M-audio Oddity user guide

Table of Contents

The Oddity odyssey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Understanding the Oddity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Installing the Oddity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Quick Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

Common Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Voltage Controlled Oscillator 1 (VCO1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Voltage Controlled Oscillator 2 (VCO2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Low Frequency Oscillator (LFO) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

S/H Mixer (Sample and Hold) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Audio Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Voltage Control Filter (VCF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

High-pass Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Voltage Controlled Ampliﬁer (VCA) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

Envelope Generators (AR and ADSR) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Preset and Morph section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Tutorials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

MIDI Continuous Control Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Contact . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

The Oddity odyssey

Synthesizer mythology tells it that back at the dawn of time, (well, at least the 1970’s), any self-respecting keyboard player proudly displayed one of two synthesizers when called upon to fulﬁl the demands of any synth duties. Those two synthesizers were the MiniMoog and the ARP Odyssey and as you would expect, the debate as to which was the better instrument raged equally as hard back then as the analogue vs digital and Mac vs PC debates rage today.

Fortunately, to those more enlightened musicians of that period, and those who’ve revisited these instruments in recent years, while it was clear there were distinct differences between the tones and timbres of each, it’s impossible to claim an outright winner as each excelled at speciﬁc sounds. They were, quite simply, wonderfully different.

So why was the Odyssey occasionally considered the poorer relation of the two? Well, as self-certiﬁed Odyssey addicts we have our own theories:

Firstly and signiﬁcantly, the name Moog is as synonymous with synthesizers as the name Hoover is with vacuum cleaners.

Secondly there was cost. It’s easy to forget in these days of cost effective plug-ins that synth technology was very expensive and in the majority of cases a keyboard player was limited to one synth simply by budget constraints: a new Odyssey cost $1500 in 1972!

Thirdly, there were the operational differences between each synth, which surely, must have been inﬂuenced by both Pearlman and Moogs’ backgrounds. Bob Moog had a ﬁrm grounding in electronic musical applications such as his Theremin kits, whereas ARP founder Alan R Pearlman, despite playing piano from the age of three, came from a background that included designing ampliﬁers for the Apollo and Gemini space programs. He is also on record as saying that the world of musicians was alien to him, so perhaps that’s why the MiniMoog had a musician-friendly feel about it, while the Odyssey appeared on the surface to be much more ‘techie’.

Certainly the Odyssey’s strangely calibrated, color-coded ‘tic-tac’ like sliders were not as conducive to quick and accurate tweaking in the same way the MiniMoog’s rotary knobs were. And with this control method, the techie-looking front panel and the obvious lack of patch storage, it’s been noted more than once that it was almost impossible to get the same sound twice - even with the aid of front panel overlays. Compounding the issue, the oscillator tunings were marked in hertz and there was no A=440 tone for tuning reference, which ultimately meant that using an Odyssey live and changing sounds while keeping it in tune was not for the fainthearted.

Finally, there was the much debated tonal differences. Popular myth has it that Moog’s were warm and mellow whereas ARPs were thin and bright, and whilst there’s an element of truth in this, only the terminally idiotic would malign these differences. After all, surely it’s these tonal distinctions and contrasts which account for why sounds from an ARP, Moog, Sequential or Oberheim are as welcome and recognisable now as they were in those halcyon days?

Opinions and speculation notwithstanding, the ARP sound combined with all its unique and quirky attributes added such enormous character to the instrument that it quickly became a classic in its own right with artists as diverse as Joe Zawinul, Herbie Hancock, Stevie Wonder, Jean-Michel Jarre, Ultravox, Pete Townsend, Jimmy Page, George Duke, Tom Costa and countless others embracing it wholeheartedly. Similarly, if you watched TV or saw any ﬁlms in the 70’s you’ll also have heard the famous ARP sound on Planet of the Apes, McCloud, Enter the Dragon, The Taking of Pelham 1-2-3, as well as Columbo, Kojak and Cannon, courtesy of West Coast synth wizards Clark Spangler and Jerry Goldsmith.

So what exactly was that sound? Well, anyone claiming it was exclusively thin must have had heavily retarded programming skills edgy is perhaps a more suitable adjective. But with minimal effort it’s easy to extract warm, fat tones too. However, one area where the Odyssey stood head and shoulders over its rivals was when creating sound effects. Wind, seashores, bombs, sirens and ‘sample and hold’ rhythms simply fall out of this machine and those with the patience to tinker and experiment were richly rewarded with all manner of unique soundscapes that couldn’t have been achieved by any of Tom or Bob’s babies. In short, the Odyssey had balls, bite and an aggressive quality, lacking in all the majority of its contemporaries - not dissimilar to a lot of plug-in synths really!

But why isn’t the Odyssey seen as regularly as its arch-rival on and in todays stages and studios?

Well, as a performance synth it’s problematic: Those sliders have a habit of breaking and it’s very difﬁcult to ﬁnd replacements. For live use its lack of memories is a real drawback and as we mentioned earlier changing sounds in real-time is fairly traumatic, even though ARP’s oscillator stability was considered superior to its rivals. Plus, despite the fact that in the mid 70’s ARP held a phenomenal 40% share of the US synthesizer market, there were reportedly only about 3,000 Odyssey’s made, (as opposed to the MiniMoog’s 13,000), and as such, good examples are becoming increasingly difﬁcult to ﬁnd. Finally, to add further confusion to prospective Odyssey hunters, there were several ﬁlter revisions across three marques, distinctive by either their white face, black face with gold lettering or black face with orange lettering.

Purists argue to this day as to which version is the best, but we won’t go into that here as there are a host of web resources dedicated to this question and more. However, we at GMEDIA Music fell in love with the Odyssey several years ago after buying a MkII (a black one with gold lettering, 2813 with PPC and a 4075 ﬁlter) in perfect condition. Sure, the calibration of the sliders was an interesting contrast to most modern synthesizers and the keyboard action was ﬂabby - but it had... that sound! That sharp, searing, yet funky tone which was once described (admittedly by ARP) as taking the ultimate musical trip. And the more we used it, the more we thought about how, in much the same way as with the M-Tron, we would love to introduce this sound to a whole new audience and a whole new working environment.

Enter Ohm Force, one of the premier plug-in developers with similar attitudes to those early synth pioneers - namely inventive, adventurous and not afraid to deliver something different, so long as it’s inspiring. And at Frankfurt 2002 the Oddity was born (at least on paper anyway) as a joint venture between GMEDIA Music and Ohm Force under our GForce banner.

The Oddity name was coined because of it’s unique character, tonal possibilities and operational slant. This synth, revisited as a plug-in, is truly singular, one of a kind. And while we have done everything within our grasp to faithfully recreate the essence of the original, naturally we have added new features that we hope will help turn a vintage classic into a modern master as well as enhance the creative process.

The creation of the Oddity has been a true labour of love and we hope anyone who purchases it will understand and appreciate just how unique the original was, and why, in these enlightened times of plug-in technology, all of those comparisons of old are ﬁnally redundant.

Odyssey web resources:

www.overacker.com/ody/directory.html

www.keyboardmuseum.org/ar/a/arp/arp.html

www.synthmuseum.com/arp/index.html

www.synthfool.com

www.vintagesynth.com/

www.physicsenterprises.andrews.edu/diy_archive/manuals/arp/index.html#Ody

www.sonicstate.com/synth/arpodyssey.cfm

Odyssey book resources;

A-Z of Analogue Synthesisers (Part One. A - M) - Pete Forrest

Vintage Synthesisers - Mark Vail.

Without whom dept:

Alan R Pearlman and all those responsible for the Odyssey.

The magniﬁcent Ohm Force team: Laurent de Soras, Jérôme Noël,

Raphaël Dingé, Franck Bacquet, Vincent Frison, Eric Cestari,

Gregory Makles, Vincent Birebent and Ian Finney.

Angus Hewlett, Jim Wintermyre, Nick Thompson and Jason Field.

Sound Design: Dave Spiers and Dave Blakely

This Manual: Dave Spiers, Ian Legge and Chris Macleod.

Overview

Polyphony Monophonic: . . . . . . . .VCO1 and VCO2 – High and Low note priority.

Duophonic: . . . . . . . . . . . . . . . . . . . .VCO1 – Low note priority. VCO2 – High note priority.

Oscillators . . . . . . . . . . . . . . . . . . . . . 2 VCO’s: saw, square, pulse, PWM (can be modulated by: sine LFO or ADSR envelope), white/

pink noise; oscillator-sync modulated by: ADSR, square/saw LFO, Sample-and-Hold.

LFO . . . . . . . . . . . . . . . . . . . . . . . . . . .Sine/Square; Sample-and-Hold.

VCF . . . . . . . . . . . . . . . . . . . . . . . . . . . Four-pole resonant 24dB lowpass ﬁlter, highpass ﬁlter; can be modulated by: kybd track,

Sample-and-Hold, sine LFO, ADSR, AR, ring modulator.

VCA . . . . . . . . . . . . . . . . . . . . . . . . . . . EG 1: AR.

. . . . . . . . . . . . . . . . . . . . . . . . . . .EG 2: ADSR

Flying sliders and mouse movements.

Although we’ve endeavored to stay true to the original instrument, obviously it made sense to add some additional features. Most of these are self-evident and are covered at the appropriate points within this manual. However, one of the functions that you should be aware of at this stage is the ability to ‘throw’ the sliders via the mouse.

If you want to throw the slider from bottom to top, ﬁrst position your mouse pointer about half a centimeter above the slider, directly over the slider recess. Then, while holding the mouse button down, drag the arrow along the slider recess releasing the mouse button as you throw the slider. You’ll see that the slider moves until it reaches the very top. To throw a slider from top to bottom, repeat the process only this time start about half a centimeter below the slider and click and throw downwards. The quicker you move the mouse, the faster the slider will move. All movements can be recorded within your host application.

The Oddity’s sliders respond to horizontal mouse movements. Placing the mouse pointer next to a slider and moving it horizontally allows very accurate changes in parameter values, the exact value being shown in the Current Parameter window.

Understanding the Oddity

Although the Oddity is not a true modular synth, the key to understanding it is to consider each section as a module into which you feed another ‘source’ or ‘signal’. The color-coded sliders are also crucial to understanding much

of the internal routing and relationship between many of the parameters.

For example, the Coarse and Fine tune sliders on VCO1 are colored blue, so too is the slider that determines the amount of VCO1 fed into the Audio Mixer. Additionally, provided the waveform of VCO1 is switched to square wave, (set using the switch underneath the blue VCO1 Audio Mixer slider), the blue Pulse Width slider back in the VCO1 module becomes the controller to change the Pulse Width.

To avoid confusion with the second oscillator you’ll notice that the VCO2 Coarse and Fine tune sliders are colored green, as are the appropriate matching Audio Mixer Level and Pulse Width sliders. Once you get your head around these relationships, operating the Oddity becomes very intuitive.

WARNINGS:

The Oddity is a wild beast and capable of extreme sounds. Occasionally, you’ll also ﬁnd that it not only requires all the audio headroom on your sound card, it may exceed it too. Please be mindful of this and always keep an eye on your sequencer’s audio instrument level.

We’ve tried to keep the CPU load of the Oddity to a minimum and in normal use it shouldn’t take up too much host processing power. Because of the way the Sample and Hold Mixer module operates, whenever a modulation using the Sample and Hold Mixer output is enabled there can be a marked increase in CPU load. This is due to the fact that in order to make it work as per the original instrument, we’ve had to bypass several optimizations. When programming your own sounds try to be mindful of this, if you don’t need to use it optimize performance by turning it off.

Installing the Oddity

Included on the Master CD are multiple versions of the Oddity. The Oddity installer allows you to install any or all versions via a single installer, one for Mac and one for PC.

PC -

Insert the Oddity Master CD into your CD-ROM drive. From the setup window, select the “Install” option and follow the onscreen instructions, carefully entering your unique User Name and Registration codes EXACTLY as you ﬁnd them printed within this Getting Started guide.

Mac -

Insert the Oddity Master CD into your CD-ROM drive. Double-click on the GForce Oddity disc icon to open the disc. Double-click on the Oddity.dmg ﬁle and then run the Oddity Installer, following the onscreen instructions and carefully entering your unique User Name and Registration codes EXACTLY as you ﬁnd them printed within this Getting Started guide.

During installation, be sure to click on the Next button until the installation routine is complete.

Mac installer shown

Registration

Please take time to register your Oddity on-line at:

http://www.gmediamusic.com/registration/

Registration is required to receive free technical support.

Quick Guide

Having installed the Oddity, select it as an instrument within your host application and open the Oddity’s edit window, its main screen. The Oddity uses two speciﬁc ﬁle types; Presets, individual sounds, and Preset Banks (.pbk), groups of up to 64 Presets. Preset Banks can be used within the Oddity on either PC or Mac platforms. If a .pbk ﬁle is created within a Windows host these ﬁles can be utilized by an Oddity operating on a Mac host, and vice versa. For speciﬁc details of each module parameter please refer to their section within this manual.

Sound Formats: Mac and PC

The Oddity uses it’s own cross-platform ﬁle structure in the form of Preset Banks. However, most host applications offer their own sound saving methods which you may be more familiar with. On this Oddity Master CD you will ﬁnd a folder called ‘The Oddity

- Sounds’ which contains several variations of Oddity sounds in formats applicable either to the Oddity itself (.pbk ﬁles), Emagic’s Logic (settings) or Steinberg’s Cubase (instruments).

Preset Banks

Once the Oddity has been successfully installed, six Preset Banks (each containing 64 preset allocations) will have also been installed to your host application’s VSTPlugIns/GMEDIAMusic/Oddity folder. The sounds in the ﬁrst four of these have been designed speciﬁcally around the Oddity. The ﬁfth one, named OdysseyBank.pbk, actually contains 64 sounds reconstructed from the Odyssey’s original patch templates for those old retro tones. Finally, there’s an empty Preset Bank named ‘Template.pbk’ which is a great place to start when creating and saving your own Presets and, in turn, Preset Banks.

Of course, it is possible to save Presets to any of the Preset Banks, over-writing an original Preset(s) in the process. If you need to recover a original sound that has been over-written, simply copy the original Preset Banks to your hard-disk and navigate to this folder using the red ‘Load’ button found on the Oddity’s front panel.

Logic Settings

If you are a Logic user and wish to load individual Oddity Presets as a ‘setting’, open the ‘The Oddity - Sounds’ folder followed by the ‘Individual Sounds’ folder. Next, open the folder applicable to your computer’s operating system and copy the ‘Logic Settings’ folder to your hard-disk.

Using the ‘Load Settings’ command within Logic, you can now navigate to this folder to load any of the individual sounds. This is a good method of rearranging your Preset Banks to suit your own needs, or simply recovering individual sounds that may have been overwritten by mistake.

Cubase Instruments

If you are a Cubase user and wish to load individual Oddity Presets open the ‘The Oddity -Sounds’ folder followed by the ‘Individual Sounds’ folder. Next open the folder applicable to your computer’s operating system and copy the ‘Cubase Instruments’ folder to your hard-disk. From within Cubase navigate to this folder and load any of the individual Oddity instruments.

Finally...

Loading an Oddity sound as either a Logic ‘setting’ or a Cubase ‘instrument’ will change the Oddity’s parameters to those associated with the new sound but you will see no change to the name in the Oddity ‘Current Preset’ window. Remember also that this new sound will only become permanently stored once it’s saved as a Preset and, in turn, as part of a Preset Bank.

Product Demos

Included on this CD are product demos from GForce and Ohm Force, please take a little time to check these out. These can be found in the GForce Demos folder.

Loading Preset Banks

When an Oddity is ﬁrst opened the default sound “80’s Bass” will be loaded but initially you will see “<<Click Here>>” in the ‘Current Preset’ window. Clicking on this text will open a drop-down menu from where you can select any one of the 64 Presets from the default set, ‘OddityBank01.pbk’. Having opened the drop-down menu, a tick will appear next to the selected Preset.

To load a Preset Bank (.pbk) simply click on the ‘Load’ button and navigate to your host application’s VstPlugIns/GMEDIAMusic/Oddity folder where you will ﬁnd the six installed Preset Bank ﬁles. Select the bank you wish to load and then audition the Presets using the method shown above.

Understanding and saving edited Presets and Preset Banks.

The Oddity uses two ﬁle types, Presets and Preset Banks (.pbk ﬁles). Presets are individual sounds and Preset Banks are groups of upto 64 Presets. Presets must be saved as part of a Preset Bank to hard-disk.

Saving an edited Preset in a new Preset Bank:

1. Click on the the ‘Load’ button and select the ‘Template.pbk’. This loads the ‘Template.pbk’ into the Oddity’s background memory, your edited Preset remains the active Preset and still appears in the ‘Current Preset’ window.

2. Move the ‘Memorize’ switch to it’s upper position.

3. Click on the Preset name in the ‘Current Preset’ window to open the Preset drop-down menu. Now select the position you wish to save your Preset in.

4. Click on the ‘Rename’ button to rename your new Preset. The new name will now appear in the drop-down menu in the position you saved your new Preset and in the ‘Current Preset’ window.

5. VERY IMPORTANT. Presets are only saved to volatile RAM and must be saved as part of a Preset Bank (pbk) to hard-disk. Click on the ‘Save’ button to save your current set of Presets as a Preset Bank. If you do not save edited Presets in a Preset Bank to hard-disk they will be lost when you quit your host application. Name your new set with a name of your choice and then use this as the basis for any new Presets you create. Using this method you can create various Preset Banks, basses, effects, leads, etc.

The Oddity Modules

Common Controls

+ 15 hidden pages