1T2 - 817
Leg1X2 - 818
Leg1Y2 - 819
Leg1T3 - 820
Leg1X3 - 821
Leg1Y3 - 822
Leg1T4 - 823
Leg1X4 - 824
Leg1Y4 - 825
Leg1T5 - 826
Leg1X5 - 827
Leg1Y5 - 828
Leg1T6 - 829
Leg1X6 - 830
Leg1Y6 - 831
Leg1T7 - 832
Leg1X7 - 833
Leg1Y7 - 834
Leg1T8 - 835
Leg1X8 - 836
Leg1Y8 - 837
Leg1Slope0 - 838
Leg1LoopMode0 - 839
Leg1LoopRepeat0 - 840
Leg1LoopStart0 - 841
Leg1LoopEnd0 - 842
Leg1TModAmount0 - 843
Leg1LModAmount0 - 844
Leg1TModSrc0 - 845
Leg1LModSrc0 - 846
EnvFol0InputGain0 - 847
EnvFol0OutputGain0 - 848
EnvFol0Att0 - 849
EnvFol0Rel0 - 850
EnvFol0InSrc0 - 851
Lag1 0 - 852
Lag1InSource0 - 853
Lag2 0 - 854
Lag2InSource0 - 855
Lag3 0 - 856
Lag3InSource0 - 857
Lag4 0 - 858
Lag4InSource0 - 859
None0 0 - 860
None0 0 - 861
None0 0 - 862
None0 0 - 863

Seq0Track1 - 864
Seq0Track2 - 865
Seq0Track3 - 866
Seq0Track4 - 867

MIDI 0 CC1 - 868
MIDI 0 CC2 - 869
MIDI 0 CC3 - 870
MIDI 0 CC4 - 871
MIDI 0 CC5 - 872
Assign0Button0 - 873
Assign0Button1 - 874
Assign0Button2 - 875
Assign0Button1 - 876
Assign0Button2 - 877
KeyboardGlide0Mode0 - 878

KeyboardGlide0Type0 - 879
KeyboardGlide0Time0 - 880
KeyboardGlide0Rate0 - 881
KeyboardGlide0Range0 - 882
Rot1Coarse0 - 884
Rot2Coarse0 - 885
Osc1Coarse0 - 886
Osc2Coarse0 - 887
Osc3Coarse0 - 888
Osc4Coarse0 - 889
Master0PitchWheelRange2 - 890
Arp0VelocityMode0 - 891
Ribbon0Intensity0 - 892
Ribbon0Offset0 - 893
Ribbon0Hold0 - 894
Ribbon4InSource0 - 895
Preset0Cat1 - 909
Preset0Cat2 - 910
None0 0 - 913
Perf1Value0 - 918
Perf2Value0 - 919
Perf3Value0 - 920
Perf4Value0 - 921
Perf5Value0 - 922
None0 0 - 928
None0 0 - 929
None0 0 - 930
None0 0 - 931
None0 0 - 932
None0 0 - 933
Lfo1ClockSyncSw0 - 934
Lfo2ClockSyncSw0 - 935
Lfo3ClockSyncSw0 - 936
Lfo4ClockSyncSw0 - 937
Lfo5ClockSyncSw0 - 938
Osc1ClockSyncSw0 - 939
Osc2ClockSyncSw0 - 940
Osc3ClockSyncSw0 - 941
Osc4ClockSyncSw0 - 942
Rot1ClockSyncSw0 - 943
Rot2ClockSyncSw0 - 944

Seq0A_Length0 - 950
Seq0B_Length0 - 951
Seq0C_Length0 - 952
Seq0D_Length0 - 953
Seq0A_1 - 954
Seq0A_2 - 955
Seq0A_3 - 956
Seq0A_4 - 957
Seq0A_5 - 958
Seq0A_6 - 959
Seq0A_7 - 960
Seq0A_8 - 961
Seq0A_9 - 962
Seq0A_10 - 963
Seq0A_11 - 964
Seq0A_12 - 965
Seq0A_13 - 966
Seq0A_14 - 967
Seq0A_15 - 968
Seq0A_16 - 969
Seq0B_1 - 970
Seq0B_2 - 971
Seq0B_3 - 972
Seq0B_4 - 973
Seq0B_5 - 974
Seq0B_6 - 975
Seq0B_7 - 976
Seq0B_8 - 977
Seq0B_9 - 978
Seq0B_10 - 979
Seq0B_11 - 980
Seq0B_12 - 981
Seq0B_13 - 982
Seq0B_14 - 983

63

Seq0B_15 - 984
Seq0B_16 - 985
Seq0C_1 - 986
Seq0C_2 - 987
Seq0C_3 - 988
Seq0C_4 - 989
Seq0C_5 - 990
Seq0C_6 - 991
Seq0C_7 - 992
Seq0C_8 - 993
Seq0C_9 - 994
Seq0C_10 - 995
Seq0C_11 - 996
Seq0C_12 - 997
Seq0C_13 - 998
Seq0C_14 - 999
Seq0C_15 - 1000
Seq0C_16 - 1001
Seq0D_1 - 1002
Seq0D_2 - 1003
Seq0D_3 - 1004
Seq0D_4 - 1005
Seq0D_5 - 1006
Seq0D_6 - 1007
Seq0D_7 - 1008
Seq0D_8 - 1009
Seq0D_9 - 1010
Seq0D_10 - 1011
Seq0D_11 - 1012
Seq0D_12 - 1013
Seq0D_13 - 1014
Seq0D_14 - 1015
Seq0D_15 - 1016
Seq0D_16 - 1017

None0 0 - 1018
None0 0 - 1019
Velocity0Type0 - 1021
Velocity0Intensity0 - 1022
Velocity0Offset0 - 1023
Aftertouch0Type0 - 1024
Aftertouch0Intensity0 - 1025
Aftertouch0Offset0 - 1026
Leg1ClockSyncSw0 - 1027
Master0Playmode0 - 1036
Leg1T1 - 1058
Leg1T2 - 1059
Leg1T3 - 1060
Leg1T4 - 1061
Leg1T5 - 1062
Leg1T6 - 1063
Leg1T7 - 1064
Leg1T8 - 1065
Arp0Mode0 - 1066
Arp0Octave0 - 1067
Arp0Swing0 - 1068
Arp0Resolution0 - 1069
Arp0NoteLength0 - 1070
Arp0Hold0 - 1071
Arp0LoopLen0 - 1072
Arp0Patt0 - 1073
Arp0OnOff0 - 1074

Seq0OnOff0 - 1075
Seq0Mode0 - 1076
Seq0Resolution0 - 1077
Seq0Swing0 - 1078
Seq0Pattern0 - 1079

Lfo1SyncRate0 - 1080
Lfo2SyncRate0 - 1081
Lfo3SyncRate0 - 1082
Lfo4SyncRate0 - 1083
Lfo5SyncRate0 - 1084
Osc1SyncRate0 - 1085
Osc2SyncRate0 - 1086
Osc3SyncRate0 - 1087
Osc4SyncRate0 - 1088

64

Rot1SyncRate0 - 1089
Rot2SyncRate0 - 1090

Fil1ModAmount1_Pitch0 - 1091
Fil2ModAmount1_Pitch0 - 1092
Fil3ModAmount1_Pitch0 - 1093
Fil4ModAmount1_Pitch0 - 1094
Fil1ModAmount2_Pitch0 - 1095
Fil2ModAmount2_Pitch0 - 1096
Fil3ModAmount2_Pitch0 - 1097
Fil4ModAmount2_Pitch0 - 1098
Fil1ModAmount3_Pitch0 - 1099
Fil2ModAmount3_Pitch0 - 1100
Fil3ModAmount3_Pitch0 - 1101
Fil4ModAmount3_Pitch0 - 1102
Fil1ModAmount4_Pitch0 - 1103
Fil2ModAmount4_Pitch0 - 1104
Fil3ModAmount4_Pitch0 - 1105
Fil4ModAmount4_Pitch0 - 1106
Osc1ModAmount1_Pitch0 - 1107
Osc2ModAmount1_Pitch0 - 1108
Osc3ModAmount1_Pitch0 - 1109
Osc4ModAmount1_Pitch0 - 1110
Osc1ModAmount2_Pitch0 - 1111
Osc2ModAmount2_Pitch0 - 1112
Osc3ModAmount2_Pitch0 - 1113
Osc4ModAmount2_Pitch0 - 1114
Osc1ModAmount3_Pitch0 - 1115
Osc2ModAmount3_Pitch0 - 1116
Osc3ModAmount3_Pitch0 - 1117
Osc4ModAmount3_Pitch0 - 1118
Osc1ModAmount4_Pitch0 - 1119
Osc2ModAmount4_Pitch0 - 1120
Osc3ModAmount4_Pitch0 - 1121
Osc4ModAmount4_Pitch0 - 1122
Lfo1ModAmount1_Pitch0 - 1123
Lfo2ModAmount1_Pitch0 - 1124
Lfo3ModAmount1_Pitch0 - 1125
Lfo4ModAmount1_Pitch0 - 1126
Lfo5ModAmount1_Pitch0 - 1127
Lfo1ModAmount2_Pitch0 - 1128
Lfo2ModAmount2_Pitch0 - 1129
Lfo3ModAmount2_Pitch0 - 1130
Lfo4ModAmount2_Pitch0 - 1131
Lfo5ModAmount2_Pitch0 - 1132
Lfo1ModAmount3_Pitch0 - 1133
Lfo2ModAmount3_Pitch0 - 1134
Lfo3ModAmount3_Pitch0 - 1135
Lfo4ModAmount3_Pitch0 - 1136
Lfo5ModAmount3_Pitch0 - 1137
Rot1ModAmount1_Pitch0 - 1138
Rot2ModAmount1_Pitch0 - 1139
Rot1ModAmount2_Pitch0 - 1140
Rot2ModAmount2_Pitch0 - 1141
Rot1ModAmount3_Pitch0 - 1142
Rot2ModAmount3_Pitch0 - 1143
Rot1ModAmount4_Pitch0 - 1144
Rot2ModAmount4_Pitch0 - 1145

Osc1WaveSel1 - 1146
Osc1WaveSel1 - 1147
Osc1WaveSel1 - 1148
Osc1WaveSel1 - 1149
Osc1WaveSel5 - 1150
Osc2WaveSel2 - 1151
Osc2WaveSel2 - 1152
Osc2WaveSel2 - 1153
Osc2WaveSel2 - 1154
Osc2WaveSel5 - 1155
Osc3WaveSel3 - 1156
Osc3WaveSel3 - 1157
Osc3WaveSel3 - 1158
Osc3WaveSel3 - 1159
Osc3WaveSel5 - 1160
Osc4WaveSel4 - 1161
Osc4WaveSel4 - 1162
Osc4WaveSel4 - 1163

Osc4WaveSel4 - 1164
Osc4WaveSel5 - 1165
Fil1Sel1 - 1166
None0 0 - 1167
Fil1Sel5 - 1168
Fil2Sel1 - 1169
None0 0 - 1170
Fil2Sel5 - 1171
Fil3Sel1 - 1172
None0 0 - 1173
Fil3Sel5 - 1174
Fil4Sel1 - 1175
None0 0 - 1176
Fil4Sel5 - 1177
glo: Analog0Out12 - 2001

glo: Chorus0Frequency0 - 2006

glo: Chorus0Mode0 - 2007
glo: Chorus0Depth0 - 2008
glo: Chorus0Offset0 - 2009
glo: Chorus0InLevel0 - 2010
glo: Chorus0Feedback0 - 2011
glo: Chorus0DryLevel0 - 2012
glo: Chorus0WetLevel0 - 2013
glo: Chorus0Phase0 - 2014
glo: Chorus0InSrc0 - 2015

glo: Phaser0Frequency0 - 2016

glo: Phaser0Mode0 - 2017
glo: Phaser0Depth0 - 2018
glo: Phaser0Offset0 - 2019
glo: Phaser0InLevel0 - 2020
glo: Phaser0Feedback0 - 2021
glo: Phaser0DryLevel0 - 2022
glo: Phaser0WetLevel0 - 2023
glo: Phaser0Phase0 - 2024
glo: Phaser0InSrc0 - 2025
glo: Delay0Mode0 - 2026
glo: Delay0DelayTime1 - 2027
glo: Delay0DelayTime2 - 2028
glo: Delay0Feedback1 - 2029
glo: Delay0Feedback2 - 2030
glo: Delay0Damp0 - 2031
glo: Delay0DryLevel0 - 2032
glo: Delay0WetLevel0 - 2033
glo: Delay0InSrc0 - 2034
glo: EQ0Mode0 - 2035

glo: EQ0Frequency1 - 2036

glo: EQ0Q1 - 2037
glo: EQ0Gain1 - 2038

glo: EQ0Frequency2 - 2039

glo: EQ0Q2 - 2040
glo: EQ0Gain2 - 2041

glo: EQ0Frequency3 - 2042

glo: EQ0Q3 - 2043
glo: EQ0Gain3 - 2044
glo: EQ0InSrc0 - 2045

Appendix 9- Legal Declarations

COMPLIANCE
FCC INFORMATION (U.S.A)
IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions con-

tained in this manual, meets FCC requirements. Modications not expressly approved by ZARG MUSIC LLC may void

your authority, granted by the FCC, to use this product. IMPORTANT: When connecting this product to accessories and/or
another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all instal­lation instructions. Failure to follow instructions could void your FCC authorisation to use this product in the USA.

NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for
Class „B“ digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of
this product in residential environment will not result in harmful interference with other electronic devices. This equipment
generates/ uses radio frequencies and, if not installed and used according to the instructions found in the user manual,

may cause interference harmful to the operation of other electronic devices, Compliance with FCC regulations does not
guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which
can be determinated by turning the unit „OFF“ and „ON“, please try to eliminate the problem by using one of the following
measures: Relocate either this product or the device that is being affected by the interference. Utilise power outlets that

are on branch (Circuitbreaker or fuse) circuits or install AC line lter/s. In the case of radio or TV interference, relocate/

reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to coaxial type cable. If these cor­rective measures do not produce satisfactory results, please contact the local retailer authorised to distribute this type of
product. The statements above apply ONLY to products distributed in the USA.

SOLARIS Version 1. 191 FCC Information (CANADA)
FCC INFORMATION (CANADA)
The digital section of this apparatus does not exceed the „Class B“ limits for radio noise emmissions from digital apparatus
set out in the radio interference regulation of the Canadian Department of Communications. Le present appareil nume-

rique n’emet pas debruit radioelectriques depassant les limites applicables aux appareils numerique de la „Class B“ pre­scrites dans la reglement sur le brouillageradioelectrique edicte par le Ministre Des Communication du Canada.This only
applies to products distributed in Canada. Ceci ne s’applique qu’aux produits distribues dans Canada

OTHER STANDARDS (REST OF WORLD)

This product complies with the radio frequency interference requirements of the Council Directive 89/336/EC.

Cet appareil est conforme aux prescriptions de la directive communitaire 89/336/EC. Dette apparat overholder det gael­denda EF-direktivvedrorendareadiostoj. Dieses Gerät entspricht der EG-Richtlinie 89/336/EC.192

DECLARATION OF CONFORMITY
The following devices
Solaris keyboard

are hereby declared to conform with the requirements of Council Directive 89/336/FWG for radio frequency interference.

They also comply with regulations dated August 30th, 1995 concerning radio interference generated by electronic
devices. The following standards have been applied: EM 50 082-1 : 1992 , EN 50 081-1 : 1992 , EN60065 : 1993
This declaration has been given responsibly on behalf of the manufacturer:
Zarg Music LLC
6012 Championship Cir
Mukilteo, WA 98275
USA

65

Index

A

Abs 41
absolute 41
AM 41
Amplitude Modulation 41
Arp 35
Arpeggiator 35
Arp On 15

Arp/Seq 14

ArpTrans 46
Assign1 46
Assign2 46
Attack 44

B

BitChop 28
Boost 31
BPM 15

C

CEM 50
CF 9
Channel 44
Chord 46
Clip 41
ClkSrc 45
Clock Sync 24
Coarse 26, 48
Comb 56
CompactFlash 9
Compare 11
C-Rate 45
Crossfade 26
C-Time 45
Curtis Electromusic 50
Cutoff 29

D

Damp 29, 40
Decim 28
Distort 28
Division 37
Dry 39

E

Effects Channel 38
EGFoll 43
EgReset 46
Enable Part Buttons 15
Envelope Follower 43
Envelope Generators 34
EQ 40
Exp 45
Exponential 45
ExpPed 46
External Signals 23

F

Feedbck 39
Feed L 40
Feed R 40
Filters 29
Filter Types 56
Fine 26, 48
Free CF-Space 47
Function Group Shortcut 14
FX 14
FXChan 38

66

G

GldMode 45
GldRange 45
GldTime 46
GldType 45
Glide 25
GlideAll 46
GloGlide 46
Graphic Display 35

H

Hold 15
Home Menu 45

I

INIT 36
InLevel 39, 44
Insert FX 28
Intens 37

J

Jaws 48
Joystick 15, 40

K

KeyCntr 29
Key Step 37
KeyTab 14
Key Tables 42
KeyTrk 29
Knob Acceleration 16

L

Lag Processor 43
Legato 46
Length 36
LFO 32
LFOs 32
Load BPM 44
Load Outs 44
LocalOff 45
Loop 42
LoopEG 41
Looping Envelope 41
Low 24

M

Main Mode 13
MIDI Clk 40
MIDICtrl 45
MIDI Menu 44
Mini 53, 56
Mini Oscillator 53
Mixers 27
MM1 48
Mod Mod 13
Modulation Sources 54
morphing 48
MorphSaw 48

MorphSquare 48

Multimode 56
Multimode oscillator 48

N

NG/NR 37
No Gate 37
No Gate/No Reset 37
Noise 48
No Reset 36
Normal 36
NotePri 46
NotePri(ority) 46

No Track 24

O

Obie 56
Octaves 36
Octave (Transpose) 15
Offset 32
Omni 45
Oscillators 24
OS-Version 47
OutLevel 44

P

PatLen 36
Pattern 37
Performance Controls 14
Phase 25
Pitch and Modulation Wheels 15
Playmode 46
Pol 46
PrgChng 44
Processing External Signals 23
Pulse 48
Pulse waveform 48
PW Down 47
PW Up 47

R

Ramp 48
Release 44
Repeat 42
Resolut 36
Resonance 29
Ribbon Controller 15
RibHold 46
Rotors 26
Rx-NRPN 45

S

Sample 58
Sample Playback Oscillator 51
Sample Pools 58
Saw 48
Saw+Pulse 50
Sawtooth with downward ramp 48
Sawtooth with upward ramp 48
Saw+Tri 50
scaling 42
Self Test Menu 59
SendArp 44

Seq 36
SeqA 36
SeqB 36
SeqC 36
SeqD 36
Seq On 15
Sequencer 36

Serial 47
Shape 48
Shift 41
signal path 21
Sine 48
Sine wave 48
Slope 42
Soft Menus 35
Solid State Music 56
Split 44
SSM 56
Start 41
S+T+P 50
SusPed 46
Swing 36
Sync 25, 26, 48

SysMid 14
System Menu 44

T

Tempo 15
Time L 40
Time R 40
Transp(ose) 47
Tri 48
Triangle wave 48
Tri+Pulse 50
Tunable noise 48
Tune 44
Tx-NRPN 45

U

Unison 15
UniTune 46
UniVoice 46

V

VCA 31
Vector Synthesis 40
Vector Synthesis Oscillator 52
Velocity 36
Vibrato LFO 32
Vocal 56
Volume 45
VS 40
VS/AM 14

W

Wav 51
Wave 48
Wavetables 49
Wet 39
White noise 48
Wrap 44
WT 49

X

X-Fade 26