Modal 002 User Manual
Machines for
Musicians
Modal Electronics 002
12 voice polyphonic analogue/digital hybrid synthesiser
User Manual
OS Version - 1.3
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Important Safety Information
WARNING – AS WITH ALL ELECTRICAL PRODUCTS, care and general precautions must be
observed in order to operate this equipment safely. If you are unsure how to operate this
apparatus in a safe manner, please seek appropriate advice on its safe use.
Please ensure you read this manual and the Modal 002 ‘Quick Start Guide’ before attempting
to operate this apparatus
THIS APPARATUS IS HEAVY (approximately 16.5 Kg) – observe lifting and handling precautions
when moving it. Also ensure that the apparatus is placed on a suitable stand so as to enable
safe operation and prevent toppling.
This apparatus MUST NOT BE OPERATED NEAR WATER or where there is risk of the apparatus
coming into contact with sources of water such as sinks, taps, showers or outdoor water
units, or wet environments such as in the rain. Take care to ensure that no liquids are spilt
onto or come into contact with the apparatus. In the event this should happen remove power
from the unit immediately and seek expert assistance.
Be careful to allow free air movement around the apparatus and do not block any air vents or
exits during operation - this apparatus produces heat.
This apparatus produces sound that could cause permanent damage to hearing. Always
operate the apparatus at safe listening volumes and ensure you take regular breaks from
being exposed to sound levels
THERE ARE NO USER SERVICEABLE PARTS INSIDE THIS APPARATUS. It should only be serviced
by qualified service personnel, specifically when:
• The apparatus has been dropped or damaged in any way or anything has fallen on the
apparatus
• The apparatus has been exposed to liquid whether this has entered the apparatus or not
• The power supply cables to the apparatus have been damaged in anyway whatsoever
• The apparatus functions in an abnormal manner or appears to operate differently in any
way whatsoever.
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Index
00. Introduction
01. I just want to play this thing...
Power on
Screen Controls
Patch Screen
Load Patch
Patch storage
02. Connections
03. Synthesis Engine
Oscillators
Mixer
Filter
Envelopes
LFO’s
Modulations
04. Keyboard, Controllers and Quick Recall
Key Modes
Keyboard
Joystick
Mod Wheel
Expression and Sustain Pedal
MPE
Quick Recall
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10
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36
38
39
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05. Sequencer, Animator and Arpeggiator
Sequencer
Animator
Arpeggiator
Modes
Shortcuts
06. Multi-Timbrality
Performance Mode
Performance Edit
Performance Storage
07. Snapshot
08. Digital Input/Output Board
09. Settings
10. Web User Interface
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Modal 002 is a 12-voice analogue-digital hybrid synthesizer.
00
Introduction
It features two high-resolution NCO oscillators per voice (plus two sub oscillators), Modaldesigned four-pole transistor ladder filter with real analogue morphing, VCA, two LFOs, 2
modulation matrices and very powerful Sequencer and Arpeggiator.
The hardware has been manufactured with high-quality components: FATAR semi-weighted
five octave key mechanism with aftertouch, white metal case, aluminum turned encoders and
high quality 4.3” LCD screen.
Among the many connections, Modal 002 features an ethernet port to connect your synth to
your network and enable updates via the internet (no need for MIDI sysex dumps) and also
access to the Modal cloud features and HTML Web User Interface.
Please update your unit immediately
Internet connectivity is a key-point for Modal products: we release updates on a regular
basis, constantly providing new features and bug fixes.
Please read ‘Settings’ (chap.9) for a more detailed description of the update procedure.
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01
I just want to play
Power on
this thing...
Connect the power lead to your 002 then connect the output of the 002 to your mixer, or if
you prefer connect your headphones.
Also connect an ethernet cable from your router to the 002.
In order to maintain a high Signal to Noise Ratio the voices are alternatively split left and right
(eg. 12 voices are split 6 voices on the left and 6 on the right), so we recommend panning the
two channels slightly off centre on your mixer or audio interface.
Before powering up ensure the volume control is at minimum, analogue electronics during
first power on create a ‘pop’ and this may cause damage to your speakers and the sound
guy’s ear drums.
Then power on.
You will see a progress bar on the screen. When the synth has loaded it will change to show
the main patch page.
Press down a key and slowly turn up the volume to a comfortable level.
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Screen controls
Hover mode
Edit mode
You can select and change the value of most of the synth parameters directly with the
dedicated rotary encoders: the Modal 002 interface is designed to be extremely intuitive and
easy to use, so that all the most important parameters are easily accessible and tweakable. The
‘screen controls’ represent a useful alternative to encoders and switches, and they can also be
used to edit parameters not accessible through the front panel controls.
Modal 002’s LCD screen is context sensitive (provided that PageSwitch option is On - ‘Global
Settings’): as soon as you turn an encoder, the related screen page is immediately displayed,
with the selected parameter highlighted in red.
Keypad
Hover mode
You can use the keypad to
select a specific parameter box
on the screen - you can see the
subscript numbers shown in the
bottom left of every box in every
screen page (except for the patch
loading page).
Edit mode
You can use the keypad to type
the value of that parameter.
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Grey cursor and text.
Turning datawheel and +/- navigates
around the screen to different parameters.
Keypad can be used to shortcut to specific
parameters and enter edit mode.
Push datawheel or press select to switch to
edit mode.
Red cursor and white text.
Turning datawheel and +/- changes values
of currently selected parameter.
Keypad can be used to type parameter
values. 0 followed by a number is a minus.
Push datawheel or press select to switch to
hover mode.
Select button
Alternative to pushing
datawheel, up to user’s
preference. Select is mainly
used for switching between
hover / edit mode. So you
navigate to a parameter
in hover mode then press
select to edit the value. It is
also used to load patches.
+ / - buttons
Key 0
In hover mode on every page
key 0 is assigned to the ‘X’ exit
button. In edit mode typing 0
before entering other values
allows for minus numbers to be
entered. For example typing 0, 2, 4 would make -24.
0
A B C D E F
Alternative to turning
datawheel. Pushing once
increments one step.
Pressing and holding
repeats increments.
Datawheel
TIP: A clever usage of the 002 interface is to select a parameter by touching the related
encoder, then type the exact value with the keypad. This is very useful for either putting many
values to zero quickly or generally being more precise with the edit.
A B C
PATCH PERFORMANCE SEQUENCER ANIMATOR PARAMETER RECALL
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Large rotary encoder for data selection and entry. Turning clockwise increments, anti-clockwise
decrements and pushing selects. Same functionality as the Select and + / - buttons.
D E F
SAVE SNAPSHOT SETTINGS
Menu buttons
6 buttons below the screen to navigate
quickly to different sections.
Some are dual function, where pressing
twice will bring up other pages.
Links up to bottom menu of the screen
Patch screen
Load patch
After power on you will be shown the Patch screen. This screen shows you the currently
selected patch, as well as some useful details about the current patch.
1. Patch Number - is always shown as 4 digits (0000), the first two digits represent the
bank number (00xx - 99xx) and the last two the patch number (xx00 - xx99) within the
bank. There are 100 banks of 100 patches in total (0000 - 9999). If the patch number is
highlighted in red then it is the currently loaded patch number.
2. Patch Name - Patch names can be up to 32 characters long.
3. Keyboard Transpose - the keyboard section shows the current octave and transpose
settings for the current patch. The numbers on the keys show the midi note value for
each octave, so in the example above C2 to C7. We use C4 as middle C (MIDI note
60) but the red value on the right shows the current note on middle C with octave and
transpose applied.
4. Midi Channel - the current midi channel 002 recieves and sends on. This can be changed
in the Settings > MIDI menu (chap. 9).
5. Key Mode - Polyphonic, Monophonic, Unison or Stack. Within the graph each line
represents a voice, each different height the number of notes that can be played at once
and the gap between the lines the detune amount (only used on Unison and Stack).
6. Arpeggiator Status - whether arpeggiator is currently on or off
7. Animator Status - whether animator is currently on or off
If you want to load another patch:
• Scroll through the patches either using the Datawheel, or the ‘-/+’ buttons above, or
directly type the slot patch number with the keypad
• Now you see a different patch name, but no new patch has been loaded yet (the patch
number on the left of the screen is grey). If you want to actually load it, press the Select
button to confirm your selection: the patch is now loaded (the number is red)
• There is also an option in the ‘Global Settings’ menu called AutoLoad. When this option is
enabled then after a short pause a patch will be loaded without needing to press Select
• If you don’t want to load a new patch, but just scroll through the patch names, you can
keep turning the Datawheel (or pressing the ‘-/+’ buttons) without any harm (the patch
number will remain grey)
• You can use the first ‘menu button’ (A) as an ‘Escape’ button. If you have scrolled past
the current patch, pressing that button returns you to the current patch name (without
re-loading it, so you will not loose your edits). The patch number is now red.
Another way to load patches is to use the ‘Quick Patch Load’ method. While holding down
the first ‘menu button’ (A) you can press the ‘-/+’ buttons to load the next or previous patch.
This method can also be used on any page, not just the patch page and will not switch page
when the new patch is loaded. This can be useful if for example you would like to see the
filter settings of the previous patch you can stay on the VCF page when switching between
patches.
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Patch storage
When a sound has been edited an asterisk (*) will appear at the beginning of the name to let
you know that there are unsaved changes.
Then if you would like to save that sound:
• Press the 4th ‘menu button’ (D) - the LCD will display the storage page. You can save
many different types of data (including Performances, Sequences, etc.), but since you are
working on a mono-timbral patch, the screen will automatically select Patch Storage.
• You will need to confirm what you have just typed, so press number ‘2’ on the keypad
(or Select again), which corresponds to the ‘Yes’ box. If you are not sure about the name,
type ‘1’, which corresponds to the ‘No’ box.
• If you want to save the edited sound in the same slot (overwriting the previously saved
patch) just press Select.
• Alternatively, if you want to save the sound in a different slot, you can select one by
either using the datawheel or the ‘-/+’ buttons. Once you found the right slot, press
Select to confirm.
• Now the LCD shows the QWERTY keyboard, where you can type a new name for the
preset. Using the datawheel (which can also be tapped to confirm selection) is probably
the easiest way to type the name. Once you are done, just scroll down to the ‘Done’ box
and confirm.
Please note, Patches are saved with a link to the current Animator number and (if the Link
option is on) the current Sequence number. However, if an Animator or Sequence has been
edited those changes will not be saved, they would be need to be saved seperately with the
Animator / Sequence in that slot number.
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02
Connections
Audio In
Two mono TS audio inputs, to process
your audio source with 002’s analogue
VCF and VCA.
USB-B (Audio, MIDI)
This USB-B port is part of the optional
digital input/output board only, and
allows the synth to appear as a USB
Audio/MIDI device on a computer,
providing both audio/MIDI inputs and
outputs
Headphones
(On the front) A 1/4” stereo jack socket.
We recommend using headphones with
a minimum impedence of 70 ohms.
MIDI (In, Out, Thru)
To receive/send/pass through MIDI data
from/to other devices.
Control In
Sustain input works with any standard,
normally open momentary foot switch.
Expression input works with any Roland
/ Oberheim standard expression pedal
that has a variable resistor on a TRS
1/4” phone plug.
Audio Out
002’s main audio output, featuring a
stereo ‘combo-socket’ outputs with
balanced XLR or unbalanced TS plugs.
With the standard version of the Modal
002, six voices are hard-wired to the
left, six voices to the right. The optional
digital output board instead centres all
voices to both outputs, however it also
provides custom panning and mixing
options.
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Analogue Out
D-Sub connector providing individual
pure analogue output for each of the
12 voices.
Connect
Internet connection. Connect an
Ethernet cable directly to your router to
allow updates to the OS, access to the
Web Editor and other internet features.
The USB-A port is used for connecting
class-compliant USB-MIDI devices and
allows MIDI in/out connections. Devices
should be connected directly rather
than through a USB hub.
Power
AC power inlet, accepting standard
grounded IEC power cord. It operates
over a range of 90 to 260 volts and 50
to 60 Hz. Connect the cord included
with your 002, then press the power
switch to turn the synth on.
In this section we are going to have an in-depth look at every section related to the sound
engine of the 002.
03
Synthesis engine
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Each section of the synthesiser has a dedicated area on the front panel, defined by printed
grey lines. Almost every feature of the sound engine is directly accessible and controllable with
dedicated knobs and buttons, making the user experience very simple and straight forward:
every time you change a value by touching an encoder or clicking a button, the LCD display
updates showing the related page and changed parameter.
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Oscillators
002 features two main digital oscillators per voice (Numerically Controlled Oscillators - NCO),
identified by OSC1 and OSC2 labels, each one with its own Sub-Oscillator.
Since there are 12 voices, 002 has a total of 48 oscillators inside.
NCOs differ from the oscillators found in most virtual analogue synthesisers in that they use
a variable sample rate and as such are not band-width limited. This means that a sawtooth
sounds like a sawtooth regardless of the pitch played and results in a very rich sound,
previously only obtainable from classic analogue synthesisers.
1. Wave/PW: Two big encoders allow you to choose among 56 different waveforms,
ranging from classic analogue sounds to more unique digital shapes.
2. Note: These two encoders control the tuning of each oscillator in semitones, covering a
range from -24 to +24 semitones.
3. PW: If the underlying PW switch is on, the oscillator is in PulseWave mode: this means
that now the Wave/PW knob acts as a pulsewidth control, with maximum value of 63
corresponding to a squarewave.
4. Detune: This parameter controls the fine tuning of the oscillators, with the maximum
value of 127 corresponding to about a semitone.
5. DeRez: When this option is On, a down sampling algorithm is active on both the
oscillators. This algorithm adds a good amount of additional high-frequency harmonics, in
order to make the sound brighter (tip: very good with waveforms from 30 to 45).
6. Sync: When this option is On, the two oscillators are hard-synced. OSC2 is the slave
oscillator: you can detune it or modulate its pitch, but it will always follow OSC1 pitch.
7. SubWav: This option controls the sub-oscillators behaviour. Each sub-oscillator is linked
to a main oscillator, sounding one octave lower.
• When the SubWav button is off, the sub-oscillators produce standard square waves.
• When the SubWav button is on, the sub-oscillators use the same waveforms as the
corresponding main oscillator.
This is a key feature of the 002, this is more like having 4 oscillators per voice rather than
the traditional 2 oscillators. Combining SubWave and DeRez functions when creating
sounds allows you to create a variety of harmonic contents for the oscillators
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Mixer
You can easily mix the signals coming from the oscillators in the Mixer section, just on the
right side of the oscillators’ section.
1. Osc1: This parameter controls the volume coming from Oscillator 1, with a range from 0
to 127.
2. Osc2: This parameter controls the volume coming from Oscillator 2, with a range from 0
to 127.
3. Ext In: This parameter controls the volume of the incoming external audio signal, if there
is an external source connected to the 002’s Audio Input. In this way, you can process any
instrument producing a ‘line’ signal (e.g. a drum machine, another synth or DAW output)
with our VCF and VCA, through a pure analogue signal path.
Only the first 4 voices can be used for processing external audio in Patch Mode: this
means that if Ext-In is greater than 0, then only 4 voices will be used (the remaining 8
voices being disabled), no matter what Key Mode and Size settings are. Please then make
sure that this parameter is always equal to 0 if you do not want to use external audio.
4. Sub1: This parameter controls the volume coming from the Sub-Oscillator linked to
Oscillator 1, with a range from 0 to 127.
5. Sub2: This parameter controls the volume coming from the Sub-Oscillator linked to
Oscillator 2, with a range from 0 to 127.
6. Drive: This parameter controls the amount of filter overdrive distortion. Note that 002
features a transistor ladder VCF with a distortion circuit that overdrives the filter itself,
not the signal ‘before’ the filter. This makes our VCF sound like nothing else, and also
creates a particular effect: indeed you could hear a sort of ‘hiccup’ if moving the Drive
encoder too fast. Don’t panic: this is the normal behaviour of our design, and is due to
the transistors saturating and then recovering.
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Filter
Modal 002 uses a classic analogue transistor ladder design to low-pass filter the signal coming
from the oscillators (or from an external source). Like every true polyphonic synthesiser, Modal
002 has an individual VCF per voice.
1. Cutoff: This parameter controls the low-pass filter cutoff frequency. The minimum value
(i.e. 0) corresponds to about 40 Hz.
2. Reso: This parameter controls the amount of resonance of the filter. Note that with
the ladder filter design, resonance can go quite wild at high values; also, turning up
the resonance value dampens the low end of the sound a little bit. These are normal
consequences of this particular filter design.
3. Slope: This parameter controls the shape of the filter: note that this is a real continuous
analogue filter morphing (quite a unique feature in the analogue domain), which gives to
the Modal 002 filter a unique characteristic.
• At a value of 0 you have a 4-pole low pass filter;
• At a value of 10-20, you have a sort of low-shelving;
• In the midpoint (63) you have a band-pass filter;
• At maximum value (127) a 1-pole low-pass filter.
TIP: With this feature you can dampen the low frequencies while maintaining a rich highend texture. For a good ‘light’ pad sound, try a value of 90 with a high Cutoff. Try values
other than 0, 63, and 127 for interesting, unique timbres.
4. EG: This parameter controls the amount of envelope modulation (‘VCF-EG’ - see
‘Envelopes’ section in this same chapter) on the filter cutoff frequency. Note that this
parameter can also have negative sign. TIP: use a high negative EG value combined with
a long Release on the Envelopes, in order to get some nice ‘filter-opening’ effects when
releasing the keys.
5. LFO2: This parameter directly controls the amount of LFO2 modulation (see
‘Modulations’ section - later in this same chapter) on the filter cutoff frequency. Note that
this parameter can also have negative sign.
6. Velocity: This parameter controls the amount of keyboard velocity modulation on the
filter cutoff frequency: at positive values, the stronger you press the keys, the higher the
cutoff is set. Note that this parameter can also have negative sign.
7. Note: This parameter controls the amount of keytracking modulation on the filter cutoff
frequency: at positive values, the higher the note you press, the higher the cutoff is set.
Note that this parameter can also have negative sign.
8. Offset: This parameter controls the keytracking offset when using Note to CutOff
modulation. The offset is in semi-tones from the lowest note on the keyboard.
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Envelopes
Modal 002 provides two separate classic 4-stage contour generators (i.e. envelopes), one for
the filter (VCF-EG), one for the amplifier (VCA-EG): the former modulates the filter cutoff
frequency, if a value different from zero is set for the filter EG parameter (see ‘Filter’ section previously in this same chapter); the latter modulates the amplifier volume, if a value different
from zero is set for its own Amount parameter.
Both the envelopes have the same 4 stages, plus 2 options:
1. Attack: This parameter controls the time passing from the moment you press a key (i.e.
‘MIDI Note On’ message) until the sound reaches its maximum value
2. Decay: This parameter controls the time passing for the sound to drop from its maximum
value to a sustain level (see later)
3. Sustain: This parameter controls the level of the sustain phase of the sound (i.e. the
volume of the sound while keeping the key pressed). If there are no modulations active,
this volume keeps constant until you leave the key (then entering the ‘release’ phase)
4. Release: This parameter controls the time passing from the moment you leave a key (i.e.
‘MIDI Note Off’ message) until the sound reaches silence
5. Shape: This parameter varies the shape of certain stage of the envelope. You can choose
between ‘Linear’ mode (where all the stages have linear shape), or ‘Exponential’ mode
(where Decay and Release have exponential shapes, but the Attack stays linear). The
‘Exponential’ mode is also faster than the ‘Linear’: it gives the ability to create snappier
transients, thus it is the best mode for percussive sounds design. On the other hand,
‘Linear’ may be preferred when designing pad/ambient sounds.
6. Retrigger: in single (‘sngl’) mode the envelope behaves like an analogue envelope:
when a key is pressed as the envelope is decaying, the attack phase will start from that
level rather than 0 (so if the envelope hasn’t reached 0, it will start from there). On the
other hand, when this is in retriggering mode (‘trgr’), a new key being pressed will force
the envelope level to 0 and start the attack phase again (particularly useful for bass/lead
mono/unison sounds).
Shape and Retrigger parameters are not on the front panel and are accessed using the
screen controls.
The VCA-EG has one other different parameter available:
7. Amount: This parameter controls the amount of contour generator applied to the VCA.
If this parameter is set to 0 you hear silence, while turning it up causes the volume to
increase.
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LFO’s
2 3
Modal 002 features two individual low frequency oscillators: LFO1 is a simple LFO and is
‘global’ across the patch (so it affects the whole sound); LFO2 has more parameters and is
applied ‘per voice’ (so it affects each note/voice individually). Both LFO1 and LFO2 have these
parameters:
1. Waveform: Allows you to choose one among the four available LFO waveforms (i.e. sine,
sawtooth, square and sample & hold).
2. Rate: This parameter controls the speed of the LFO.
3. MIDI Sync: This parameter syncs the speed of the LFO to either the internal or an
external MIDI clock. The clock source can be selected within the ‘MIDI Settings’ page.
When enabled the ‘Rate’ parameter changes to show divisions of a typical 4/4 bar, so 1/4
would be a crotchet, 1/2 would be a minim etc.
LFO2 has these additional parameters:
4. Delay: This parameter controls the initial delay of the LFO. The LFO is initially silent, then
it’s amplitude increases until it reaches its full amplitude and keeps constant: ‘Delay’
regulates the time needed to complete this initial phase.
5. Note: This parameter controls the amount of the keytracking modulation on the LFO
speed: at positive values, the higher the note you press, the faster the LFO runs.
6. Sngl: This button switches between the LFO’s different modes:
Reset: in this mode, each new keypress restarts the LFO and it the continues to run -
particularly useful for Unison/Stack sounds
Freerun: in this mode LFO2 is never reset, so it could be at any phase when a note is
pressed
Reset + Single: in this mode, LFO2 will start when a new key is pressed, do one cycle
and stop, but when a new note comes in and one is already playing, LFO2 is retriggered
Single: in this mode, LFO2 will start when a new key is pressed, do one cycle and stop,
but will not retrigger when a new note comes in and one is already held (like in Mono/
Unison key modes)
7. Speed Hi / Low: when this parameter is set to “High”, LFO2 runs at 3 times the speed
of “Low” mode.
8. Bi / Uni polar mode: if Unipolar, the LFO will outcome only positive modultion values,
while Bipolar is a more common negative-positive. Particularly useful for the Square
waveform.
1
Note that LFO1 is slower than LFO2, allowing modulations that are impossible to do with
LFO2, more suitable for pad/ambient sound design.
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Modulations
The Modal 002 has six main modulation matrices, accessible via two groups of buttons and
knobs on the front panel. Each group has 3 sources and 8 destinations, with a single Depth
value for each source, apart from LFO2 where each destination has a depth value and a global
depth value.
Sources: In the first matrix the available sources are LFO1, Aftertouch and Modulation Wheel.
In the second matrix the available sources are LFO2, Velocity and Note (Keytracking)..
Note that Modal 002 semi-weighted keyboard is velocity-sensitive and has monophonic
aftertouch. Also, the Joystick is a 4-axes controller and each axis is individually assignable:
ModW (Modulation Wheel) is a possible destination of a joystick axis, which can be used as a
fast way to control the amount of modulation for destinations of ModW.
Destinations: Modulation destinations are almost the same for both matrices, with the only
difference being Reso in the second matrix instead of Cutoff. This is because LFO2 already
has a hard-wired modulation for the filter cutoff (see ‘Filter’ section - previously in this same
chapter), so having it also on the matrix would be a duplicate.
More details:
1. Depth: The global modulation amount for the source, can be positive or negative
2. OSC1/ OSC2: Are the pitches of the two oscillators. Modulation sources LFO1 and
LFO2 directly control each oscillators pitch. However, modulation sources AfterTouch,
ModWheel and Velocity enables a vibrato effect on each oscillator, specifically it assigns
LFO2 to the oscillators pitch with an independant depth amount. Finally modulation
source Note fixes the pitch of an oscillator when enabled, which can be useful for
percussive or sync sounds.
3. Wave1/ Wave2: Are the waveforms of the two oscillators. Modulating this destination
means that the oscillator will step through the different waveforms (see ‘Oscillators’
section - previously in this same chapter)
4. Slope: Is the shape of the filter (see ‘Filter’ section - previously in this chapter)
5. Reso: Is the resonance of the filter (see ‘Filter’ section)
6. Cutoff: Is the cutoff frequency of the filter (see ‘Filter’ section)
7. Drive: Is the amount of overdrive distortion (see ‘Mixer’ section - previously in this
chapter)
8. VCA: Is the volume of the amplifier (see ‘Envelopes’ section - previously in this chapter)
- you can create a classic tremolo effect if applying LFO1 to this, or a more complex
polyphonic tremolo if applying LFO2.
Individual modulation depths provided for all LFO2 destinations: to change the modulation
amount for a specific destination, please hold down the destination button and turn the
‘Depth’ knob on the front panel.
A single click on the destination button will enable that modulation with an automatic Depth
amount of 50.
If no destination buttons are being held down, the Depth knob will act as a ‘global scaling
factor’: this means that if the ‘Global Depth’ is equal to 0, all the modulations will be disabled,
no matter what the individual values are.
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In this section we are going to discuss the bottom-left area of the front panel interface, which
includes various settings for keyboard, quick recall options and the joystick.
04
Keyboard, Controllers
and Quick Recall
Key Modes
The KeyMode option sets the keyboard polyphony and the allocation method for the voices.
002 has 4 different KeyModes:
• Poly: standard polyphonic mode, where you can play up to 12 notes simultaneously, each
one using one single voice and uses most recent note priority
• Mono: standard monophonic mode, where you can play just one note at time, using just
one voice
• Unison: standard unison mode, where you can play just one note at time (mono
keyboard), but you can use up to 12 voices simultaneously for that note
• Stack: special ‘poly/unison’ mode, where you can decide how many notes you can play
together (polyphonic keyboard) and also how many voices the Modal 002 uses for each
note. E.g. with a Size of 4 voices, you can play up to 3 notes simultaneously, with each
note using 4 voices, because you have 12 voices available. This mode uses most recent
note priority
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