Muse Research Receptor 2+ User's Guide

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Receptor v1.2

User’s Guide

Muse Research, Inc.

970 O’Brien Drive

Menlo Park, CA 94025

USA

Tech Support: (650) 326-6180

Main Ofﬁce: (650) 326-5400

March 31, 2005

Muse Research, Receptor, MuseMachine, and the Muse Research logo are trademarks of Muse Research, Inc. VST is a registered trademark of Steinberg Media, GmbH. ADAT and the ADAT logo are registered trademarks of Alesis, LLC and are used here under license. Macintosh and the Apple logo are registered trademarks of Apple Computer, Inc. Windows and the Windows logo are registered trademarks of Microsoft Corporation. All other trademarks used herein are property of their respective holders. No portion of this manual may be reproduced or distributed without the express written consent of Muse Research, Inc.

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--------------- Warning ---------------

To prevent ﬁre or shock do not expose this appliance to rain or moisture. Refer servicing to qualiﬁed service personnel.

Notice Regarding Electromagnetic Emissions

This device complies with part 15, subpart J of FCC rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, (2) this device must accept any interference that may cause undesired operation. Changes or modiﬁcations to this device not expressly approved by the manufacturer may void your authority to operate it. When connecting this product to accessories and/or other equipment use only high quality shielded cables.

Notice Regarding GPL License conditions

This product is based on the Linux Operating system, some or all of which may be administered under terms of the GNU General Public License (GPL) agreement as published by the Free Software Foundation.

Software distributed under the terms of the GNU GPL may be redistributed or modiﬁed under the terms of the GNU GPL, either version 2 of the License, or any later version. Programs distributed under the GNU GPL are done so WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU General Public License for more details.

A copy of the GNU GPL agreement is available from the Muse Research website (www.museresearch.com) as well as on the Receptor CD.

A machine-readable copy of the GPL compliant software in this product is available from Muse Research for a small fee to cover costs of producing and mailing the CD by writing to:

Muse Research, Inc. 970 O Brien Drive Menlo Park, CA. 94025

IMPORTANT SAFETY, INSTALLATION & USE INSTRUCTIONS

INSTRUCTIONS PERTAINING TO THE RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS

WARNING: READ THIS FIRST!

When using electric products, basic precautions should always be followed, especially the following:

1 Read and follow the Safety, Installation, and Use instructions before using this product.

2 This product must be grounded. If it should malfunction or break down, grounding provides a path of least

resistance for electric current to reduce the risk of electric shock. This product comes with a power supply cord with integral equipment grounding conductor and grounding plug. This power supply cord must be plugged into an appropriate outlet which is has been properly installed and grounded in accordance with local electrical building codes and ordinances. Use in countries other than the North America may require the use of a different power cable or attachment plug, or both.

DANGER

Risk of electrical shock or ﬁre exists if the grounding scheme of a product is defeated or modiﬁed so that the ground is improperly connected. Do not modify the plug on the power supply cord provided with this product — if the power plug does not plug into your existing outlet, or you are in doubt as to whether the product is properly grounded, check with a qualiﬁed electrician.

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CAUTION

If Receptor is rack mounted, a standard 19-inch open frame rack must be used. Do not install Receptor in rack that does not allow or provide for free air movement in and around the device or overheating and possible product damage may result.

3 To reduce the risk of injury, do not allow children to operate any electrical product without close

supervision.

4 Do not use Receptor near water -- for example near a bathtub or shower, next to a sink, in a damp

basement, or near or in a swimming pool or wet location.

5 Receptor MUST be installed so that its location or mounting position does not interfere with its proper

ventilation on the sides, bottom and rear of the unit. Do not modify or obstruct any of the fans in this product or overheating will result, possibly causing permanent damage.

6 Receptor should be located away from heat sources such as radiators, heat registers, ﬁreplaces, stoves, or

ovens, or on top of or in between amps or other heat generating devices.

7 Receptor should only be connected to a power supply of the type described in the instructions and marked

on the product using the proper power supply cable.

8 This product, in combination with an ampliﬁer, headphones, and/or speakers, may be capable of producing

sound levels that could cause full or partial hearing loss and/or damage other audio equipment such as speakers. Take all necessary precautions to protect your hearing when using this or any other audio device by ensuring that the maximum output volume of your monitoring system is kept to a safe level well below the threshold of damage.

9 Receptor may be equipped with a polarized line plug (where one blade is wider than the other) which

ensures it can only be inserted into a polarized outlet. This is a safety feature that prevents line and neutral from being inadvertently reversed. If you are unable to insert this plug into the outlet, do not modify the plug. Contact an electrician to install the appropriate power outlet.

10 The power supply cord should be removed from the power outlet when not being used for extended

periods of time.

11 Care should be taken so that foreign objects or liquids are not introduced into the product enclosure

openings.

12 The product should be serviced by a qualiﬁed service person when any of the following events occur:

A. The power supply cord or the plug have been damaged;

B. Objects have fallen into or liquid has been spill into the product;

C. The product has been exposed to rain;

D. The product does not appear to be operating normally or exhibits a marked change in performance;

E. The product has been dropped or the enclosure has been damaged.

13 Do not attempt to service this product beyond what is described in the user maintenance instructions. Any

required service should be performed by qualiﬁed service personnel. Please contact the factory for your nearest qualiﬁed service center.

14 For your personal safety and the safety of others:

A. Do not operate this or any other audio device for long periods of time at high volume levels or at a level that is uncomfortable. Ensure your hearing is protected against inadvertent, excessive sound pressure level in your studio or performance environment. If you experience any hearing loss or ringing of the ears consult your physician or audiologist.

B. Take care when programming any of the synth ﬁlters, distortion programs, or ﬁlter effects contained herein using extreme operating parameters. These actions could also produce signals which result in potentially damaging sound levels as noted previously.

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WARNING

Do not place objects on the product s power supply cord, or place the product in a position where anyone could trip over, walk on, or roll anything over cords of any type. Do not allow the product to rest on or be installed over cords of any type. installations of this type create the possibility of a ﬁre hazard and/or personal injury.

MAINTENANCE INSTRUCTIONS

1 This product should be kept clean and dust free. Periodically wipe the unit with a clean, lint free cloth. Do

not use solvents or cleansers as they may damage or scratch the ﬁnish.

2 There are no user lubrication, adjustment, or alignment requirements for this product.

3 Refer all other servicing to qualiﬁed service personnel.

--------------- SAVE THESE INSTRUCTIONS ---------------

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----- End User Software License Agreement -----

SOFTWARE LICENSING CONTRACT

The following information represents the contractual conditions for the use of software (hereinafter called the Licensed Software), manufactured by Muse Research, Inc. as well as 3rd party software developers (such as, but not limited to Applied Acoustics, Arturia, Dash Signature, DiscoDSP, FXpansion, GMEDIA Music, Kjaerhus Audio, LinPlug, Native Instruments, OhmForce, PSP, reFX, rgc:audio, WaveArts, and Wurr Audio) (hereinafter called the Company) by you, the ﬁnal user (hereinafter called the Licensee).

By installing the software, or by sending back the registration card, you are declaring yourself to be in agreement with the contractual conditions, so please read the following text carefully.

If you are not in agreement with these conditions, you must not install the software. In this event, please return the complete product (including all written matter and packaging) to the entity from whom it was originally bought. The price you paid will be refunded in full.

CONTRACTUAL CONDITIONS

1 Scope of use

The Company grants the Licensee, for the duration of this contract, rights - which are neither exclusive nor transferable (called hereinafter the License ) - to use the Licensed Software on one device only (i.e. one Receptor). If this device is connected to a multi-user system, this License shall apply to all users of the system.

2 Permission to copy

The Licensee is given the right to prepare machine-readable copies of the Licensed Software for keeping in storage, provided such copies are only intended to replace or reconstruct used or destroyed copies of the original Licensed Software, and are only used within the context of the rights assigned under this contract.

The Licensee is not entitled to transfer the Licensed Software into the core memory of another CPU.

The Licensee is under an obligation to keep a record of all the copies he produces, and of their locations. He must present the Company with this record at any time if there is any suspicion of misuse.

Upon the expiry of this contract, or of any subsequent contract covering the same Licensed Software, the Licensee is under an obligation - whether or not requested to do so - to totally destroy all copies of the Licensed Software, whether in machine-readable form or any other, and the pertinent documentation. If this Licensed Software is stored electronically, the Licensee must delete it totally, and make a legally binding declaration to the Company that this obligation has been fulﬁlled. The original software that the Licensee receives from the Company is exempt from this requirement.

3 The Company’s rights over the Licensed Software

The Company, or any licensor of the Company, is the holder of all rights of ownership and other rights over the Licensed Software, documentation, and printed material given to the Licensee in execution of this contract. In those cases when the Company is the Licensee, the Company is entitled to pass on the Licensed Software under the terms of this contract.

The Licensee assigns, and the Company accepts, the rights of ownership over all copies of the Licensed Software and/or documentation produced by the Licensee during the lifetime of this contract, including any such material that may be produced by the Licensee in breach of this contract. Ownership rights to disks, diskettes, or tape of any kind is likewise assigned, except in the case of non-separable copies in the core memory of a CPU.

Whenever a copy is made, it must be ensured that the Company’s copyright notice is attached, with an indication of all of the Company’s rights under the foregoing paragraphs in a machine-readable form (if machine-readable copies are being prepared) and/or in plain language. An indication of the ownership and all other rights of the Company as deﬁned in the foregoing paragraphs is to be attached clearly and visibly, printed on or ﬁrmly attached to all disks, diskettes or tape of any kind on which the Licensed Software is stored. The same applies for the documentation belonging to the Licensed Software, and the containers in which this documentation is stored.

4 Exclusivity of Licensed Software

The Licensee is to use the Licensed Software he receives from the Company, all copies thereof, and all pertinent documentation exclusively for his own purposes, and must keep it separate from third parties.

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He must ensure that no third party or any of his own employees, unless authorized, will have access to the Licensed Software, may copy part or all of the Licensed Software, or be given any opportunity to do so. The Licensee bears legal liability towards the Company for any loss or damage - including any subsequent losses incurred by the Company

- resulting from the Licensee not keeping the programs for exclusive use, or not doing so with sufﬁcient assiduity.

The Licensee is in particular not entitled to grant any third party rights of usership over the Licensed Software. Occasional use by a third party is only permissible if this is absolutely essential for the Licensee’s use. Renting or lending out the Licensed Software is expressly forbidden.

5 Guarantee and legal liability

The Company and the Licensee are aware that functional defects in the Licensed Software cannot be totally ruled out, despite the present state of technical knowledge, even if the very greatest care is taken. The unrestricted functionality of the Licensed Software and/or the rectiﬁcation of all faults therefore cannot be totally guaranteed.

The Company’s legal liability for programming errors in the Licensed Software, including later updates provided for under this contract, is therefore restricted to any case of the Company acting with intent or gross negligence.

The Company undertakes, for a period of six months from the conclusion of this contract, to undertake everything that can be expected to ensure the functionality of the Licensed Software in compliance with the speciﬁcations and the program description. The provision for this guarantee is that the Licensed Software be operated in the conﬁguration provided for, and under appropriate operating conditions. The Company does not guarantee uninterrupted and faultless operation.

All guarantee claims on behalf of the Licensee become invalid if he tampers with the Licensed Software, or modiﬁes them in any way whatsoever, regardless of the extent of such modiﬁcations. The translation of the Licensed Software into any other program language is also to be regarded as a modiﬁcation.

At the Company’s discretion, the guarantee can take the form of changing the Licensed Software, or exchanging it for different Licensed Software. In those instances when, within the context of the guarantee, the scope of the Licensed Software would have to be changed, in particular if more memory capacity is needed for the program, the Licensee can make no claims of any kind against the Company.

The Licensee has no rights over and above the aforementioned. The Company bears no liability for any loss or damage to the Licensed Software, or to other programs being used, for the loss of working results, turnover, or proﬁt, or for direct or indirect loss or damage suffered by the Licensee or any third party, unless such loss or damage has been caused by the Company acting with intent or gross negligence.

The Company in particular provides no guarantee that the Licensed Software meets the Licensee’s requirements and purposes, or can work in conjunction with other programs he may have selected. The responsibility for the correct selection and for the use of the Licensed Software, and for the results aimed for or achieved, is borne by the Licensee.

6 Duration of the contract and notice of termination

The contract comes into force from the moment the software is installed on your computer or when the registration card is returned, and remains in force for an unspeciﬁed time until notice of termination is served either by the Licensee or by the Company.

The Licensee can serve 30 days notice of termination at any time by registered letter.

Both parties are free to serve extraordinary notice of termination for a major cause. If the Licensee should infringe any of the above obligations, this will be regarded as a major cause justifying the Company’s termination of the contract. The Company is free to decide at its own discretion in what form this notice should be served.

As soon as the notice of termination takes effect, the Licensee is to return to the Company the originals of the Licensed Software he received from The Company, to destroy all copies and recordings of the Licensed Software, and to give a legally binding written assurance that he has done so.

7 Concluding stipulations

This contract shall be exclusively subject to the laws of the state in which it is published.

The Licensee declares himself to be in agreement with the personal data obtained through this business relationship that may be used by the Company for its own purposes within the boundaries of the relevant Data Protection laws.

If any stipulation of this License contract should be or become invalid, either completely or in part, this shall not affect the validity of the remaining stipulations. The parties undertake instead to replace the invalid stipulation with a valid regulation which comes as close as possible to the purpose originally intended.

The place of jurisdiction is the location of the national sales company or agent. The Company can also however, at its discretion, open proceedings at the registered address of the Licensee.

Should you have any queries concerning this License contract, please contact in writing Muse Research, Inc., 970 O Brien Drive, Menlo Park, California, USA.

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Receptor Overview 15

1 Quick Start 17

I’m a synth player. How do I audition some patches? . . . . . . . . . . . . . . . . . . . . . . 17

I’m a guitar player. How can I listen to some effects? . . . . . . . . . . . . . . . . . . . . . . 18

How and why do I network Receptor to my computer? . . . . . . . . . . . . . . . . . . . . 18

Connecting: Is my computer’s Ethernet port already in use? . . . . . . . . . . . . . . . . . . . . . 19

Mounting: What computer Operating System am I using? . . . . . . . . . . . . . . . . . . . . . . . 20

Remote Control: Seeing Receptor on your Computer’s monitor . . . . . . . . . . . . . . . . . . . 20

How can I integrate Receptor into my recording environment? . . . . . . . . . . . . . . 20

How do I demo and buy premium plugins? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

2 Receptor Architecture 25

Instruments, Busses, and the Master Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Instrument Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Effects Bus Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Master Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Patch Hierarchy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

VST (.fxp) Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Single Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Multi Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

3 Receptor Hardware 29

Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Power Button Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Back Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Under the Hood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Connecting a Musical Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

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Using Receptor’s Front Panel 33

4 Front Panel UI Overview 35

Front Panel Interface Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

View Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Modiﬁer Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

LCD and Display Knobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Soft Knobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

5 View Buttons in Depth 41

MULTI Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

MULTI: Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

MULTI: Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

MULTI: Load Blank Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

SINGLE Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

SINGLE: Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

SINGLE: Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

SINGLE: Load Blank Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

SOURCE Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

SOURCE: View Plugin Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

SOURCE: Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

SOURCE: Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

SOURCE: Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

SOURCE: Input Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

SOURCE: Bypass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

SOURCE: Listen to MIDI Ch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

SOURCE: Plugin MIDI Ch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

SOURCE: Channel Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

SOURCE: Note Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

SOURCE: Velocity Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

FX A, FX B, FX C Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

FX: View Plugin Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

FX: Plugin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

FX: Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

FX: Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

FX: Bypass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

FX: Route . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

FX: Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

FX: Get From . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

MIX Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

MIX: Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

MIX: Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

MIX: Mute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

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MIX: Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

MIX: Send 1 Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

MIX: Send 1 Pre/Post . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

MIX: Send 2 Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

MIX: Send 2 Pre/Post . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

MIX: Output Assignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

SETUP Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

SETUP: Channel Status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

SETUP: MIDI Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

SETUP: Master Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

SETUP: Tempo Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

SETUP: Tempo BPM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

SETUP: Time Signature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

SETUP: Program Change Chan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

SETUP: Digtl Clock Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

SETUP: Master Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

SETUP: Sample Buffer Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

SETUP: View Bank MSB/LSB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

SETUP: TCP/IP Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

SETUP: TCP/IP Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

SETUP: TCP/IP Netmask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

SETUP: Windows Networking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

SETUP: Windows Workgroup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

SETUP: Appletalk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

SETUP: Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

SETUP: System Version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

SETUP: Hardware Version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

SETUP: Memory Free . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

SETUP: Disk Free . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

SETUP: Enable Zload . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

SETUP: Install/Upgrade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

SETUP: Uninstall Plugins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

6 Editing, Saving, and Metering 73

Modiﬁer Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

EDIT Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

EDIT: <Parameter> . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

EDIT: Using the Soft Knobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

EDIT: “Panic” Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

SAVE/FILE Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

SAVE/FILE: Save Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

SAVE/FILE: Save Patch As . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

SAVE/FILE: Copy Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

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SAVE/FILE: Delete Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

SAVE/FILE: Delete Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

SAVE/FILE: Rename Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

SAVE/FILE: Rename Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Meters Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Metering Signal Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Metering CPU Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

METERS: “Load Blank Patch” Shortcut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Graphic Editor 85

7 Graphic UI - Mix View 87

Overview of Mix View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Mixer Anatomy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Channel Selector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Plugin Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Send 1 Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Send 1 Pre/Post button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Send 2 Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Send 2 Pre/Post button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Pan/Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Mute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Output Assignment Selector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Channel Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Channel Bypass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Channel Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Channel Details Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Source Slot Anatomy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Source: Source Selector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Source: Bank Selector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Source: Patch Selector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Source: Prev/Next Patch Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Source: Bypass Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Source: MIDI Filter Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Source: Edit Button / Gain Knob . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Source: Output Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Source: Save/File Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

FX Slot Anatomy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

FX: Plugin Selector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

FX: Bank Selector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

FX: Patch Selector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

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FX: Prev/Next Patch Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

FX: Bypass Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

FX: Switch & Get Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

FX: Edit Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

FX: Save/File Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

FX Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Single Patch Slot Anatomy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Single: Bank Selector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Single: Patch Selector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Single: Prev/Next Patch Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Single: Save/File Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

CPU Gauge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Multi Patch Slot Anatomy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Multi: Bank Selector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Multi: Patch Selector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Multi: Prev/Next Patch Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Multi: Save/File Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

8 Graphic UI - Edit View 109

Opening an Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Editing in VST Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Editing in Faceless Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Learn Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Handy Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Reordering Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Knob Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Using the Editor Select Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

9 Graphic UI - Setup View 117

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

SETUP View - Audio Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Master Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Sample Clock Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Sample Buffer Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

SETUP View — MIDI Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Master Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Tempo Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Time Signature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Program Change Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

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SETUP View - Network Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Receptor Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

TCP/IP Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Appletalk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Windows Networking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

SETUP View - Install Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Install Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Uninstall Plugins Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

SETUP View - Info Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

System Version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Hardware Version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Enable Zload . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Hard Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

10 Graphic UI - Loading Patches 125

Load Panel Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Bank and Patch Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

ROM Banks and RAM Banks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Empty Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

11 Graphic UI - Saving and Managing Patches 129

Accessing the Save/File Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Save/File Panel Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Save/File Panel: Bank and Patch Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Saving a Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Saving a Patch to a New Location (Save As) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Saving Patches from ROM Banks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Renaming a Bank or Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Renaming a Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Renaming a Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Deleting a Bank or Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Deleting a Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Deleting a Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Copying a Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Creating a New Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Viewing a Bank’s MIDI Bank Select Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

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Networking Receptor and your Computer 141

12 Connecting Receptor to a Computer 143

Networking Buzzwords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Receptor <-> Computer Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Crossover Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Network Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Mounting Receptor on your Computer’s Desktop . . . . . . . . . . . . . . . . . . . . . . . . 149

Macintosh Mounting Instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Windows Mounting Instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Getting Receptor’s IP Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

13 Installing, Updating, & Managing Receptor Files 165

Overview of Receptor’s Hard Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Banks and Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Drop Installers Here . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Local Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

My Documents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Program Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Register Receptor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Ofﬂine Registration Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Remote Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Reports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Registering Receptor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Automatic Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Manual Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Updating Receptor Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Checking for Receptor System Updates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Downloading Receptor Software Updates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Installing a Software Update on Receptor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Getting and Installing Plugins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Shopping for Plugins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Downloading Plugins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Installing a Plugin on Receptor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Updating Existing Plugins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Installing Patches (.fxp/.fxb) on Receptor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

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Installing and De-installing “Unsupported” Plugins . . . . . . . . . . . . . . . . . . . . . . . 171

Installing “Unsupported” Plugins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Uninstalling “Unsupported” Plugins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Delete/Copy Files from Receptor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Get a Receptor’s Bank/Patch List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Remote Control of Receptor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Installing Receptor Remote to your Desktop Computer . . . . . . . . . . . . . . . . . . . . . . . . 174

Launching Receptor Remote Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Using Receptor Remote Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

14 Patch Management 175

Managing Patch (.fxp) and Bank (.fxb) ﬁles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Manual Patch Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Semi-Automatic Patch Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Automatic Patch Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Patch Cleanup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

MIDI Control 179

15 MIDI Control of Receptor’s Mixer 181

MIDI Control of Instrument Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

MIDI Control of Effects Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

MIDI Control of the Master Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

16 MIDI Bank & Patch Selection 185

Multi Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Single Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Source (VSTi) Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Effects (VST) Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Selecting Plugin Patches within Currently Loaded Banks . . . . . . . . . . . . . . . . . 188

Viewing MSB/LSB Bank Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

17 MIDI Control of Plugin Parameters 191

Editing Plugin Parameters with MIDI NRPN Messages . . . . . . . . . . . . . . . . . . . . 191

NRPN Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Editing Plugin Parameters with MIDI Controller Messages . . . . . . . . . . . . . . . . . 193

Controlling the First 16 Parameters of Any Source Plugin . . . . . . . . . . . . . . . . . . . . . . . 193

Controlling the First 4 Parameters of Any FX Plugin . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

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Receptor Overview

This section helps your Receptor up and running quickly, and

provides a basic overview to Receptor architecture and hardware.

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1 Quick Start

Congratulations on purchasing Receptor. Muse Research understands that the desire to play with a new piece of studio gear is always greater than the desire to read the manual. For this reason, we’ve created this basic Quick Start chapter to help you ﬁnd your way around Receptor.

I’m a synth player. How do I audition some patches?

1 Connect a MIDI cable from the MIDI OUT port on your MIDI keyboard to Receptor’s MIDI IN port (Receptor

also supports some USB keyboards).

Make sure your MIDI controller is transmitting on MIDI Ch 1. Although Receptor is 16-part multitimbral, the Multi patches used in this tutorial are all designed to play on MIDI Ch 1.

2 Plug headphones into the front panel PHONES jack or connect the rear panel outputs to your mixer or

sound system, then press the POWER button.

Receptor will go through a short self-diagnostic and startup process.

3 Press the MULTI button.

This puts Receptor into Multi Patch mode, which deﬁnes an entire Receptor layout of up to 16 instruments and 57 effects.

0 1 B a n k >

III III B a n k : < S y n t h M u l t i s >

TIP: To the right of the LCD are two knobs. Turn the top one to select the parameter you wish to edit. Turn the bottom one to change the value of that parameter. If a parameter value is ﬂashing, you must push the bottom display knob to apply the change.

4 Rotate the top knob until the Bank parameter is displayed.

5 Rotate the bottom knob until the 2nd line says <Synth Multis>, then press that knob to apply your

selection.

The Patch parameter automatically appears on the top line with the name of the patch displayed on the bottom line.

6 Rotate the bottom display knob to select the patch you want to audition, then press that knob to load the

patch.

Because Multi patches sometimes require many plugins to be instantiated, it may take several seconds for the patch to load.

7 Play your MIDI keyboard.

You should hear the selected synth play through the headphones or rear-panel outputs. Use the front panel VOLUME knob if needed.

8 To audition more factory sounds, turn the bottom knob to select other patches. Remember to push the

bottom display knob to load the patch into Receptor!

9 When you’re ﬁnished, turn off Receptor by pressing the POWER button TWICE!

By requiring that the POWER button be double-clicked (like you would double-click a mouse button) you’re assured of never accidentally turning off Receptor in a live situation.

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I’m a guitar player. How can I listen to some effects?

1 Plug your guitar into Receptor’s front panel INPUT jack and set the LEVEL knob immediately above the

INPUT jack to about the midway point.

2 Plug headphones into the front panel PHONES jack or connect the rear panel outputs to your mixer or

sound system, then press the POWER button.

Receptor will go through a short self-diagnostic and startup process.

3 Press the MULTI button.

This puts Receptor into Multi Patch mode, which deﬁnes an entire Receptor layout of up to 16 instruments and 57 effects.

0 1 B a n k >

III III B a n k : < G u i t a r M u l t i s >

4 Rotate the top knob until the Bank parameter is displayed.

5 Rotate the bottom knob until the 2nd line says <Guitar Multis>, then press that knob to apply your

selection.

The Patch parameter automatically appears on the top line with the name of the patch displayed on the bottom line.

6 Rotate the bottom display knob to select the patch you want to audition, then press that knob to load the

patch.

Because Multi patches sometimes require many plugins to be instantiated, it may take several seconds for the patch to load.

7 Play your guitar. Set the LEVEL knob so that, when you strum a loud chord, its LEVEL LED just barely turns

red.

You should now hear your processed guitar. Use the front panel VOLUME knob if needed.

8 To audition more factory sounds, turn the bottom knob to select other patches. Remember to push the

bottom display knob to load the patch into Receptor!

9 When you’re ﬁnished, turn off Receptor by pressing the POWER button TWICE!

By requiring that the POWER button be double-clicked (like you would double-click a mouse button) you’re assured of never accidentally turning off Receptor in a live situation.

How and why do I network Receptor to my computer?

There are several reasons why you’ll want to network Receptor with your main computer, including:

• To transfer software updates that you download from the web into Receptor.

• To transfer new plugins, patches, or samples to Receptor.

• To remotely control Receptor’s graphical user interface from your desktop computer

The following sections will help you get your Receptor and computer communicating as quickly as possible. Detailed descriptions of all network operations are covered in Chapter 12, “Connecting Receptor to a Computer.”

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Connecting: Is my computer’s Ethernet port already in use?

You computer’s Ethernet port may already be in use if you’re connected to a cable/DSL modem or to an existing network. Check to see whether or not you’re already using your computer’s Ethernet port, and proceed as follows:

• If your computer’s Ethernet port is not in use, you can connect Receptor directly to your computer using a “special” Ethernet cable known as a ‘crossover Ethernet cable.’ This cable is available from most computer supply stores and differs from a standard Ethernet cable. Always make sure, when connecting Receptor directly to a computer (without going through a router/switcher) that you use a crossover Ethernet cable.

• If your computer’s Ethernet port is in use, that means you’ll have to use an Ethernet router/switcher to connect Receptor and your other Ethernet devices to your computer. Ethernet routers/switchers are widely available from most computer supply stores. Follow the instructions that come with your router/switcher and be sure to use standard Ethernet cables (not crossover cables) when connecting all your devices.

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Mounting: What computer Operating System am I using?

Now that you’ve connected Receptor to your computer, you’ll need to ‘mount it’ on your computer. All this means is that you want to see the contents of Receptor’s hard drive on your computer just as you see its own hard drive. This way, you’ll be able to transfer ﬁles back and forth between your computer and Receptor.

Naturally, every computer operating system has its own way of doing this and, while it isn’t the goal of this manual to explain every computer’s networking methodology, Chapter 12, “Connecting Receptor to a Computer” contains instructions for mounting Receptor with the following methods and operating systems:

• Mac OS X Panther (using either AppleTalk or Samba)

• Mac OS X Jaguar (using either AppleTalk or Samba)

• Mac OS 9 (using AppleTalk)

• Windows XP (using Samba)

• Windows 2000 (using Samba)

Remote Control: Seeing Receptor on your Computer’s monitor

One of the many cool things about connecting Receptor to your computer is that you can remotely control Receptor’s graphical user interface using your computer’s keyboard, mouse, and monitor — just as if you had plugged these directly into Receptor! This is very handy for live performance, where you can use a laptop computer to control your Receptor.

To do this, you must ﬁrst copy the Remote Control from your Receptor CD onto your computer’s hard disk and install it. Once the Remote Control application has been installed to your computer, you can use it to remotely control Receptor at any time. Receptor does not even have to be mounted on your computer in order to use the Remote Control application. For more information, see “Remote Control of Receptor” on page 174.

How can I integrate Receptor into my recording environment?

1 Connect Receptor to your computer exactly as you would connect a traditional sound or effects module.

That is, connect a MIDI cable from the MIDI OUT port on your computer’s MIDI interface to Receptor’s MIDI IN port. Connect another MIDI cable from the MIDI IN port on your computer’s MIDI interface to Receptor’s MIDI OUT port.

Connect Receptor’s audio output (either analog or digital) to your mixer or, if you’re mixing on your computer, connect Receptor’s audio output to your computer’s audio interface. Should you also wish to use Receptor as an effects processor, connect instruments and/or a couple of your computer’s audio outputs to Receptor’s audio inputs.

2 In your sequencer, deﬁne Receptor as a MIDI device and, if desired, label your audio interface’s audio

connectors as belonging to Receptor.

3 You may ﬁnd it most convenient to conﬁgure Receptor using its graphical user interface. To do so,

either plug a keyboard, mouse, and monitor directly into Receptor or use the Receptor Remote Control application to control Receptor from your desktop computer.

To learn more about connecting Receptor to your computer and controlling it with the remote control application, see “How and why do I network Receptor to my computer?” on page 18.

4 In your audio sequencer, assign a couple of tracks to play Receptor on different MIDI channels. If you’re

recording Receptor’s output back into your sequencer, make sure to activate the input assigned to Receptor on your computer’s audio interface.

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--- Multiple Receptor tracks as shown in Apple Computer’s Logic Audio sequencer ---

5 On Receptor, CTL-click on the Multi Patch name to load a blank Multi patch into Receptor.

6 On Receptor, click the big “(none)” button on a channel.

The channel details appear at the top of the window.

7 Click the Source Select button.

The Source Select panel opens.

8 In the Source Select panel, click the plugin you want to instantiate on that channel. Use the bank/patch

selectors to select the desired patch

9 If desired instantiate effects plugins for one or more of the channel’s insert FX slots and select the desired

patches. And, if you use insert FX, select their desired routing using the FX routing buttons.

10 Use the channel’s standard Volume and Pan faders as you would on a traditional mixer. You can even set

up effects sends inside Receptor and Mute, solo, or bypass them.

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11 By default, each Receptor channel listens to the like-numbered MIDI channel (though you can override

this). But, for now, instantiate different plugins on each channel corresponding to the MIDI track you assigned in your sequencer.

In the following example, Track 1 in Logic is assigned to Receptor MIDI channel 1, which is conﬁgured to play the Combo Sister VSTi. Track 2 is assigned to Receptor MIDI channel 2, which is conﬁgured for Eve; Track 3 plays Albino 2, and Track 4 plays CS-80v.

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How do I demo and buy premium plugins?

Receptor ships with a nice collection of freeware, but you’ll eventually want to use some commercial plugins. Receptor protects these with Pace’s iLok—a USB “key” that stores licenses for all your commercial plugins. Receptor ships with many commercial plugins pre-installed with 30-day demo periods. You can identify a commercial plugin demo by opening a plugin select panel and looking for any plugin name that begins with [##].

1 Instantiate a demo plugin (whose name begins with [##]).

2 A dialog box (or LCD) asks if you want to start the demo period—choose “YES.”

You have 30 days to demo the plugin. The preﬁx counts down the number of days remaining in the demo period. When it expires, the plugin will no longer instantiate and its name will have a [--] preﬁx.

3 If you wish to purchase the plugin, go to www.plugorama.com and follow the online purchase instructions

to transfer a license on your iLok. While you’re at plugorama.com, be sure to check for new plugins— they’re being added all the time.

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2 Receptor Architecture

Receptor is a 16 channel multitimbral virtual sound module and effects unit. Its ability to actually achieve 16 channels of playback is dependent on both the type and number of plug-ins used and their processing demands.

Instruments, Busses, and the Master Output

Receptor contains 19 channels: 16 instrument channels, two dedicated effects busses, and a master bus. These are discussed in the following sections.

Instrument Channels

Each of the 16 instrument channels can have, as its source, either an internal VSTi or an audio input. Each instantiated VSTi (or audio input) is routed through a dedicated trio of VST effects, which can be conﬁgured in any series/parallel combination. The output of this effects stack can then be bussed (pre- or post-fader) to two different effects busses, or it can be sent to the master bus, or to any of the dedicated hardware outputs.

--- Standard Instrument Channel Architecture (x16) ---

Receptor functions like a 16-channel mixer with built-in instruments, insert effects, and effect sends. Its basic signal ﬂow, which you can follow in the previous illustration, contains the following elements:

• SOURCE:

Receptor can play up to 16 simultaneous sound sources, each assigned to one of its 16 instrument channels. An instrument’s sound source can be either an internal VSTi or one of Receptor’s audio inputs. If an internal VSTi is used, the incoming MIDI channel can be remapped to control a speciﬁc VSTi channel or allow MIDI “stacking” of synths.

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• INSERT FX:

Each of Receptor’s 16 instrument channels contains 3 “insert” effects to which you can assign any VST. Routing buttons let you arrange these three FX in any series/parallel combination. Additionally, you can switch their positions, copy other effects to them, and bypass any effect.

--- The different Insert FX routing options ---

• EFFECT SENDS:

Each Receptor channel has two effect sends, either of which can be conﬁgured pre or post fader. These sends are sent to two dedicated effect bus channels as described in the next section, “Effects Bus Channels.”

• VOLUME /PAN:

Each instrument channel has its own MIDI controllable volume and pan (or balance for stereo instruments).

Effects Bus Channels

Receptor has two dedicated stereo effects busses, each of which contains 3 ‘insert’ type effects to which you can assign any VST. Routing buttons let you arrange these three FX in any series/parallel combination. Additionally, you can switch their positions, copy other effects to them, and bypass any effect.

Effects busses are the ideal way to instantiate an effect (such as Reverb or Delay) that you may want to apply to numerous instrument channels, but in varying degrees. You may route the output of each effects bus to either the master bus or to any hardware output.

--- Effects Bus Architecture ---

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Master Channel

Receptor’s Master Bus channel has its own trio of 3 dedicated insert FX, which are perfect for applying compression or limiting to an entire mix. As with the insert FX on the Instrument and Bus channels, these can be arranged in any series/parallel combination and the output of the master bus can be routed to any hardware output.

Patch Hierarchy

Receptor has an intelligent patch hierarchy that uses the following patch types:

• VST (.fxp) Patches - each type of VST instrument or effect can store and recall patches in standard .fxp format.

• Single Patches - Receptor allows you to store an entire Instrument channel (one Source and three FX assignments plus their patches) as a “Single patch.” This is a quick way to recall commonly used “super patches”, such as guitar processing patches that process the signal through all three insert effects, or synthesizer patches that rely on VST FX processing (such as ﬂangers or delays) to achieve a particular sound.

• Multi Patches - Receptor can store an entire conﬁguration (all 19 channels, their plugin assignments, and their mix parameters) as a Multi patch. This is particularly useful for creating big “stacked” sounds that combine multiple synthesizers, or for MIDI sequencing, where each instrument channel is controlled by a different MIDI channel.

The following sections contain more information about each patch format and what, speciﬁcally, it stores.

VST (.fxp) Patches

Although many plugins have their own internal patch management interfaces, they also are designed to save and load patches stored as VST standard .fxp patches.

Any time you instantiate a plugin, you will be able to select which .fxp patch you want to load into that plugin. Unlike a computer-based plugin player, Receptor organizes these .fxp patches into MIDI-compatible banks and patches.

IMPORTANT: To insure consistent operation of Receptor, always use Receptor’s patch management menus and not any patch management facilities built into a speciﬁc plugin. The reason for this is that .fxp patches are controlled from a host application level. Receptor manages your .fxp ﬁles in such a way that you may have MIDI selectable banks and patches (just like a hardware synth). Receptor automatically extracts any patches that are built in to a plugin and creates a factory bank for that plugin, so you never have to worry that you’re “missing” some patches by using Receptor’s patch management tools.

Single Patches

Single patches store the conﬁguration of a single Instrument Channel (as deﬁned previously). This means that a Single patch stores an instrument channel’s:

• Source assignment

• Patch (.fxp) data loaded into that Source plugin

• All three Insert FX assignments

• Patch (.fxp) data loaded into each Insert FX plugin

• FX routing

Mix parameters such as Mute, Solo, Volume, and Send Level are not stored within a Single, since these parameters are all dependent on the context in which you use the Single patch.

For this same reason, Single patches do not store the “Listen To MIDI Ch” setting (as discussed in “SOURCE: Listen to MIDI Ch” on page 49). All these parameters are, however, saved as part of a Multi patch, which is discussed in the next section.

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IMPORTANT: Notice that Single patches store the patch data used for each plugin. This way, if you ever delete, rename, modify, or move a .fxp that was used to create the Single patch, you have no need to worry

-- your Single patches will always sound exactly as they did when saved, regardless of what you do to the .fxp patches that were used to create the Single patch originally. So, even though Single patches always attempt to display the name of the .fxp ﬁles used to create them, keep in mind that the patch data saved with the Single may not be the same as the data saved in the named .fxp ﬁle -- again, this is to protect your Single patches from inadvertently changing if you change a .fxp that was used in its creation.

You can think of a Single patch as a sort of “super-instrument,’ since it contains not only an audio source, but also its insert effects. One of the wonderful things about Single patches is that, by recalling one, you automatically instantiate every plugin required by that patch.

Multi Patches

Multi patches store an entire Mixer setup, including all Source and FX assignments, patch data, mix parameters, output routings, and the following Setup parameters:

• Master Transpose

• Tempo Source

• Tempo BPM

• Time Signature

NOTE: Setup mode parameters are discussed fully in “SETUP Button” on page 59.

You can think of Multi patches as “snapshots” of your entire Receptor mixer, which makes them quite useful for creating big “stacked” sounds that combine multiple synthesizers, or for MIDI sequencing, where each instrument channel is controlled by a different MIDI channel.

IMPORTANT: Notice that Multi patches store the patch data used for each plugin. This way, if you ever delete, rename, modify, or move a .fxp that was used to create the Multi patch, you have no need to worry -- your Multi patches will always sound exactly as they did when saved, regardless of what you do to the .fxp patches that were used to create the Multi patch originally. So, even though Multi patches attempt to display the name of the .fxp ﬁles used to create them, keep in mind that the patch data saved with the Multi may not be the same as the data saved in the named .fxp ﬁle -- again, this is to protect your Multi patches from inadvertently changing if you change a .fxp that was used in its creation.

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3 Receptor Hardware

The following sections discuss Receptor’s hardware components.

Front Panel

--- Receptor Front Panel ---

Receptor’s front panel contains, from left-to-right:

• Guitar / Instrument Input

Use this input to plug a guitar, instrument or microphone into Receptor.

• Input Level Knob

Use this to adjust the signal level of the instrument input. For the best signal-to-noise ratio, turn up the level until the loudest sounds just barely cause the Level LED to turn red, then back off slightly on the level, so the LED only ever turns yellow.

• Input Level LED

This LED glows green, yellow, or red depending on the amount of input signal present. If the meter turns red, turn down the Input Level knob until the LED is yellow. Speciﬁcally, the LED glows green at -40 dB, yellow at -9 dB, and red at 0 dB.

• Headphone Jack

This 1/4” stereo jack duplicates the signal present at the main L / R jacks at the rear of the unit.

• Master Volume Knob

This knob modiﬁes the total overall output level for Receptor (both for the headphones and the rear analog outputs). It’s completely independent of the MIDI volume levels and is a quick way to adjust the overall output level of Receptor.

• LCD

Use this 24 character x 2 line LCD to navigate through Receptor’s various parameters and conﬁgurations. To learn more about this ‘window into Receptor,’ see “LCD and Display Knobs” on page 37.

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• Display Knobs

Use these 2 continuous rotary encoders with built-in push buttons for controlling the LCD. To learn more about these knobs, see “LCD and Display Knobs” on page 37.

• Soft Knobs

Use these 4 continuous rotary encoders with built-in push buttons for instant parameter editing. To learn more about these buttons, see “EDIT: Using the Soft Knobs” on page 74.

• View Buttons

There are 8 View buttons with indicator LEDs. The LEDs are used to indicate which parameter page you’re currently viewing in the LCD. To learn more about these buttons, see Chapter 5, “View Buttons in Depth.”

• Modiﬁer Buttons

There are 3 Modiﬁer buttons with indicator LEDs. These LEDs are of a different color than the 8 View button LEDs. Pressing one of these buttons modiﬁes the concurrently lit View button. To learn more about these buttons, see Chapter 6, “Editing, Saving, and Metering.”

• USB Port

This is one of ﬁve USB ports on Receptor (the others are on the rear panel). Use the USB ports to plug in optional accessories, such as keyboard, mice, musical keyboards, control surfaces, hard drives, etc.

• Power Button

As you might expect, this button is used to turn Receptor on or off. What you might not expect is that the word “power” refers both to the electrical implications of the button and to its capabilities. See the following section for more information:

Power Button Operation

Receptor’s POWER button has multiple features that belie its seemingly innocuous functionality. Speciﬁcally:

To turn Receptor ON:

1 Press the button once. Receptor will perform some self-diagnostics, then cycle through a startup process.

To turn Receptor OFF:

1 Press the power button twice within a second.

That’s right, you read correctly. You need to double-click the power button in order to shut down Receptor. There is method to our madness, however. This is a safety measure that prevents you from accidentally turning the unit off in a live situation.

Receptor will go through a nice orderly shut down, which insures that, when you turn it back on, it will be in exactly the same state as when you turned it off.

To force Receptor to turn OFF (even if it’s frozen):

1 Press and hold the Power Button for 4 seconds and Receptor will shut down.

If Receptor ever crashes and double-pressing the POWER button doesn’t shut the unit down, then use this procedure to shut down Receptor.

To restart Receptor without going through a lengthy power-off / power-on cycle:

1 Triple-click the POWER button (quickly, like you would do with a mouse).

When you do this, Receptor will go blank for a second while it restarts the Receptor application. Triple clicking does not cause the entire Operating System to shut down and reload. As such, the operation is similar to quitting and restarting an application on a desktop computer, without shutting off the entire computer.

TIP: Triple-clicking is always a good thing to try if Receptor doesn’t seem to “behave” as you expect, or if you ever install plugins, patches, or samples and, for some reason, they don’t appear in Receptor. The triple-click procedure is very quick — much faster than turning the unit off and back on.

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Back Panel

The following illustration shows Receptor’s rear panel:

Top row, left-to-right:

• MIDI In, Out, and Thru ports

• S/PDIF In and Out

• Audio Inputs (Left, Right): 1/4” balanced connectors

• Audio Outputs (Left, Right): 1/4” balanced connectors

Bottom of box, left-to-right:

• Mouse port

• Keyboard port

• VGA connector for 1024 x 768 monitor

• 4 USB 2.0 connectors for attaching external USB peripherals, such as an iLok, keyboard, mice, musical

• 100Base-T Ethernet Connector

• ADAT output

--- Receptor Back Panel ---

keyboards, control surfaces, hard drives, etc.

Under the Hood

Receptor is housed in a standard dual unit rack mount enclosure. Inside is a 40 GB hard disk and 256MB of PC2700 DDR RAM (user-expandable to 2 GB).

SAMPLER USERS: If you plan to employ sampler plugins, and you use large numbers of samples or large sample libraries with Receptor, you will deﬁnitely want to increase the amount of RAM in the unit. You have the following options:

• Add one stick of 256MB DDR PC2700 RAM for a total of 512 MB

• Add on stick of 512 MB DDR PC2700 RAM for a total of 768 MB

• Add one stick of 1 GB DDR PC2700 RAM for a total of 1256 MB

• If you wish to increase RAM beyond 1256 MB, remove the existing 256 MB module and replace it with a higher capacity stick (up to 1 GB), for a maximum of 2 GB total RAM.

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Connecting a Musical Keyboard

You may connect either a MIDI keyboard or a USB Keyboard to Receptor. If you use Receptor’s MIDI IN port, then any type of standard MIDI keyboard is supported. If you chose to use Receptor’s USB port for MIDI, then (as of this writing) only the M-Audio Oxygen-8 and Radium keyboards have been tested. Check the museresearch.com web site for additional keyboard support.

IMPORTANT: You should shut down Receptor before unplugging a USB keyboard. If Receptor is powered on and you disconnect and then reconnect a USB keyboard, Receptor will, in most instances, no longer be able to “see” the reconnected USB keyboard.

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Using Receptor’s Front Panel

This section discusses how to use Receptor as a stand-alone unit

using only its own front panel buttons, knobs, and LCD.

Front Panel 33 Receptor Manual

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4 Front Panel UI Overview

Although you can edit Receptor graphically by connecting a dedicated keyboard, mouse, and monitor or by connecting it to a computer via Ethernet, it’s designed to be completely and intuitively operated using only its front panel. The following sections discuss the basic operation of Receptor’s front panel user interface, while the remaining chapters delve deeply into the details of the conﬁguration process.

Front Panel Interface Basics

Receptor’s front panel interface couples a 24-character x 2-line LCD with eight dedicated View buttons, a trio of Modiﬁer buttons, a pair of navigational display knobs, and four soft knobs.

Display Knobs View Buttons

Soft Knobs

These basic UI components are described in the following sections.

Modifer Buttons

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View Buttons

Press the various View buttons to select which subset of parameters are displayed in the LCD. Each View button has a corresponding LED, so you always know which parameter subset you’re viewing.

It may help to visualize the top row of View buttons as a horizontal mixer strip, where SINGLE = a complete mixer channel arrangement, SOURCE = the audio input, FX A, B, and C = inert FX, and MIX = send level/ mute/solo/pan/volume:

If you’re familiar with Receptor’s graphical user interface, the relationship between it and the View buttons is shown in the following illustration.

SOURCE button

SINGLE button

FX A button FX B button

FX C button

MIX button

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The MULTI button corresponds to Receptor’s MULTI patch area, which is where the entire Receptor conﬁguration (across all channels) is managed and recalled.

... and the SETUP button is used to access to Receptor’s Setup options, such as networking, audio, and MIDI conﬁguration.

Modiﬁer Buttons

Press one of the three Modiﬁer buttons to apply a further set of options to the selected View button. Basically, a Modiﬁer button acts upon the patch or signal represented by the correspondingly lit View button. For example:

EDIT Button Overview

• If a SOURCE, FX A, FX B or FX C button is lit and you press the EDIT button, you’ll be able to edit various VST parameters assigned to those slots.

• If the SETUP button is lit and you press the EDIT button, you’ll trigger a “panic” function by sending an “All Notes Off” message to all internal instrument channels, silencing them completely.

• If the MULTI, SINGLE or MIX buttons are lit and you press the EDIT button, no parameters are displayed.

For detailed information, see “EDIT Button” on page 74.

SAVE/FILE Button Overview

• If a MULTI, SINGLE, SOURCE, FX A, FX B or FX C button is lit and you press the SAVE/FILE button, you’ll be able to save, delete, copy or rename a bank or patch of the corresponding type.

• If the SETUP button is lit and you press the SAVE/FILE button, you’ll see an overview screen showing Receptor’s Channel Status.

• If the MIX button is lit and you press the SAVE/FILE button, no parameters are displayed.

For detailed information, see “SAVE/FILE Button” on page 75.

METERS Button

• If a MULTI, SINGLE, SOURCE, FX A, FX B, FX C or MIX button is lit and you press the METERS button, you’ll be able to monitor the signal level at the output of the correspondingly lit slot.

• If the SETUP button is lit and you press the METERS button, you’ll load a blank multi patch into Receptor.

For detailed information, see “Meters Mode” on page 82.

LCD and Display Knobs

The 2-line display works very consistently in all views and modes. In general it is controlled by the two knobs to its right:

• Top Display Knob

The top display knob controls the top line of the display and is almost always used to scroll through a list of parameters, whose names appear on the top line of the LCD. By pushing the top display knob, it can be used to set a different Channel Number as discussed in “Channel Number” on page 38.

• Bottom Display Knob

The bottom display knob controls the bottom line of the display and is almost always used to select a value for the parameter name shown in the top line of the LCD. Whenever a parameter value ﬂashes, it indicates that you must press the bottom display knob in order to apply your selection.

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If you understand these basic functions, you can quickly and effortlessly navigate through Receptor’s hierarchy using only this 2-line display.

More Parameters

Channel Number

to the left

Parameter Name

Move Parameters to the right

0 1 P a r a m e t e r < >

III III V a l u e

CPU Usage

--- Typical LCD Interface Components ---

The following sections will discuss the various LCD interface components:

Parameter Value

Channel Number

This always appears at the top left of the display to indicate which channel you’re currently editing. When Receptor is in SINGLE, SOURCE, FX A, FX B, FX C, or MIX views, the channel will indicate which of Receptor’s 19 channels you’re editing:

• 01-16 (indicating Receptor Channels 1-16)

• B1, B2 (indicating Receptor’s Effects Bus 1 and 2 channels)

• M (indicating Receptor’s Master output channel)

To change the current Channel Number:

1 Press the top display knob to enter Channel Select mode.

The top line of the display reads Select Channel and an arrow points toward the LCD’s channel indicator, which is now underlined.

0 1 < - - S e l e c t C h a n n e l

III III

2 Rotate the top display knob to change the channel and press it again when ﬁnished.

If you don’t press the top display knob to exit Channel Select mode, Receptor will still apply the channel change and automatically exit this mode after a few seconds.

Additionally, when Receptor is in MULTI view, the channel number displays:

• MU (indicating that you’re viewing MULTI patch parameters, which are independent of a channel selection)

When Receptor is in SETUP view, the channel number displays:

• SU (indicating that you’re viewing SETUP parameters, which are independent of a channel selection)

CPU Usage

Unlike a traditional ﬁxed-architecture synth, Receptor’s performance varies greatly depending on the type and number of instruments and effects you instantiate. For example, loading a complex reverb plugin requires far more of Receptor’s internal CPU power than a simple digital delay. Similarly, loading three “analog” synths requires more CPU usage than one. In addition, the CPU usage of most VST instruments varies depending on how many simultaneous notes you’re currently playing.

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Because of these facts, you’ll always want to keep your eye on Receptor’s CPU usage. This little gauge, which is almost always visible in the bottom left of the LCD, indicates CPU usage. It occupies the two lower left characters in the LCD and ﬁlls from left-to-right as the CPU usage increases.

--- CPU Gauge and its indication of approximate CPU usage ---

If you overload Receptor’s CPU, the display is replaced by a double set of exclamation points. When this happens, you should bypass or uninstantiate some plugins (or consider buying more Receptors).

Parameter Name

As mentioned previously, the bulk of the LCD’s top line is used to display parameter names. Scroll through various parameters by turning the top display knob.

More Parameters Indicator

This little 2-character indicator (at the far right of the top line) lets you know if there are more parameters available either before or after the parameter you’re currently viewing. The ﬁrst parameter in a scrolling list always has a single arrow pointing right (indicating that more parameters are available after it, but that none come before it). Similarly, the last parameter in a scrolling list always has a single arrow pointing left (indicating that more parameters come before it, but that none come after it). Parameters in the middle of a scrolling list have arrows pointing both direction (indicating that more parameters are available both before and after the current one).

Parameter Value

As mentioned previously, the bulk of the LCD’s bottom line is used to display the value associated with the parameter named in the top line. If a parameter value is ﬂashing, it indicates that you must press the bottom display knob in order to activate the parameter change.

Sometimes a portion of a parameter value might be underlined, which helps you see exactly which portion of a parameter value the bottom display knob is affecting.

Soft Knobs

Whenever you enter Edit Mode for one of the channel views (SOURCE, FX A, FX B, FX C, or MIX), the four soft knobs are available for controlling up to four edit parameters simultaneously. For example, an “analog synth” plugin might assign these knobs to control ﬁlter frequency, ﬁlter resonance, Oscillator frequency, and FM amount, giving you a fair amount of real-time control over the synthesizer.

For more information about how to use the soft knobs, see “EDIT: Using the Soft Knobs” on page 74.

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5 View Buttons in Depth

This chapter discusses every View Mode button and its associated set of parameters. You should have a basic understanding of Receptor’s signal ﬂow architecture and overall front panel operation before reading this chapter.

MULTI Button

A Multi patch consists of an entire receptor conﬁguration, including all Source and Insert FX assignments on all Instrument channels, all Effects Bus assignments, the Master channel assignments, and all routings, button states, and levels. In addition, many relevant Setup parameters are saved with Multi patches (as discussed on a case-by-case basis in “SETUP Button” on page 59). Multi patches provide a quick, one-step method to reconﬁgure your entire Receptor for a new song or set. This section discusses the parameters available when you press the MULTI button on Receptor.

MULTI: Bank

In order to conform with MIDI standards, patches are stored together in a group, which is called a ‘bank.’ Each bank can hold up to 128 patches. Receptor can store up to 128 banks of Multi patches (for a maximum of 16,384 Multi patches). To select a patch from a particular bank, you must ﬁrst select the bank, then the actual patch.

To select a bank and load a Multi patch from that bank:

1 Rotate the top display knob to select the Bank parameter.

M U B a n k < > III III B a n k : F a c t o r y

2 Rotate the bottom display knob to select the bank you wish to load.

The bank name is ﬂashing

3 Press the bottom display knob.

Receptor shows you the ﬁrst patch in that bank.

M U P a t c h < > III III 0 0 1: S p a c e J a m

4 Rotate the bottom display knob to select a patch. The patch name will ﬂash.

5 Press the bottom display knob to load that patch into Receptor.

NOTE 1: You cannot select a bank without also selecting a patch, since a bank is nothing more than a directory of patches.

NOTE 2: ROM bank names are enclosed in angle brackets, like <this>. When you see a bank name enclosed in <angle brackets>, it means the bank is a “factory” bank and cannot be overwritten or deleted. For more information, see “ROM Banks and RAM Banks” on page 127.

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MULTI: Patch

If you want to select a patch from the current bank, rotate the top display knob to select the Patch parameter. If you want to select a patch from a different bank, it will be fastest to use the Bank parameter discussed above.

M U P a t c h < > III III 0 0 1 : S p a c e J a m

Rotate the bottom display knob to select the patch you wish to load. The patch name is ﬂashing, indicating you must press the bottom display knob to actually load the selected patch.

If you’re currently viewing the last patch in a bank, and you turn the bottom display knob another notch clockwise, Receptor will automatically switch to the next bank and display the ﬁrst patch within that bank. The same is true if you’re viewing the ﬁrst patch in a bank and turn the bottom display knob counter-clockwise. Essentially, you can scroll through every Multi patch without using the Bank parameter at all! However, if you have 16,000 Multi patches, we’re quite certain that you’ll want to make use of the Bank parameter.

NOTE 1: Because Multi patches require Receptor to instantiate numerous plugins as well as load each plugin with the correct parameters, you may experience a bit of a wait -- particularly if some plugins must load samples from hard disk, or are particularly complex.

NOTE 2: ROM patch names are enclosed in angle brackets, like <this>. When you see a patch name enclosed in <angle brackets>, it means the patch is a “factory” patch and cannot be overwritten or deleted. For more information, see “ROM Banks and RAM Banks” on page 127.

NOTE 3: If you have edited a patch in any way, an asterisk (*) replaces the colon (:) between the patch number and name. When you see an asterisk between the patch number and name, you’ll know that the version currently in the edit buffer is not what’s saved to disk.

M U P a t c h < > III III 0 0 1 * S p a c e J a m

If you want to save your patch, press the SAVE /FILE button to save your edits (as described in “SAVE/FILE Button” on page 75).

Patch Preﬁxes

If a Multi patch name appears with a [!!] preﬁx, it means that the Multi is referencing one or more plugins that cannot be instantiated. Possible reasons for this include:

• You have removed a plugin required by that patch

• That patch was created with a demo plugin that is now expired

• The patch may be referencing an iLok-protected plugin and the iLok may not be inserted properly.

You can scroll through the various Source and FX plugin assignments to look for the problem. It will be easy to spot, since the questionable plugin(s) will have a preﬁx before their name that indicates what the problem might be. That is:

• [XX] before a plugin name means that it’s no longer on Receptor’s hard drive

• [--] before a plugin name means it’s a premium plugin that you must purchase (perhaps because a demo period expired)

• [##] before a plugin name means the plugin has not yet had its demo period activated

• [??] before the plugin indicates an error, most likely that the iLok is not inserted properly.

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MULTI: Load Blank Patch

Rotate the top display knob to select the Load Blank Patch parameter. This special patch resets your Multi by uninstantiating every plugin on every instrument channel and returning Receptor to its default conﬁguration. This is the ideal way to “wipe the slate clean” and start setting up an entirely new Multi patch from scratch.

M U L o a d B l a n k P a t c h < III III P r e s s k n o b t o l o a d

To initialize the Multi patch, simply press the bottom display knob. All channels will be cleared and the screen will indicate when the process is ﬁnished.

M U L o a d B l a n k P a t c h < III III L o a d e d

SHORTCUT: Receptor provides a shortcut for loading a blank Multi patch from the front panel. Speciﬁcally, if you press the SETUP button, then press the METERS button, Receptor will automatically load a blank Multi patch. This is great if you want to quickly set Receptor to a known, empty state.

Force Load a Blank Patch

You can force Receptor to turn on with its blank patch by holding the MULTI button down while the unit turns on. This is convenient if, in the rare case, Receptor is trying to turn on and load a damaged or corrupted Multi patch.

NOTE 1: It’s most important to hold the MULTI button during the ﬁnal stages of initialization. So don’t give up holding the button until the unit is completely on and the user interface is displayed.

NOTE 2: If a Receptor startup conﬁguration fails to load and the host fails to start, then the next time Receptor starts up, it will load its empty default state. This is a fail-safe to prevent Receptor from attempting to endlessly restart in an unstable state.

SINGLE Button

Single patches store the Source assignment, Insert FX assignments and routings for an Instrument Channel. They also store the patch data for each instantiated plugin, which means your Single patches never “lose their patch data” if you happen to change or delete a VST patch that was used in creating a Single patch.

SINGLE: Bank

In order to conform with MIDI standards, patches are stored together in a group, which is called a ‘bank.’ Each bank can hold up to 128 patches. Receptor can store up to 128 banks of Single patches (for a maximum of 16,384 Single patches). To select a patch from a particular bank, you must ﬁrst select the bank, then the actual patch.

To select a bank and load a patch from that bank:

1 Rotate the top display knob to select the Bank parameter.

0 1 B a n k < >

III III B a n k : W e b s o u n d s

2 Rotate the bottom display knob to select the bank you wish to load.

The bank name is ﬂashing

3 Press the bottom display knob.

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Receptor shows you the ﬁrst patch in that bank.

0 1 P a t c h < >

III III 0 0 1 : S m a r m y L e a d

4 Rotate the bottom display knob to select a patch. The patch name will ﬂash.

5 Press the bottom display knob to load that patch into Receptor.

NOTE 1: You cannot select a bank without also selecting a patch, since a Bank is nothing more than a directory of patches.

SINGLE: Patch

0 1 P a t c h < >

III III 0 0 6 : A c i d B a s s

Rotate the bottom display knob to select the patch you wish to load. The patch name is ﬂashing, indicating you must press the bottom display knob to actually load the selected patch.

If you’re currently viewing the last patch in a bank, and you turn the bottom display knob another notch clockwise, Receptor will automatically switch to the next bank and display the ﬁrst patch within that bank. The same is true if you’re viewing the ﬁrst patch in a bank and turn the bottom display knob counter-clockwise. Essentially, you can scroll through every Single patch without using the Bank parameter at all! However, if you have 16,000 Single patches, we’re quite certain that you’ll want to make use of the Bank parameter.

NOTE 1: Because Single patches require Receptor to instantiate numerous plugins as well as load each plugin with the correct parameters, you may experience a bit of a wait -- particularly if some plugins must load samples from hard disk, or are particularly complex.

0 1 P a t c h < >

III III 0 0 6 * A c i d B a s s

If you want to save your patch, press the SAVE /FILE button to save your edits (as described in “SAVE/FILE Button” on page 75).

Patch Preﬁxes

If a Single patch name appears with a [!!] preﬁx, it means that the patch is referencing one or more plugins that cannot be instantiated. Possible reasons for this include:

• You have removed a plugin required by that patch

• That patch was created with a demo plugin that is now expired

• The patch may be referencing an iLok-protected plugin and the iLok may not be inserted properly.

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• [XX] before a plugin name means that it’s no longer on Receptor’s hard drive

• [--] before a plugin name means it’s a premium plugin whose demo period has expired. If you wish to use this plugin, you must purchase a license for it from www.plugorama.com.

• [##] before a plugin name means the plugin has not yet had its demo period activated

• [??] before a plugin name indicates an error, most likely that the iLok is not inserted properly.

SINGLE: Load Blank Patch

Rotate the top display knob to select the Load Blank Patch parameter. This special patch resets your Single by uninstantiating every plugin on that instrument channel and returning it to its default conﬁguration. This is the ideal way to “wipe the slate clean” and start setting up an instrument panel from scratch.

0 1 L o a d B l a n k P a t c h <

III III P r e s s k n o b t o l o a d

To initialize the Instrument Channel, simply press the bottom display knob. The channel will be cleared and the screen will indicate when the process is ﬁnished.

0 1 L o a d B l a n k P a t c h <

III III L o a d e d

SOURCE Button

This section discusses the parameters available when you press the SOURCE button on Receptor.

SOURCE: View Plugin Type

Use the View Plugin Type parameter to ﬁlter the list of plugins displayed by the SOURCE: Plugin parameter described in the next section.

0 1 V i e w P l u g i n T y p e >

III III A l l

Rotate the bottom display knob to select what type of plugins you want to display in the SOURCE: Plugin page. You do not need to press the bottom display knob to apply your choice -- it happens automatically.

You can select the following View ﬁlters:

• All -- Select this option to display alphabetically every plugin on the SOURCE: Plugin page.

• Audio Inputs -- Select this option to display only the list of Audio Inputs on the SOURCE: Plugin page.

• <Developer Name> -- Select the name of the plugin developer to display only those plugins made by that particular developer on the SOURCE: Plugin page. For example, if you choose “reFX,” the SOURCE: Plugin page would show only reFX products, like Beast, Claw, PlastiCZ, Slayer2, and Vanguard.

NOTE: Although this is the ﬁrst SOURCE parameter page, it is not actually the screen you “land on” when you press the SOURCE button. Pressing the SOURCE button lands you on the Plugin parameter screen (described below).

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SOURCE: Source

This parameter works in conjunction with the View Plugin Type parameter described above. It lists every possible audio source of the type you chose to view. If you chose All as the plugin type on the View Plugin Type page (the default choice), then the Source parameter displays every possible audio source available for that channel. An audio source can be either a VSTi (software plugin) or an external audio input (hardware plugin). If you select a VSTi, Receptor instantiates that plugin. If you select an audio input, Receptor uses the signal appearing at that input as the audio source.

0 1 S o u r c e < >

III III C o m b o S i s t e r

Rotate the bottom display knob to select the audio source. Sources appear in the list as follows:

• (none): This option always appears ﬁrst. Selecting it uninstantiates a Source plugin. When you uninstantiate a Source plugin, you automatically clear any FX instantiations used in the channel. Essentially, (none) provides a shortcut for completely clearing an instrument channel.

• Audio Inputs: These always appear immediately after the (none) option.

• VSTi plugins: All VSTi plugins appear in alphabetical order. Some plugins may have a 2-character preﬁx contained inside a square bracket. This preﬁx, described a bit later, does not alter the display order of plugins.

The name ﬂashes indicating you must press the bottom display knob to actually load the selected source plugin.

SHORTCUT: If you’ve chosen anything other than All on the View Plugin Type page, this plugin list will not show every possible audio source built-in to Receptor. If you want to see ALL the plugins in this list, simply turn the bottom display knob to the last choice, which is “View All Plugins” and press the bottom display knob. This automatically sets the View Plugin Type to All without you having to select that page. Once you’ve done this, all the audio sources will appear alphabetically in this list.

Source Preﬁxes

Some plugins may have bracketed preﬁxes before their names. Here’s what they mean:

• [##] - This means that a demo version of the plugin is currently installed and that, by instantiating it, you will activate its demo period.

• [nn] - In this case, nn = some number, such as 17, or 03, or 11. This means that the plugin is currently running in demo mode and this preﬁx shows you how many days remain in your demo period.

• [--] : This means that the installed plugin must be purchased in order to be instantiated. You will see this symbol when a demo period has expired or if no demo is available for a particular plugin. Also, when you turn on Receptor, your iLok is scanned for licenses after the unit starts up. Because of this, it’s possible that plugins you have purchased will display the [--] preﬁx for the ﬁrst couple of minutes. Don’t worry. Your purchased premium plugins will still instantiate if selected. It just takes a couple of minutes for Receptor to scan all the plugins and update their preﬁx display, which it does in the background so that Receptor will start up as quickly as possible.

• [??] - This means that an error is preventing you from instantiating this plugin. In most cases, it appears because the iLok is not inserted into Receptor properly.

• [XX] - This means that the plugin is no longer on Receptor’s hard drive. Obviously, this will only appear if you have loaded a Single or Multi patch that references a plugin no longer on Receptor.

• No Preﬁx - If there is no preﬁx before a plugin name, that means it’s either a free plugin or a premium plugin that you have purchased.

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SOURCE: Bank

In order to conform with MIDI standards, patches are stored together in a group, which is called a ‘bank.’ Each bank can hold up to 128 patches. Receptor can store over 16,000 banks of VST patches (for a maximum of over 2,000,000 VST patches). To select a patch from a particular bank, you must ﬁrst select the bank, then the actual patch.

To select a bank and load a patch from that bank:

1 Rotate the top display knob to select the Bank parameter.

0 1 B a n k < >

III III B a n k : S a n d y C l a w s

2 Rotate the bottom display knob to select the bank you wish to load.

The bank name is ﬂashing

3 Press the bottom display knob.

Receptor shows you the ﬁrst patch in that bank.

0 1 P a t c h < >

III III 0 0 1 : C r a z y B a s s

4 Rotate the bottom display knob to select a patch. The patch name will ﬂash.

5 Press the bottom display knob to load that patch into Receptor.

NOTE 1: You cannot select a bank without also selecting a patch, since a Bank is nothing more than a directory of patches.

SOURCE: Patch

0 1 P a t c h < >

III III 0 0 1 : S y n c L e a d

Rotate the bottom display knob to select the patch you wish to load. The patch name is ﬂashing, indicating you must press the bottom display knob to actually load the selected patch.

If you’re currently viewing the last patch in a bank, and you turn the bottom display knob another notch clockwise, Receptor will automatically switch to the next bank and display the ﬁrst patch within that bank. The same is true if you’re viewing the ﬁrst patch in a bank and turn the bottom display knob counter-clockwise. Essentially, you can scroll through every patch without using the Bank parameter at all! However, with over 2 million patch locations available, we’re quite certain that you’ll want to make use of the Bank parameter.

NOTE 1: Patches for some plugins, particularly those that must load samples from hard disk, may take longer to load than others (such as simple algorithmic effect or synth patches).

NOTE 2: The Patch parameter does not appear if you select an audio input source for the Plugin parameter.

NOTE 3: ROM patch names are enclosed in angle brackets, like <this>. When you see a patch name enclosed

in <angle brackets>, it means the patch is a “factory” patch and cannot be overwritten or deleted. For more information, see “ROM Banks and RAM Banks” on page 127.

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NOTE 4: If you have edited a patch in any way, an asterisk (*) replaces the colon (:) between the patch number and name. When you see an asterisk between the patch number and name, you’ll know that the version currently in the edit buffer is not what’s stored to disk.

0 1 P a t c h < >

III III 0 0 1 * S y n c L e a d

If you want to save your patch, press the SAVE /FILE button to save your edits (as described in “SAVE/FILE Button” on page 75).

SOURCE: Input Gain

This parameter appears only if you set the Source parameter to “Line Input,” which is the rear panel analog input. If you set the Source parameter to Line Input and rotate the top display knob, you’ll see the Input Gain parameter. Use this parameter to monitor a summed signal level arriving at the rear analog inputs and adjust the gain, if necessary.

0 1 I n p u t G a i n < >

III III + 0 3 . 0 d B L V L :

Rotate the bottom display knob to increase or decrease the amount of gain you wish to apply to the rear panel analog inputs. The gain affects both the left and right channels equally. You can boost the rear panel audio input gain as much as 18 dB. The gain change happens instantly, meaning you’re not required to push the bottom display knob to apply the change.

The bottom right corner of the LCD contains an 8-stage rear analog input level meter. You will want to adjust the Input Gain so that this signal is as high as possible without clipping. Clipping is indicated by an exclamation point.

NOTE: If you wish to see both the left and right side levels of the rear analog input, you may press the METERS button while the SOURCE button is lit. For more information, see “Meters Mode” on page 82.

SOURCE: Bypass

Rotate the top display knob to select the Bypass parameter. Bypassing a source mutes it and releases the CPU resources required to run it. Bypass is useful whenever Receptor’s CPU resources are maxed out and you want to disable a particular plugin.

0 1 B y p a s s < >

III III N o t B y p a s s e d

Rotate the bottom display knob clockwise to select Bypassed. Rotate the bottom display knob counterclockwise to select Not Bypassed. The change happens instantly, meaning you’re not required to push the bottom display knob to apply the change.

SHORTCUT: Pressing the bottom display knob toggles between Bypassed and Not Bypassed.

NOTE: If you bypass a source that uses one of the audio inputs (rather than a VSTi), then the audio input is

muted, but no signiﬁcant amount of CPU resources are saved.

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SOURCE: Listen to MIDI Ch

Rotate the top display knob to select the Listen to MIDI Ch parameter. Use this parameter to tell the selected VSTi which incoming MIDI channel to “listen” to. By default, the VSTi plugin you instantiate on each Instrument Channel responds to the like-numbered MIDI Channel. For example, the VSTi you instantiate on Instrument Channel 6 would respond to data coming in on MIDI channel 6. In general, you will only change this default mapping when you want to stack or split two or more VSTi’s on the same MIDI channel.

For example, you might want to instantiate an analog synth on Instrument Ch 1 and a string synthesizer on Instrument Ch 2, but play them simultaneously from your keyboard to create a thicker, richer sound. To do this, you would set the source on Instrument Channel 2 to respond to MIDI Ch 1. Now, when you play your MIDI keyboard using MIDI Ch 1, Receptor plays both the VSTi assigned to Instrument Ch 1 and the one assigned to Instrument Ch 2. The same technique can be used in conjunction with the Note Range and Velocity Range parameters (discussed later) to create keyboard splits and zones.

0 1 L i s t e n t o M I D I C h < >

III III 0 1

Rotate the bottom display knob to select which incoming MIDI channel the VSTi should listen to. The Channel number is underlined, but does not ﬂash. When you select a different channel, the change is instantly applied. You can choose between MIDI channels 1-16, or you can choose All, which means that the VSTi responds to data coming from any and all MIDI channels.

For more details and examples of this parameter’s use, see “Source: MIDI Filter Button” on page 97.

NOTE 1: This parameter only changes the MIDI channel used to control the sound being produced by an instantiated VSTi. It does not re-channelize the data used to control the Instrument Channel (such as Volume, Pan, Effects Send Levels, and so on). For example, if you instantiated a VSTi on Instrument Channel 2, but told it to listen to MIDI Ch 1, the VSTi would respond to note, pitch bend, mod, and sustain pedal data on MIDI

channel 1, but the Instrument Channel’s volume, pan, effects send levels, and so on would still respond to MIDI channel 2. This allows you to separately address and mix Receptor’s 16 instrument channels, even though some of them may use layered instruments.

NOTE 2: This parameter does not appear if you select an audio input source for the Plugin parameter.

SOURCE: Plugin MIDI Ch

Rotate the top display knob to select the Plugin MIDI Ch parameter. Use this parameter when a plugin needs to play on a particular MIDI channel regardless of what MIDI channel is used to trigger it.

By default, this parameter is always set to 01, meaning every instantiated instrument plays whatever sound is assigned to it’s internal deﬁnition of channel 1. In general, you will not need to change this default MIDI channel mapping since the majority of VSTi’s are monotimbral and will respond the same no matter which MIDI channel you use to play them.

A small number of VST instruments (such as Native Instruments’ B4) respond differently depending on which MIDI channel you play them on. For example, B4’s upper manual is hardwired to MIDI Ch 1; its lower manual to MIDI Ch 2; and its pedals to MIDI Ch 3. If, for example, you instantiated the B4 on Instrument Channel 7, you would hear its upper manual play (since all plugin channels are, by default, remapped to Ch 1). If you actually wanted to play the lower manual, you would set the Plugin MIDI Ch value to 2 so that the incoming MIDI data would be routed to B4 Channel 2, which is the lower organ manual.

In addition, some VST instruments are multitimbral and may therefore have different sounds assigned to different MIDI channels. Most of these multitimbral instruments will work ﬂawlessly with MIDI channel 1, which is why this is the default value. However, the Plugin MIDI Ch parameter lets you control any plugin channel you wish, regardless of which Instrument Channel you used to instantiate the plugin, or which incoming MIDI Channel it listens to.

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0 1 P l u g i n M I D I C h < >

III III 0 2

Rotate the bottom display knob to choose the channel remapping. The Remap channel is underlined but not ﬂashing. When you select a different channel, the change is instantly applied. You can choose between MIDI channel 1-16, or you can choose “Thru”, which means that the VSTi plays on the same MIDI channel set by the

Listen to MIDI Ch parameter.

For more details and examples of this parameter’s use, see “Source: MIDI Filter Button” on page 97.

NOTE: This parameter does not appear if you select an audio input source for the Plugin parameter.

SOURCE: Channel Transpose

Rotate the top display knob to select the Channel Transpose parameter. Use Channel Transpose to transpose the playback pitch of the instrument channel up or down 3 octaves, in semitone increments. Because Channel Transpose acts only on the selected channel, it is different than the global, Receptor-wide transposition value set by the Master Transpose parameter, which is available under the SETUP button. Channel Transpose is particularly helpful when used in conjunction with the Note Range parameter, since it will let you “ﬁt” the desired octaves within the note range you select.

0 1 C h a n n e l T r a n s p o s e < >

III III - 1 2 S e m i t o n e s

Rotate the bottom display knob to set the Channel Transpose to any value between -36 semitones and +36 semitones. The change happens instantly, meaning you’re not required to push the bottom display knob to apply the change.

SOURCE: Note Range

Rotate the top display knob to select the Note Range parameter. Use this parameter to limit the range of MIDI notes to which the channel responds. The Note Range parameter is primarily used for setting up keyboard split points on Receptor. For example, you might assign a bass synthesizer to Instrument CH 01 and a lead synthesizer to Instrument CH 02. Then, for CH 01, you could set the Note Range value from C-1 to B3 and, for CH 02, you could set its Note Range from C4 to G9. Now, any notes you play below middle-C will be played by the bass synth assigned to CH 01 and any notes you play on middle-C or higher will be played by the lead synth assigned to CH 02.

0 1 N o t e R a n g e < >

III III C - 1 t o G

The Note Range parameter actually contains two parameters: a From parameter (representing the lowest note in the range) and a To parameter (representing the highest note in the range). Rotate the bottom display knob to set the low note to the desired MIDI note, then press the bottom display knob to apply the selection. The cursor moves under the To parameter. Rotate the bottom display knob to set the high note to the desired MIDI note, then press the bottom display knob to apply the selection.

MIDI Input Shortcut: You can set note range values via a MIDI keyboard. Simply make sure the cursor is under the note value you wish to change, then turn the bottom display knob. This puts Receptor into “listen” mode. Play a note on your MIDI keyboard and Receptor will set the note to that value and stop listening. If you want to set the note to a different value via MIDI, repeat the above procedure.

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SOURCE: Velocity Range

Rotate the top display knob to select the Velocity Range parameter. Use this parameter to limit the range of MIDI velocity values to which the channel responds. The Velocity Range parameter is used to assign certain instruments to limited velocity ranges. For example, you might have an instrument channel that contains a plugin that plays a big cymbal crash sound. If you limit the velocity range of this channel to 120-127, then the channel will play only when it receives MIDI velocity values of 120 or greater -- in other words, when you hit your MIDI keyboard really hard, the crash cymbal will sound -- for all lower velocity values, the crash cymbal will not sound.

0 1 V e l o c i t y R a n g e <

III III 0 t o 1 2 7

The Velocity Range parameter actually contains two parameters: a From parameter (representing the lowest velocity in the range) and a To parameter (representing the highest velocity in the range). Rotate the bottom display knob to set the low velocity to the desired value (0-127), then press the bottom display knob to apply the selection. The cursor moves under the To parameter. Rotate the bottom display knob to set the high velocity to the desired value (0-127), then press the bottom display knob to apply the selection.

MIDI Input Shortcut: You can set velocity range values via a MIDI keyboard. Simply make sure the cursor is under the velocity value you wish to change, then turn the bottom display knob. This puts Receptor into “listen” mode. Play a note on your MIDI keyboard and Receptor will set the velocity value to match and stop listening. If you want to set the velocity to a different value via MIDI, repeat the above procedure.

FX A, FX B, FX C Buttons

Each of Receptor’s 16 instrument channels, 2 effects bus channels, and 1 master channel contains a set of three insert effects, labeled FX A, FX B, and FX C. Parameter selection is identical for all three effects on all 19 channels and is thus only deﬁned once in this section.

This section discusses the parameters available when you press the FX A, FX B, or FX C buttons on Receptor.

FX: View Plugin Type

Use the View Plugin Type parameter to ﬁlter the list of plugins displayed by the FX: Plugin parameter described in the next section.

0 1 V i e w P l u g i n T y p e >

III III A l l

Rotate the bottom display knob to select what type of plugins you want to display in the FX: Plugin page. You do not need to press the bottom display knob to apply your choice -- it happens automatically.

You can select the following View ﬁlters:

• All - Select this option to display alphabetically every plugin on the FX: Plugin page.

• <Developer Name> - Select the name of the plugin developer to display only those plugins made by that particular developer on the FX: Plugin page. For example, if you chose “Ohmforce,” the FX: Plugin page would show only Ohmforce plugins, such as Frohmage, Hematohm, Mobilohm, Ohmboyz, Predatohm, and Quad Frohmage.

NOTE: Although this is the ﬁrst FX parameter page, it is not actually the screen you “land on” when you press the FX button. Pressing the FX button lands you on the Plugin parameter screen (described below).

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FX: Plugin

This parameter works in conjunction with the FX: View Plugin Type parameter described above. It lists every plugin of the type you chose to view. If you chose “All” as the plugin type on the FX: View Plugin Type page (the default choice), then the FX: Plugin parameter displays every available plugin for that channel.

0 1 P l u g i n < >

III III F r o h m a g e F i l t e r

Rotate the bottom display knob to select the desired effect plugin. Plugins are listed in alphabetical order. Some plugins may have a 2-character preﬁx contained inside a square bracket. This preﬁx, described a bit later, does not alter the display order of plugins. The plugin name ﬂashes indicating you must press the bottom display knob to actually load the selected plugin.

SHORTCUT: If you’ve chosen anything other than All on the FX: View Plugin Type page, this plugin list will not show every possible audio source built-in to Receptor. If you want to see all the plugins in this list, simply turn the bottom display knob to the last choice, which is “View All Plugins” and press the bottom display knob. This automatically sets the FX: View Plugin Type to All without you having to select that page. Once you’ve done this, all the FX plugins will appear alphabetically in this list.

Plugin Preﬁxes

Some plugins may have bracketed preﬁxes before their names. Here’s what they mean:

• [##] - This means that a demo version of the plugin is currently installed and that, by instantiating it, you will activate its demo period.

• [nn] - In this case, nn = some number, such as 17, or 03, or 11. This means that the plugin is currently running in demo mode and this preﬁx shows you how many days remain in your demo period.

• [--] - This means that the installed plugin must be purchased in order to be instantiated. You will see this symbol when a demo period has expired or if no demo is available for a particular plugin. Also, when you turn on Receptor, your iLok is scanned for licenses after the unit starts up. Because of this, it’s possible that plugins you have purchased will display the [--] preﬁx for the ﬁrst couple of minutes. Don’t worry. Your purchased premium plugins will still instantiate if selected. It just takes a couple of minutes for Receptor to scan all the plugins and update their preﬁx display, which it does in the background so that Receptor will start up as quickly as possible.

• [??] - This means that an error is preventing you from instantiating this plugin. In most cases, it appears because the iLok is not inserted into Receptor properly.

• No Preﬁx - If there is no preﬁx before a plugin name, that means it’s either a free plugin or a premium plugin that you have purchased.

FX: Bank

To select a bank and load a patch from that bank:

1 Rotate the top display knob to select the Bank parameter.

0 1 B a n k < >

III III B a n k : F a v o r i t e F i l t e r s

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2 Rotate the bottom display knob to select the bank you wish to load.

The bank name is ﬂashing

3 Press the bottom display knob.

Receptor shows you the ﬁrst patch in that bank.

0 1 P a t c h < >

III III 0 0 1 : S o f t n F u z z y

4 Rotate the bottom display knob to select a patch. The patch name will ﬂash.

5 Press the bottom display knob to load that patch into Receptor.

NOTE 1: You cannot select a bank without also selecting a patch, since a Bank is nothing more than a directory of patches.

FX: Patch

0 1 P a t c h < >

III III 0 0 1 : S o f t n F u z z y

Rotate the bottom display knob to select the patch you wish to load. The patch name is ﬂashing, indicating you must press the bottom display knob to actually load the selected patch.

If you’re currently viewing the last patch in a bank, and you turn the bottom display knob another notch clockwise, Receptor will automatically switch to the next bank and display the ﬁrst patch within that bank. The same is true if you’re viewing the ﬁrst patch in a bank and turn the bottom display knob counter-clockwise. Essentially, you can scroll through every patch without using the Bank parameter at all! However, with over 2 million patch locations available, we’re quite certain that you’ll want to make use of the Bank parameter.

NOTE 1: Patches for some plugins, particularly those that must load samples from hard disk or are very complex, may take longer to load than others (such as simple algorithmic effect or synth patches).

0 1 P a t c h < >

III III 0 0 1 * S o f t n F u z z y

If you want to save your patch, press the SAVE /FILE button to save your edits (as described in “SAVE/FILE Button” on page 75).

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FX: Bypass

Rotate the top display knob to select the Bypass parameter. Bypassing an effect mutes it and releases the CPU resources required to run it. Bypass is useful for comparing an effected sound to the un-effected sound. It’s also useful whenever Receptor’s CPU resources are maxed out and you want to disable a particular plugin.

0 1 B y p a s s < >

III III N o t B y p a s s e d

Rotate the bottom display knob clockwise to select Not Bypassed. Rotate the bottom display knob counterclockwise to select Bypassed. The change happens instantly, meaning you’re not required to push the bottom display knob to apply the change.

SHORTCUT: Pressing the bottom display knob toggles between Bypassed and Not Bypassed.

FX: Route

Rotate the top display knob to select the Route parameter. Use the Route parameter to change the conﬁguration of the three insert effects.

0 1 R o u t e < >

III III A > B > C

There are four options:

• A > B > C - This is the default routing. It’s a series connection in which the output of FX A feeds the input of FX B, whose output feeds the input of FX C. It’s the mode used by nearly every mixing console and is the most familiar to musicians. If your effect chain isn’t giving you the results you expect, you’re probably not using the A > B > C effect routing. If an effect is unassigned, it is simply short-circuited.

• A / B / C - This is a parallel routing, in which FX A, B, and C receive dry feeds and process them independently. This can drastically alter the sound of the effects chain. Note that, unlike a series connection, unassigned parallel effects are open-circuited so they do not pass unﬁltered signal to the output of the chain.

• A / B > C - This is a combination series/parallel routing in which the signal is split before being sent to FX A and FX B. The output of FX B runs into the input of FX C, and the output of FX C is then combined with FX A. Again, this can substantially alter the sound of the effects chain.

• A > B / C - This is a combination series/parallel routing in which the signal is split before being sent to FX A and FX C. The output of FX A runs into the input of FX B, and the output of FX B is then combined with FX C. Again, this can alter the sound of the effects chain. Feel free to experiment.

Rotate the bottom display knob to choose between the four effect routings. The routing ﬂashes indicating you must press the bottom display knob to actually load the effect routing.

FX: Switch

Rotate the top display knob to select the Switch parameter. Use the Switch parameter to change the order of the three insert effects.

0 1 S w i t c h < >

III III S w i t c h A & B

There are three options:

• Switch A & B - Switches the plugin and patch assigned to FX A with the one assigned to FX B.

• Switch A & C - Switches the plugin and patch assigned to FX A with the one assigned to FX C.

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• Switch B & C - Switches the plugin and patch assigned to FX B with the one assigned to FX C.

Rotate the bottom display knob to choose between the three switch options. The switch option ﬂashes indicating you must press the bottom display knob to actually force the switch to occur.

FX: Get From

Rotate the top display knob to select the Get From parameter. Use the Get From parameter to copy the effect (both the plugin and its current settings) from any other Receptor effects slot to the currently selected effects slot.

0 1 G e t F r o m <

III III C H 0 2 : F X B : M u - P h a s e r

The Get From parameter takes the following form:

Ch <n>: FX <x >: <plugin name>

When you ﬁrst select the Get From parameter, the Ch <n> ﬁeld will be underlined and ﬂashing. Rotate the bottom display knob to select which Receptor channel contains the effect you wish to copy from (1-16, S1, S2, or M), then press the bottom display knob to apply the selection, causing the FX<x> ﬁeld to be underlined and ﬂashing. Select which effect (FX A, FX B, or FX C) you wish to get from that channel. As you do this, the name of the plugin currently assigned to that slot will be shown in the display. The FX<x> value will ﬂash until you press the lower display knob, conﬁrming that you’ve selected the plugin you wish to get.

The display will then ask you to conﬁrm the copy operation.

By default, the display shows Yes. Rotate the bottom display knob counter-clockwise to select No. Your choice will ﬂash until you press the bottom display knob to apply it.

MIX Button

Each of Receptor’s 16 instrument channels, 2 effects bus channels, and 1 master channel contains a set of mix parameters that vary slightly depending on whether you’re viewing an instrument channel, an effects bus channel, or the master channel.

This section discusses the parameters available when you press the MIX button on Receptor.

MIX: Volume

This parameter controls the channel’s volume. If Ch 1-16 is displayed, it controls the volume for the corresponding instrument. If Effects Bus 1 (B1) or Effects Bus 2 (B2) is displayed, it controls the corresponding effect return level. If Master is displayed, it control’s Receptor’s master overall signal level.

0 1 A r e y o u s u r e ? <

III III Y e s

0 1 V o l u m e >

III III 1 0 5

Rotate the bottom display knob to set the volume level. Volume changes happen instantly, meaning you’re not required to push the bottom display knob to apply the change.

SHORTCUT: When the Volume parameter is visible, you can reset it to its default level by pressing the bottom display knob. The default level is 0dB, which provides neither volume gain nor volume attenuation.

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IMPORTANT: This is the output volume of the Receptor software -- it is not related to the Volume knob on Receptor’s front panel, which is a hardware volume knob.

MIX: Pan

Rotate the top display knob to select the Pan parameter. All Receptor channels are stereo so, if an instantiated plugin is actually mono, Receptor will double the signal such that the left and right channels are identical. In the case of mono plugins, this parameter works like a traditional pan control. In the case of stereo plugins, it acts as a balance control.

0 1 P a n < >

III III 1 7 L

Rotate the bottom display knob to set the pan level. Pan changes happen instantly, meaning you’re not required to push the bottom display knob to apply the change.

SHORTCUT: When the Pan parameter is visible, you can reset the Pan to its center position by pressing the bottom display knob.

MIX: Mute

Rotate the top display knob to select the Mute parameter. Muting a channel disables its output.

0 1 M u t e < >

III III N o t M u t e d

Rotate the bottom display knob clockwise to select Muted. Rotate the bottom display knob counter-clockwise to select Not Muted. The change happens instantly, meaning you’re not required to push the bottom display knob to apply the change.

SHORTCUT: Pressing the bottom display knob toggles between Muted and Not Muted.

MIX: Solo

Rotate the top display knob to select the Solo parameter. Soloing a channel automatically mutes all channels that aren’t currently soloed, allowing you to isolate speciﬁc channels for editing.

0 1 S o l o < >

III III N o t S o l o e d

Rotate the bottom display knob clockwise to select Soloed. Rotate the bottom display knob counter-clockwise to select Not Soloed. The change happens instantly, meaning you’re not required to push the bottom display knob to apply the change.

SHORTCUT: Pressing the bottom display knob toggles between Soloed and Not Soloed.

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MIX: Send 1 Level

Rotate the top display knob to select the Send 1 Level parameter. This parameter controls how much of the signal is sent to Effects Bus 1 (whose effect chain is conﬁgured in the B1 channel).

0 1 S e n d 1 L e v e l < >

III III 6 4

Rotate the bottom knob to set the level (0-127). Send levels change instantly, meaning you’re not required to push the bottom display knob to apply the change.

SHORTCUT: When the Send 1 Level parameter is visible, you can press the bottom display knob to quickly set it to zero.

MIX: Send 1 Pre/Post

Rotate the top display knob to select the Send 1 Pre/Post parameter. This parameter determines whether the signal is routed to the effects bus before (pre) or after (post) going through the channel volume. If the signal is Post Fader, then changing the Volume level changes the amount of effected signal proportionately. If the signal is Pre Fader, then the Send Level and Volume levels act independently. This is useful if, for example, you wish to hear only an effected signal with no dry signal, which you would accomplish by setting this parameter to Pre Fader and the Volume level to zero.

0 1 S e n d 1 P r e / P o s t < >

III III P o s t F a d e r

Rotate the bottom display knob clockwise to select Pre Fader. Rotate the bottom display knob counterclockwise to select Post Fader. The change happens instantly, meaning you’re not required to push the bottom display knob to apply the change.

SHORTCUT: Pressing the bottom display knob toggles between Pre and Post Fader.

MIX: Send 2 Level

Rotate the top display knob to select the Send 2 Level parameter. This parameter controls how much of the signal is sent to Effects Bus 2 (whose effect chain is conﬁgured in the B2 channel).

0 1 S e n d 2 L e v e l < >

III III 5 1

Rotate the bottom knob to set the level (0-127). Send levels change instantly, meaning you’re not required to push the bottom display knob to apply the change.

SHORTCUT: When the Send 2 Level parameter is visible, you can press the bottom display knob to quickly set it to zero.

MIX: Send 2 Pre/Post

Rotate the top display knob to select the Send 2 Pre/Post parameter. This parameter determines whether the signal is routed to the effects bus before (pre) or after (post) going through the channel volume. If the signal is Post Fader, then changing the Volume level changes the amount of effected signal proportionately. If the

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signal is Pre Fader, then the Send Level and Volume levels act independently. This is useful if, for example, you wish to hear only an effected signal with no dry signal, which you would accomplish by setting this parameter to Pre Fader and the Volume level to zero.

0 1 S e n d 1 P r e / P o s t < >

III III P o s t F a d e r

Rotate the bottom display knob clockwise to select Pre Fader. Rotate the bottom display knob counter-clockwise to select Post Fader. The change happens instantly, meaning you’re not required to push the bottom display knob to apply the change.

SHORTCUT: Pressing the bottom display knob toggles between Pre and Post Fader.

MIX: Output Assignment

Rotate the top display knob to select the Output Assignment parameter. Use this parameter to route the channel to a particular hardware output or (for Channels 1-16, and Effects Bus 1 and 2) to the Master channel bus.

0 1 O u t p u t A s s i g n m e n t <

III III M s t r : Y A n l g : N S P D I F : Y

The Output Assignment parameter actually contains multiple options spread across multiple pages. On the ﬁrst page are the following output assignment options:

• Mstr (Master bus assignment): Y (Yes) or N (No)

• Anlg (Analog L-R output): Y (Yes) or N (No)

• SPDIF (S/PDIF L-R output): Y (Yes) or N (No)

On the second page are the next output assignment options:

• AD12 (ADAT 1-2 output): Y (Yes) or N (No)

• 34 (ADAT 3-4 output): Y (Yes) or N (No)

• 56 (ADAT 5-6 output): Y (Yes) or N (No)

• 78 (ADAT 7-8 output): Y (Yes) or N (No)

When you ﬁrst choose the Output Assignment parameter, the Mstr option is underlined and active. Rotate the bottom display knob to turn the output on (Y) or off (N), then press the bottom display knob to apply your selection. The cursor moves under the Anlg option. Rotate the bottom display knob to turn it on or off, then press the bottom display knob to apply the selection. The cursor moves under the SPDIF option. Select Y (on) or N (off), then press the bottom display knob and the next output option (AD12) on page 2 is underlined and ready for input. Continue rotating and pressing the bottom display knob until you’ve made all the desired output assignments.

After you’ve made the ﬁnal output assignment, you’ll see a screen asking whether or not you want to set the Output Assignments to their default values. This gives you a quick way to reset the channel to Receptor’s default output assignments.

0 1 O u t p u t A s s i g n m e n t <

III III S e t t o d e f a u l t ? N

Rotate the bottom display knob counter-clockwise to select N (no) or rotate it clockwise to select Y (yes), then press the bottom display knob to apply your selection. The default output settings are as follows:

• Ch 1-16, B1, B2 -- Mstr:Y, Anlg:N, SPDIF:N, AD12:N, 34: N, 56:N, 78:N

• Master Channel -- Anlg:Y, SPDIF:Y, AD12:Y, 34:N, 56:N, 78:N

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You may route channels to as many outputs as you like. When you route a channel to the Master bus, it’s output signal appears on the output(s) assigned to the Master Channel. When you route a channel directly to a hardware output, its signal appears at that output, along with any other signals you may have routed to that output. As you can tell, the Output Assignment option allows for very ﬂexible routing and bussing, both on stage and in the studio.

NOTE 1: The analog (Anlg) and ADAT 1-2 (AN12) outputs are duplicated on Receptor. So, if you turn one on or off, the other will automatically turn on or off.

NOTE 2: The Mstr option is not available on the Master (M) channel since, obviously, you cannot assign the output of a channel to itself. Also, Anlg and AD12 cannot be disabled for the Master (M) channel -- the Master channel signal always appears at these two outputs.

SETUP Button

Setup parameters are used to make global changes to Receptor. Setup parameters affect such areas as global tempo, transpose, and time signature settings; digital clock source and analog input level settings; and network conﬁguration settings.

SETUP: Channel Status

Rotate the top display knob to select the Channel Status screen. This screen shows you, at a glance, which channels have instantiated plugins and if any channels are currently soloed or muted.

S U C h a n n e l S t a t u s >

III III 1 2 • • 5 • • • • • A • • • • • 1 • M

The bottom row of the LCD may appear a bit cryptic at ﬁrst, but it’s really quite useful. Essentially, it contains 19 characters that, from left-to-right, display the status for each of Receptor’s 19 channels (ﬁrst the 16 instrument channels, followed by the 2 effects busses, and ﬁnally the master output channel).

Speciﬁcally:

• If a channel has one or more plugins instantiated, its number is shown in the LCD (see “Channel Status Numbering Guide” on page 60 to learn the numbering methodology).

• If a channel has no instantiated plugins, it’s indicated by a dot.

• If a channel is currently muted, a small letter “m” ﬂashes alternated with the channel number.

• If a channel is currently soloed, a small letter “s” ﬂashes alternated with the channel number.

Look at the following LCD screen as an example:

S U C h a n n e l S t a t u s >

III III 1 m • • 5 • • • • • A • • • • • 1 • M

This tells us that plugins are instantiated on instrument channels 1, 2, 5, 11 as well as on effects bus 1 and the master output channel. Channel 2 is ﬂashing the letter ‘m’, so we know that instrument channel 2 is currently muted.

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Channel Status Numbering Guide

Are you wondering why, in the previous example, we know that channel 11 has plugins instantiated when the display shows a letter “A”? That’s because double digit characters greater than 10 are represented by letters. Speciﬁcally, here is how Receptor’s 19 mixer channels are represented, from left-to-right:

• 1-9 = Instrument Channels 1-9

• 0 = Ch 10

• A = Ch 11, B = Ch 12, C = Ch 13, D = Ch 14, E = Ch 15, F = Ch 16

• The “1” and “2” to the right of channel 16 (“F”) indicate the status of Effects Bus 1 and Effects Bus 2.

• The capital “M”, on the far right, indicates the Master channel.

SETUP: MIDI Monitor

Rotate the top display knob to select the MIDI Monitor screen. This screen shows you, at a glance, which MIDI channels are currently receiving some type of MIDI message.

S U M I D I M o n i t o r < >

III III 1 2 • • • • • • 9 0 • B • • • F R

If signal is detected on an incoming MIDI channel, the display will show the channel’s number. If no signal is detected on an incoming MIDI channel, the display will show a dot. This is a quick and convenient way to troubleshoot your studio, as it allows you to verify whether or not MIDI is reaching Receptor, and on which MIDI channel.

MIDI channel numbering appears in this view as follows:

• 1-9 = Instrument Channels 1-9

• 0 = Ch 10

• A = Ch 11, B = Ch 12, C = Ch 13, D = Ch 14, E = Ch 15, F = Ch 16

• R = Real-time (unchannelized MIDI messages)

For example, the sample display shown above tells you that MIDI data is currently being received on channels 1, 2, 9, 10, 12 and 16. The presence of the letter “R” also tells you that unchannelized real-time messages are being sent to Receptor.

SETUP: Master Transpose

Rotate the top display knob to select the Master Transpose parameter.

S U M a s t e r T r a n s p o s e < >

III III N o T r a n s p o s e

Rotate the bottom display knob to transpose the MIDI note numbers by plus or minus 12 semitones. The selection ﬂashes indicating you must press the bottom display knob to apply the change. The Master Transpose setting is saved with a Multi patch.

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SETUP: Tempo Source

Rotate the top display knob to select the Tempo Source parameter. This determines whether Receptor derives its tempo from external MIDI beat clock or whether it uses its own internal clock (set by the Tempo BPM parameter). The Tempo Source is used by all tempo-based effects and instruments.

S U T e m p o S o u r c e < >

III III I n t e r n a l

Rotate the bottom display knob to select between External (MIDI) and Internal. Your selection is immediately applied -- you do not need to push the bottom display knob.

• If you select External (MIDI), Receptor gets its tempo from an external MIDI beat clock (such as a sequencer) arriving at its MIDI In port. It displays that tempo on the Setup: Tempo BPM page (discussed next), using the most recently received tempo if none is currently present at the midi input.

• If you select Internal, Receptor gets its tempo from the Tempo BPM parameter (discussed next).

The Tempo Source setting is a global parameter that applies to all patches.

SETUP: Tempo BPM

Rotate the top display knob to select the Tempo BPM parameter. If you set the Tempo Source parameter to Internal (as discussed in the previous section), then this value determines the internal tempo in Beats Per Minute. This tempo is used by all tempo-based effects and instruments.

S U T e m p o B P M < >

III III 1 1 0

Rotate the bottom display knob to set Receptor’s internal tempo. Tempo changes happen instantly, meaning you’re not required to push the bottom display knob to apply the change.

If the Tempo Source parameter is set to External (MIDI), then the Tempo BPM value is displayed, but can not be edited. If you change the tempo of the external MIDI Beat Clock, you will see the tempo change in this window. If no MIDI Beat Clock signal is currently present, the Tempo BPM displays the most recently received MIDI tempo.

S U T e m p o B P M < >

III III 1 4 0 ( E x t e r n a l )

The Tempo BPM setting is a global parameter that applies to all patches.

SETUP: Time Signature

Rotate the top display knob to select the Time Signature parameter. Some plugins respond to time signature but many do not.

In general, you should set Receptor’s time signature to match the time signature of your song. Note that changing the time signature’s denominator always has an affect on tempo. For example, if you set the Tempo BPM to 100 at 4/4 time, then change the Time Signature to 4/8 time, the tempo will double is speed (since you have changed the deﬁnition of a ‘beat’ from a quarter-note to an eighth-note).

S U T i m e S i g n a t u r e < >

III III 4 / 4

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Rotate the bottom display knob to set Receptor’s time signature. The selection ﬂashes indicating you must press the bottom display knob to apply the change. Time signature values start at the lowest denominator and run to the highest. So, if you set the time signature to its ‘minimum’ value, it will display 2/2. If you set it to its ‘maximum’ value, it will display 12/16.

Basically, rotating the lower knob takes you through time signature values as follows:

2/2 > 3/2 > ... 12/2 > 2/4 > 3/4 > ... 12/ 4 > 2/8 > 3/8 ... 12/8 > 2/16 > 3/16 > ... 12/16

The default time signature is 4/4 and the Time Signature value is saved globally.

SETUP: Program Change Chan

Use this parameter to tell Receptor which MIDI channel to use for incoming program changes. You can choose to have Receptor listen to all channels; or any one of the available 16 MIDI channels; or no channel. This parameter is, by default, set to ALL, meaning Receptor will respond to program changes received on all 16 MIDI channels.

S U P r o g r a m C h a n g e C h a n < >

III III A l l

When you limit the reception of program change messages to a single MIDI channel, Receptor will respond only to program change message that are received on that channel. So, for instance, if this parameter is set to Channel 03, then you will only be able to select plugin and Single patches assigned to channel 03, and your Multi patches will only change when the message arrives on MIDI channel 03.

The primary reason for setting this parameter to something other than ALL is when Receptor is part of a multiunit rig and you’re using a master controller to send MIDI Program change messages to all your devices. In this case, you may want to set Receptor to respond to a single MIDI channel so that it ignores any program change messages intended for other devices.

SETUP: Digtl Clock Source

Rotate the top display knob to select the Digtl Clock Source parameter. Use this parameter to tell Receptor whether to use its own internal digital clock or slave to an incoming SPDIF clock (if present).

S U D i g t l C l o c k S o u r c e < >

III III I n t e r n a l

Rotate the bottom display knob to choose between Internal and S/PDIF. The change happens instantly, meaning you’re not required to push the bottom display knob to apply it.

The Digtl Clock Source is a global setting and, as such, is not stored with any patch.

SETUP: Master Sample Rate

Use this parameter to set Receptor’s default master clock rate. You can select between the following rates:

• 44.1 kHz

• 48 kHz

• 96 kHz

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Receptor defaults to 44.1 kHz, which is the standard “CD quality” sample rate. Choosing higher rates may result in slightly better ﬁdelity, but will make greater demands on Receptor’s CPU, resulting in fewer simultaneous plugins and reduced polyphony. Also, be aware that not all plugins are designed to operate properly at higher rates.

S U M a s t e r S a m p l e R a t e < >

III III 4 4 . 1 k H z

Rotate the bottom display knob to select the desired sample rate. The selection ﬂashes indicating you must press the bottom display knob to apply the change. The Master Sample Rate is a global setting and, as such, is not stored with any patch

SETUP: Sample Buffer Size

Rotate the top display knob to select the Sample Buffer Size parameter. Selecting a smaller buffer size will result in very low latencies, meaning Receptor will be extremely responsive to your playing. The trade-off is that you will be able to instantiate fewer plugins. If you want to instantiate more plugins, or some particularly CPU-intensive plugins, you will need to set the buffer size to a higher value.

S U S a m p l e B u f f e r S i z e < >

III III 1 2 8 S a m p l e s

Rotate the bottom display knob to choose the desired buffer size. The selection ﬂashes, indicating you must press the bottom display knob to apply the change.

The Sample Buffer Size is a global setting and, as such, is not stored with any patch.

SETUP: View Bank MSB/LSB

Rotate the top display knob to select the View Bank MSB/LSB parameter. This gives you a convenient way to view the MSB/LSB MIDI Bank Select message values for any bank in Receptor.

S U V i e w B a n k M S B / L S B < >

III III M u l t i

Rotate the bottom display knob to select the patch type whose MIDI Bank Select messages you wish to change. “Multi” is the ﬁrst choice, followed by “Single.” Then, as you continue to rotate the bottom display knob, you’ll see the name of each Receptor plugin in alphabetical order.

S U V i e w B a n k M S B / L S B < >

III III L o u n g e L i z a r d

The selection name is ﬂashing, indicating you must press the bottom display knob to apply it. Select the type of bank whose MSB/LSB numbering you wish to see, then press the bottom display knob. Rotate the bottom display knob to select the bank whose MIDI Bank Select numbers you wish to view.

S U V i e w B a n k M S B / L S B < >

III III B a n k : W u r l i s

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The bank’s name is ﬂashing, indicating you must press the bottom display knob to apply the selection. Select a bank and press the bottom display knob.

S U V i e w B a n k M S B / L S B < >

III III 0 2 4 / 0 0 3 ( m o r e b a n k s )

The bank’s MSB and LSB numbers are displayed. These are the numbers you would enter in your MIDI sequencer or MIDI control surface to select this bank via MIDI program change.

In addition, the (more banks) text will be ﬂashing. If you press the lower display knob, you return to the Bank Type screen where you can select other banks for which you wish to view the MSB/LSB assignments.

S U V i e w B a n k M S B / L S B < >

III III L o u n g e L i z a r d

SETUP: TCP/IP Setup

Rotate the top display knob to select the TCP/IP Setup parameter. Use this parameter if you want to switch between manual or automatic IP addressing, or if you plan to use a crossover network. This is a multi-step parameter, since changing TCP/IP setups requires setting multiple parameters.

S U T C P / I P S e t u p < >

III III A u t o ( D H C P )

Rotate the lower display knob to select between three choices: Auto (DHCP); Manual; and Crossover. These are described further in the following sections.

NOTE: TCP/IP Setup is a global parameter and is not saved with a Multi Patch.

Using Auto (DHCP) Addressing

This is the default option. Select it if you are connecting Receptor to a network that has a cable/DSL modem or Ethernet Switcher that acts as a DHCP server. Most such devices are conﬁgured to provide IP addresses to network devices.

To use “Auto (DHCP)” addressing:

1 Rotate the bottom display knob to select Auto (DHCP), then press the knob to apply your selection.

You’ll be asked to conﬁrm whether you want to make this change (Yes or No).

2 Rotate the bottom display knob to select Yes, then press the knob to apply your selection.

Receptor will update your TCP/IP settings — a process that will take a few seconds.

3 If you are switching to Auto (DHCP) from either Manual or Crossover modes, you must shut down your

Receptor and restart it before the settings take effect.

Receptor will now use an IP Address provided by a DHCP server. To see this address, rotate the top display knob until the top line displays TCP/IP Address. The bottom line will then show the IP address used by Receptor.

For more information about networking setups and Receptor, see Chapter 12, “Connecting Receptor to a Computer.”

Using Manual IP Addressing

Select this option if you want to manually assign an IP address to Receptor. To do so:

1 Rotate the bottom display knob to select Manual, then press the knob to apply your selection.

You’ll next be asked to enter the desired IP Address. The IP Address is displayed in 4-blocks of 3-digit numbers. The cursor is under the left-most block and the text is blinking.

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S U T C P / I P A d d r e s s < >

III III 1 9 2 . 1 6 8 . 0 0 1 . 0 7 5

2 Rotate the bottom display knob to select the desired value (from 000-255), then press the bottom display

knob.

The cursor moves to the next block of numbers, which are ﬂashing.

3 Select the desired value for this block (from 000-255), then press the bottom display knob.

4 Continue until you’ve entered the desired IP address in all four blocks.

5 Press the bottom display knob after entering the fourth number block.

You’ll then be asked to enter the desired TCP/IP Netmask.

S U T C P / I P N e t m a s k < >

III III 2 5 5 . 2 5 5 . 2 5 5 . 0 0 0

6 Enter the netmask using the same technique used for entering the IP address, then press the bottom

display knob when ﬁnished.

You’ll then be asked to conﬁrm your selection (Yes or No).

7 Rotate the bottom display knob to select Yes, then press the knob to apply your selection.

Receptor will update your TCP/IP settings — a process that will take a few seconds.

Receptor will now use the IP Address that you just entered manually. To see this address at any time, simply rotate the top display knob until it displays TCP/IP Address. The bottom line will then show the IP address used by Receptor.

For more information about networking setups and Receptor, see Chapter 12, “Connecting Receptor to a Computer.”

Using Crossover Mode

Select this option if you are not using a Router or Switcher and are connecting Receptor directly to your computer using a crossover Ethernet cable. To select and use Crossover Mode:

1 Connect a Crossover Ethernet Cable between your computer and Receptor.

2 If Receptor is not already in “Crossover” mode, put your Receptor into that mode by rotating the bottom

display knob to select Crossover, then press the bottom display knob to apply your selection.

You’ll be asked to conﬁrm whether you want to make this change (Yes or No).

3 Rotate the bottom display knob to select Yes, then press the knob to apply your selection.

4 Before the switch to Crossover mode can take effect, you must turn off your PC and double-click

Receptor’s power button to turn it off.

5 Turn Receptor and your computer back on.

Receptor will now act as a DHCP server and provide an IP address to your PC.

WARNING: Never use Crossover Mode if Receptor is connected to a standard network. Most networks have DHCP servers of their own. When Receptor is in Crossover mode, it is acting as a DHCP server, and the presence of two such servers could confuse the network.

NOTE TO MACINTOSH USERS: If you’re using a Macintosh computer, crossover connections will work without setting Receptor to Crossover Mode. If you frequently move your Receptor between a Macintosh location that requires a network connection and one that requires a crossover connection, it’s alright to leave Receptor in “Auto (DHCP)” mode. If, however, you plan to always use your Receptor with a crossover connection to a Macintosh, you should set Receptor to “Crossover” mode to speed up the startup process. Windows users must ALWAYS use Crossover Mode when using a crossover connection.

For more information about Crossover Mode and Crossover connections, see “Crossover Connection” on page

145.

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SETUP: TCP/IP Address

Rotate the top display knob to select the TCP/IP Address parameter. If Receptor is setup to use

Auto (DHCP) addressing (as described in the previous section), then the TCP/IP Address parameter is read-

only. If Receptor is setup to use Manual addressing, then you may change Receptor’s IP Address using this parameter. Receptor uses this IP address to identify itself to another computer, which is how you will upload new software and plugins.

S U T C P / I P A d d r e s s < >

III III 1 9 2 . 1 6 8 . 0 0 1 . 1 0 5

As mentioned, if the TCP/IP Setup parameter is set to Auto or Crossover, then this parameter is read-only. If the TCP/IP Setup parameter is set to Manual, then you may edit the TCP/IP address as follows:

1 The IP Address is displayed in 4-blocks of 3-digit numbers. The cursor is under the left-most block and the

text is blinking. Rotate the bottom display knob to select the desired value (from 000-255), then press the bottom display knob.

The cursor moves to the next block of numbers, which are ﬂashing.

S U T C P / I P A d d r e s s < >

III III 1 9 2 . 1 6 8 . 0 0 1 . 1 0 5

2 Select the desired value for this block (from 000-255), then press the bottom display knob.

3 Continue until you’ve entered the desired IP address in all four blocks.

4 Press the bottom display knob after entering the fourth number block.

You’ll then be asked to enter the desired TCP/IP Netmask.

S U T C P / I P N e t m a s k < >

III III 2 5 5 . 2 5 5 . 2 5 5 . 0 0 0

5 Enter the netmask using the same technique used for entering the IP address, then press the bottom

display knob when ﬁnished.

If you don’t want to change the netmask, just press the bottom display knob to step through the ﬁelds without modifying any of them.

You’ll then be asked to conﬁrm your selection (Yes or No).

6 Rotate the bottom display knob to select Yes, then press the knob to apply your selection.

Receptor will update your TCP/IP settings — a process that will take a few seconds.

NOTE: The TCP/IP Netmask parameter is global and is not saved with a Multi Patch.

SETUP: TCP/IP Netmask

Rotate the top display knob to select the TCP/IP Netmask parameter. If Receptor is set up to use either Auto (DHCP) or Crossover addressing (as described in the previous section), then the TCP/IP Netmask parameter is read-only.

If Receptor is set up to use Manual addressing, then you may change Receptor’s Netmask as follows:

1 The Netmask is displayed in 4-blocks of 3-digit numbers. The cursor is under the left-most block and the

text is blinking. Rotate the bottom display knob to select the desired value (from 000-255), then press the bottom display knob.

The cursor moves to the next block of numbers, which are ﬂashing.

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S U T C P / I P N e t m a s k < >

III III 2 5 5 . 2 5 5 . 2 5 5 . 0 0 0

2 Select the desired value for this block (from 000-255), then press the bottom display knob.

3 Continue until you’ve entered the desired Netmask in all four blocks.

4 Press the bottom display knob after entering the fourth number block.

You’ll then be asked to conﬁrm your selection (Yes or No).

5 Rotate the bottom display knob to select Yes, then press the knob to apply your selection.

Receptor will update your network settings — a process that will take a few seconds.

NOTE: The IP Address is a global parameter and is not saved with a Multi Patch.

SETUP: Windows Networking

Rotate the top display knob to select the Windows Networking parameter. Use this parameter to tell Receptor whether or not to appear on a Windows Network. “Windows Networking” is the system whereby networked Windows machines appear in each others’ ‘My Network Places’ (or ‘Network Neighborhood’ on older versions of Windows).

S U W i n d o w s N e t w o r k i n g < >

III III O n

To turn Windows networking off:

1 Rotate the bottom display knob counter-clockwise to choose Off, then press it to apply your selection.

Receptor will update your network settings — a process that will take a few seconds. Receptor will no longer

appear on any Windows networks.

To turn Windows networking on:

1 Rotate the bottom display knob clockwise to choose On, then press it to apply your selection.

SETUP: Windows Workgroup

Rotate the top display knob to select the Windows Workgroup parameter. Use this parameter to view the name of Receptor’s current Windows Workgroup, or to change the name of that workgroup. Windows Networking uses ‘workgroups’ to gather up networked Windows machines into groups. Receptor, by default, joins the ‘Muse’ workgroup.

To change the name of Receptor’s Windows Workgroup:

1 Press the bottom display knob to rename the workgroup.

The top line changes to say “Rename,” and the bottom line displays the current workgroup name with a cursor under the ﬁrst character.

S U R e n a m e ( C u r s o r < > ) < >

III III M y - W o r k g r o u p

2 Rotate the top display knob to move the cursor. Rotate the bottom display knob to change the underlined

character.

To delete a character, press the top display knob and the underlined character will be deleted.

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3 Rotate the top and bottom display knobs to rename your workgroup, then press the bottom display knob to

apply the name change.

Receptor will update your network settings — a process that will take a few seconds. It will then appear on a Windows network under the desired workgroup name.

NOTE 1: Network conventions allow the workgroup name to contain only alphanumeric characters, plus the following special characters: ! , ‘ , - , # , $ , % , & , ( , )

NOTE 2: Spaces are not allowed in the workgroup name.

The Windows Workgroup setting is a global parameter and is not saved with a Multi patch

SETUP: Appletalk

Rotate the top display knob to select the Appletalk parameter. Use this parameter to tell Receptor whether or not to appear on an Appletalk network.

S U A p p l e t a l k < >

III III O f f

Rotate the bottom display knob counter-clockwise to choose Off, and clockwise to choose On. Your choice is ﬂashing, indicating you must press the bottom display knob to apply your selection. If you select Off, then Appletalk is turned off and you will not be able to see Receptor on an Appletalk network. If you select On, then Receptor will appear on an Appletalk network.

The Appletalk setting is a global parameter and is not saved with a Multi Patch.

SETUP: Name

Rotate the top display knob to select the Name parameter. Rotate the bottom display knob to name this Receptor. The name you enter here appears whenever this Receptor is found on a network.

IMPORTANT: If you’re using more than one Receptor, it’s important that each Receptor have a unique name — otherwise the multiple units will not appear properly on a network. By default, Receptor ships with a rather lengthy default name that makes it unlikely for multiple units to have identical names. If you change this default name, make sure it doesn’t match the name used by another Receptor on your network.

To rename a Receptor:

1 Rotate the top display knob to select the Name parameter.

The second line of the display shows the current name of this Receptor.

S U N a m e < >

III III R e c e p t o r - 1 2 3 4 5 6

2 Press the bottom display knob to begin renaming Receptor.

The top line changes to say “Rename,” and the bottom line displays the current Receptor name with a cursor under the ﬁrst character.

3 Rotate the top display knob to move the cursor. Rotate the bottom display knob to change the underlined

character.

To delete a character, press the top display knob and the underlined character will be deleted.

S U R e n a m e ( C u r s o r < > ) < >

III III R e c e p t o r - 1 2 3 4 5 6

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4 Rotate the top and bottom display knobs to rename your Receptor, then press the bottom display knob to

apply the name change.

The display will say Are you sure? and blink.

S U A r e y o u s u r e ? < >

III III N o

5 Rotate the bottom display knob counter-clockwise to select No, or clockwise to select Yes. Make sure Yes

is shown and press the bottom display knob to apply.

Receptor’s Name is a global parameter and is not saved with a Multi Patch.

NOTE 1: Network conventions allow Receptor’s name to contain only alphanumeric characters, plus the following special characters:

! , ‘ , - , # , $ , % , & , ( , )

Spaces are not allowed in Receptor’s name.

SETUP: System Version

Rotate the top display knob to select the System Version option. This displays Receptor’s current software revision. The System Version is read-only -- you cannot edit it.

S U S y s t e m V e r s i o n < >

III III 1 . 0 . 0

SETUP: Hardware Version

Rotate the top display knob to select the Hardware Version option. This displays Receptor’s current hardware revision number. The Hardware Version is read-only -- you cannot edit it.

S U H a r d w a r e V e r s i o n < >

III III 1 . 0 ( R e v B )

SETUP: Memory Free

Rotate the top display knob to select the Memory Free option. This displays information about Receptor’s internal RAM. Speciﬁcally, it shows (in MB) the total amount of RAM installed in your Receptor and what percentage of that RAM is currently free (unused). The Memory Usage page is read-only -- you cannot edit it.

S U M e m o r y F r e e < >

III III 8 7 % ( 5 1 2 M t o t a l )

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SETUP: Disk Free

Rotate the top display knob to select the Disk Free option. This displays information about Receptor’s internal hard disk. Speciﬁcally, the second number (in parenthesis) shows the total amount of user-accessible Hard Disk space. The ﬁrst number shows how much of that hard disk space (in GB) is currently free (unused).

S U D i s k F r e e < >

III III 2 5 . 2 1 G ( 3 1 G t o t a l )

NOTE: You may wonder why the total amount of disk space does not equal the size of Receptor’s internal hard drive. The reason is that this ﬁeld displays the total amount of user accessible disk space. Some amount of Receptor’s disk contains the operating system and the Receptor application, itself -- these applications cannot be removed by the user and, as such, are not reported as part of the total disk space. The total disk space display is, therefore, the total amount of disk space available for all plugins, patches, and samples.

SETUP: Enable Zload

Rotate the top display knob to select the Enable Zload option. Zload™, when enabled, can dramatically improve the speed at which plugins instantiate. When plugins instantiate faster, Receptor is more responsive to patch change requests. Multi patches, in particular, will load dramatically faster.

Zload works as follows: When you ﬁrst instantiate a plugin, it takes the normal amount of time to load (equivalent to the amount of time it takes to instantiate on a Mac or PC). Then, when you remove that plugin from Receptor’s mixer, it’s set aside in RAM, rather than fully uninstantiated. The next time you try to instantiate that plugin (either directly or by recalling a patch that uses that plugin), Receptor will re-use the instance previously set aside in RAM, which is nearly instantaneous.

S U E n a b l e Z l o a d < >

III III D i s a b l e d

So why is Zload disabled by default? Because, regrettably, nothing in life is free. Since plugins, once instantiated, are set aside in RAM, Zload demands a greater share of your Receptor’s RAM. In general, this won’t be problematic, but there are a couple of things to consider when you’re deciding whether or not to use Zload:

• Zloaded plugins will never max out your RAM. When Receptor has only 40% of its available RAM remaining, then the oldest Zloaded plugins will be dropped, allowing you to regain the RAM that they previously occupied. Obviously, the more RAM you add to Receptor, the more plugins that Receptor will be able to set aside in RAM and the “snappier” the box will be.

• One possible downside to enabling Zload concerns customers who use large sample libraries. Because the set-aside cache of Zloaded plugins may consume up to 60% of your unit’s available RAM, this memory may not be available for loading samples. For example, if you have a sample that currently consumes 70% of your Receptor’s memory, you’ll be able to load that sample as long as your Zloaded plugins haven’t consumed more than 30% of your Receptor’s RAM. But, if your cache of Zloaded plugins exceeds 30% of the available RAM, then the sample will not load. Again, the best remedy is to purchase and install additional RAM into Receptor.

Obviously, to see the effects of Zload, a plugin must be instantiated at least once. But, once instantiated, that plugin remains in RAM and any future instantiations will occur very quickly. If you tend to use a lot of the same plugins in all your patches, then Zload will dramatically speed up plugin instantiation and patch loading.

When you turn Receptor off, all Zloaded plugins are cleared from RAM. This means, when you turn Receptor back on, ﬁrst instantiations of plugins will again occur at normal speed, but subsequent instantiations will be very fast.

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Here are a couple more details you may wish to know about Zload:

• Some plugins keep audio in a buffer that does not get ﬂushed when it’s set-aside by Zload. When this happens, that plugin may make sound when re-loaded (since it will then empty its audio buffer). This is a fairly rare occurrence and is pretty harmless in studio operations. But, if you’re using Receptor live or sequencing with Single or Multi patch changes, you may want to check for this and, if it proves problematic, disable Zload.

• Zload is currently disabled for all “Unsupported Plugins” whether you choose to enable Zload or not. Future versions of Receptor will allow direct plugin-by-plugin control of Zload, so you can choose exactly which plugins you want Zloaded and which you don’t.

Zload is a great asset that will greatly improve instantiation and patch loading speeds. Give it a try.

SETUP: Install/Upgrade

Rotate the top display knob to select the Install/Upgrade option. Use this option to install any software updates, plugins, patches or other ﬁles currently contained in Receptor’s “Drop Installers Here” directory. For more information about installation various ﬁle types, see “Drop Installers Here” on page 166.

S U I n s t a l l / U p g r a d e < >

III III 4 f i l e s

If there are currently ﬁles in Receptor’s “Drop Installers Here” folder, then the bottom line will read <n> ﬁles, where <n> is the number of ﬁles currently in that directory. You must push the bottom display knob to install ﬁles. If there are no ﬁles to install, the line will read None available.

To install ﬁles:

1 Press the bottom display knob to apply the installation process.

The screen will ask if you are sure you want to install.

S U A r e y o u s u r e ? < >

III III N o

2 Rotate the bottom display knob counter-clockwise to select No, or clockwise to select Yes. Make sure Yes

is shown and press the bottom display knob to apply.

The LCD reads “Installing...” as Receptor installs any package or patch ﬁles currently in its “Drop Installers Here” folder. When installation is complete, the display will indicate how many ﬁles were successfully installed and how many failed.

NOTE: Some installations (such as most system updates) will make Receptor automatically restart. If Receptor needs to restart after installing an update, it will not display the number of successfully installed ﬁles.

SETUP: Uninstall Plugins

Rotate the top display knob to select the Uninstall Plugins option. Use this option to uninstall any plugin currently installed within Receptor.

S U U n i n s t a l l P l u g i n s <

III III S u p e r S e x y S y n t h

To uninstall a plugin:

1 Rotate the bottom display knob to select the plugin you wish to uninstall.

The list will contain the name of every Receptor plugin in alphanumerical order. The plugin name is ﬂashing, indicating you must press the bottom display knob to apply it.

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2 Press the bottom display knob.

The screen will ask if you are sure you want to uninstall the selected plugin.

S U A r e y o u s u r e ? <

III III Y e s

3 Rotate the bottom display knob counter-clockwise to select No, or clockwise to select Yes. Make sure Yes

is shown and press the bottom display knob to apply.

Receptor uninstalls that plugin and all patch banks associated with that plugin.

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6 Editing, Saving, and Metering

This chapter discusses how to:

• Edit patches

• Save, copy, delete, and rename patches

• Meter the signal level at various points in the mixer

These functions are all performed using the three Modiﬁer buttons on Receptor’s front panel.

Input Level

Guitar/Instrument Input USB Port

Modiﬁer Basics

Basically, a Modiﬁer button acts upon the patch or signal represented by the correspondingly lit View button.

• If the EDIT button is on, then you can select what you edit by pressing the corresponding View button and selecting the desired channel. For example, if you wanted to edit the plugin assigned to FX B on Channel 2, you would press EDIT, then FXB, then push/turn the top display knob to select Channel 2.

• If the SAVE/FILE button is on, then you can select what you want to save by pressing the corresponding View button and selecting the desired channel. For example, if you wanted to save the patch assigned to the SOURCE plugin on Channel 1, you would press SAVE, then SOURCE, then push/turn the top display knob to select Channel 1.

• If the METERS button is on, then you can select what you want to monitor by pressing the corresponding View button and selecting the desired channel. For example, if you wanted to see what the signal level is at the output of Channel 3, you would press METERS, then MIX, then push/turn the top display knob to select Channel 3.

Master Volume

Input Level LED

Headphone Jack

LCD

Display Knobs

Soft Knobs

View Buttons

Power Button

Modiﬁer Buttons

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EDIT Button

One of the many advantages of VST plugins is that each plugin can have a unique graphical interface to make editing easy. Receptor supports graphical plugin editing via its built-in keyboard, mouse, and monitor inputs (discussed in the “Graphic Editor” section on page 85) or by remote computer control (discussed in “Remote Control of Receptor” on page 174). However, there may be times when you may want to “tweak” a patch via Receptor’s front panel. This is what Edit Mode is for.

Each plugin that ships with Receptor has a factory-determined collection of parameters assigned to appear on the front panel when you enter Edit Mode. In addition, Receptor supports direct editing of up to 4 parameters using the four dedicated soft knobs on the front panel. Think of this almost like having a small built-in MIDI control surface!

Using Receptor’s graphical UI, you can change those factory defaults: adding, removing, or rearranging the parameters that appear on the front panel (see “Learn Mode” on page 113 to learn how).

Like all of Receptor’s Modiﬁer buttons, the EDIT button works in conjunction with one of the View buttons. For example, if you want to edit a synthesizer plugin assigned to the SOURCE slot on Channel 5, you would:

1 Press SOURCE.

This tells Receptor you want to edit a VSTi plugin.

2 Press the top display knob to enter Channel Select Mode, then rotate it to select Channel 05. Press it again

to exit Channel Select Mode.

This tells Receptor that you want to edit the VSTi assigned to Channel 5.

3 Press EDIT.

This puts Receptor into Edit Mode.

You can exit Edit Mode at any time by simply pressing the EDIT button again to turn it off.

The parameters available in Edit Mode depend completely on the type of plugin or patch you’re editing. However, all patches are edited using an identical methodology.

EDIT: <Parameter>

Receptor can deﬁne, for each plugin, which parameters should be displayed on the front panel and in what order they should be displayed (as discussed in “Learn Mode” on page 113). These parameters appear whenever Receptor is in Edit mode and is set to view an instantiated Source or FX.

0 1 F i l t e r F r e q u e n c y >

III III 2 7

Rotate the top display knob to scroll through the list of parameters. Rotate the bottom knob to change the value of the indicated parameter.

NOTE: Parameter editing exists only for VST effects and instruments. If you press EDIT when the SINGLE, MULTI, or MIX buttons are lit, you’ll see that Edit Mode is not available.

EDIT: Using the Soft Knobs

By default, Receptor assigns the ﬁrst four parameters to the four soft knobs on the front panel. For example, an “analog” synth plugin might have its ﬁrst four parameters assigned to:

• Frequency

• Resonance

• Attack

• Release

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In this example, if you turned Soft Knob B, the display would change to display the “Resonance” parameter, and you would see its value change as you rotated the knob. When you stop rotating a soft knob, the display returns to normal within about a half-second.

If you want to see which parameter is assigned to a soft knob without actually turning it, simply push the soft knob -- the display will show the associated parameter name and value for a period of about one second.

In effect, this gives you instant and simultaneous control of up to ﬁve parameters: the ﬁrst four plus whichever parameter you’ve scrolled to using the top display knob.

EDIT: “Panic” Feature

The EDIT button performs a special “panic” function when used with Setup Mode. Speciﬁcally, if you ever experience a situation in which a note gets stuck “on,” simply press the SETUP button followed by the EDIT button. This “panic” feature sends an all notes off MIDI message to all 16 of Receptor’s instrument channels, silencing any note that might be stuck on.

SAVE/FILE Button

Press SAVE/FILE to enter Save/File Mode. Within Save/File Mode you can save, delete, copy, and rename any bank or patch type supported by Receptor. This includes:

• Single patches - A single patch contains a single Instrument’s SOURCE assignment plus all its in line FX plugin/patch assignments and their routing.

• Multi patches - A multi patch contains all Instrument channels, the two effects bus channels, and the master channel settings -- essentially an entire Receptor conﬁguration.

• Plugin patches - A plugin patch is the standard .fxp patch associated with a particular plugin. Each VST instrument and effect has its own patch format and all are supported by Receptor.

Note: When the SETUP button is lit, press the SAVE/FILE button to see a screen showing you an overview of Receptor’s 19 channels and their current status. For more information, see “SETUP: Channel Status” on page

59.

Even though Receptor supports so many types of patch formats, the method used to save, copy, delete or rename them is the identical. For example, if you wanted to save the edits you made to an effect assigned to FX B of Channel 3, you would:

1 Press FX B.

This tells Receptor that you want to perform your operations on FX B.

2 Press the top display knob to enter Channel Select Mode, then rotate it to select Channel 03. Press it again

to exit Channel Select Mode.

This tells Receptor that you want to perform your operations on the FX B assigned to Channel 3.

3 Press SAVE.

This puts Receptor into Save Mode.

NOTE: If you try to SAVE a patch for a slot that currently has no plugin assigned, the display will say “Save/ File Mode Unavailable.” You can cancel the Save operation at any time by simply hitting the SAVE button again to turn off Save Mode.

The following sections discuss each of the options available in Save Mode.

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SAVE/FILE: Save Patch

Rotate the top display knob to select the Save Patch option. This operation will overwrite the patch stored on disk with what’s in the edit buffer. If you want to save the patch to a different bank or rename the patch prior to saving it, you must use the Save Patch As option, discussed in the next section.

0 1 S a v e S n g l P a t c h >

III III 0 5 2 : A m a n d a L y n n

The top line of the display appears in the following format...

Save <type> Patch

...where <type> is the type of patch selected with the view buttons (MULTI, SINGLE, SOURCE, FX A, FX B, or FX C).

The bottom line displays the current patch name and number, which is ﬂashing to indicate that you must press the bottom display knob to apply your selection.

To save a patch over the existing location:

1 Simply press the bottom display knob.

Receptor asks you to conﬁrm whether you want to overwrite this patch.

0 1 A r e y o u s u r e ? >

III III N o

2 Rotate the bottom display knob counter-clockwise to select No, or clockwise to select Yes. Make sure Yes

is shown and press the bottom display knob to apply.

Receptor overwrites the patch at the selected location.

NOTE: Receptor’s Factory patches are ROM patches, meaning you cannot overwrite or delete them. ROM banks and patches have angle brackets around their names, like <this>. If you modify a ROM patch and try to save it, the Save Patch option will not be available. Your ﬁrst Save option will therefore be Save Patch As, discussed next. For more information, see “ROM Banks and RAM Banks” on page 127.

SAVE/FILE: Save Patch As

Rotate the top display knob to select the Save Patch As option. Use this option to save the current patch edit to any bank and patch location, using any patch name you choose. Selecting this option will present you with a number of pages to step through in which you can select which Bank to save the patch in (including creation of a new bank), which patch number to save it to, and what to name it. Don’t worry, Receptor guides your process every step of the way.

0 1 S a v e S n g l P a t c h A s < >

III III B a n k : M e l l o w S o u n d s

The top line of the display appears in the following format...

Save <type> Patch As

... where <type> is the type of patch selected with the view buttons (MULTI, SINGLE, SOURCE, FX A, FX B, or FX C).

The bottom line initially displays the current bank name, which is ﬂashing.

If you wish to save the patch to the current bank:

1 Simply press the bottom display knob and proceed to step 6.

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If you wish to store the patch within a different bank:

2 Rotate the bottom display knob to select a different bank.

The bank name is ﬂashing, indicating you must press the bottom display knob to apply the change.

3 Press the bottom display knob to apply your selection and proceed to Step 7.

4 If, when selecting a bank, you decide you want to create a new bank in which to store the patch, rotate the

bottom display knob to the very end, at which point the display will read Bank:(NEW).

0 1 S a v e S n g l P a t c h A s < >

III III B a n k : ( N E W )

The display will now allow you to rename the bank. Receptor automatically creates a new bank with the name BANK n, where “n” represents the order number of the bank.

0 1 R e n a m e ( C u r s o r < > ) < >

III III B a n k : B a n k 5

5 Rotate the top display knob to move the cursor. Rotate the bottom display knob to change the underlined

character.

To delete a character, press the top display knob and the underlined character will be deleted.

6 Rotate the top and bottom display knobs to rename your bank, then press the bottom display knob to

apply the name change.

7 The bottom line of the display is now used for selecting which of that bank’s 128 patch locations should

store your patch.

0 1 S a v e S n g l P a t c h A s < >

III III 0 5 2 : A m a n d a L y n n

8 If you wish to overwrite this patch, simply press the bottom display knob and proceed to step 10.

9 If you wish to save the patch to a different patch number, rotate the bottom display knob to select the

desired patch number.

The patch number is underlined and ﬂashing, indicating you must press the bottom display knob to apply your selection. If a patch location is currently empty, the display reads (empty).

10 Press the bottom display knob to apply your selection.

11 The display will now allow you to rename the patch, if you desire. If you don’t wish to rename the patch,

simply press the bottom display knob and continue to Step 12.

0 1 R e n a m e ( C u r s o r < > ) < >

III III 0 5 2 : A m a n d a L y n n

Rotate the top display knob to move the cursor. Rotate the bottom display knob to change the character over which the cursor appears. The entire patch name ﬂashes, indicating you must press the bottom display knob to apply the name change.

NOTE: You can delete the underlined character by pressing the top display knob.

12 Rotate the top and bottom display knobs to rename your bank, then press the bottom display knob to

apply the name change.

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13 Receptor asks you to conﬁrm the save operation.

0 1 A r e y o u s u r e ? < >

III III N o

14 Rotate the bottom display knob counter-clockwise to select No, or clockwise to select Yes. Make sure Yes

is shown and press the bottom display knob to apply.

Receptor overwrites the patch at the selected location.

SAVE/FILE: Copy Patch

Rotate the top display knob to select the Copy Patch option. Use this option to copy any patch (of a particular type) to a new location.

0 1 C o p y P a t c h F r o m < >

III III B a n k : M e l l o w S o u n d s

Patch copying is a multi-page option. You must ﬁrst tell Receptor which Bank to look in, then which Patch to copy before conﬁrming your choice.

1 Rotate the bottom display knob to select the bank containing the patch you wish to copy.

The bank name is ﬂashing, indicating you must press the bottom display knob to apply your selection.

2 Press the bottom display knob to apply your selection.

The bottom line of the display is now used for selecting which of that bank’s 128 patches you wish to copy from. The patch number is underlined and ﬂashing indicating you must press the bottom display knob to apply your selection.

0 1 C o p y P a t c h F r o m < >

III III 0 5 2 : A m a n d a L y n n

3 Rotate the bottom display knob to select the patch you wish to copy then press it to apply your selection.

The top line of the display now reads Copy Patch To and the bottom line displays the current bank name.

0 1 C o p y P a t c h T o < >

III III B a n k : M e l l o w S o u n d s

4 Rotate the bottom display knob to select the bank you wish to copy the patch to.

The bank name is ﬂashing, indicating you must press the bottom display knob to apply your selection.

5 Press the bottom display knob to apply your selection.

The bottom line of the display is now used for selecting which of that bank’s 128 patches you wish to copy to. The patch number is underlined and ﬂashing, indicating you must press the bottom display knob to apply your selection.

0 1 C o p y P a t c h T o < >

III III 0 7 5 : ( e m p t y )

6 Rotate the bottom display knob to select the patch number you wish to copy to.

If a patch location is currently empty, the display reads (empty).

7 Press the bottom display knob to apply your selection.

The display will say Are you sure? and blink.

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0 1 A r e y o u s u r e ? < >

III III N o

8 Rotate the bottom display knob counter-clockwise to select No, or clockwise to select Yes. Make sure Yes

is shown and press the bottom display knob to apply.

Receptor copies the patch to this location, naming it <original patch name>-C. For example, if you copied a patch named, “Claire Annette” to another location, the copied patch would be named Claire Annette-C.

You can always rename a bank or patch using the Rename option discussed in “SAVE/FILE: Rename Bank” on page

80.

SAVE/FILE: Delete Bank

To delete an entire bank of patches:

1 Rotate the top display knob to select Delete Bank.

2 Rotate the bottom display knob to select the bank you wish to delete.

The bank name is ﬂashing, indicating you must press the bottom display knob to apply your selection.

0 1 D e l e t e B a n k < >

III III B a n k : E x p e r i m e n t s

3 Press the bottom display knob to apply your selection.

The display will ask if you’re sure.

0 1 A r e y o u s u r e ? < >

III III N o

4 Rotate the bottom display knob counter-clockwise to select No, or clockwise to select Yes. Make sure Yes

is shown and press the bottom display knob to apply.

IMPORTANT: Receptor will delete the entire bank and all patches contained within it, so be careful.

SAVE/FILE: Delete Patch

To delete a patch:

1 Rotate the top display knob to select Delete Patch.

2 Rotate the bottom display knob to select the bank that contains the patch you wish to delete.

The bank name is ﬂashing, indicating you must press the bottom display knob to apply your selection.

0 1 D e l e t e P a t c h < >

III III B a n k : E x p e r i m e n t s

3 Press the bottom display knob to apply.

The bottom line of the display is now used for selecting which of that bank’s 128 patches you wish to delete.

4 Rotate the bottom display knob to select the patch you wish to delete.

The patch number is underlined and ﬂashing, indicating you must press the bottom display knob to apply your selection.

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0 1 D e l e t e P a t c h < >

III III 0 5 2 : S q u i r r e l ‘ s N u t

5 Press the bottom display knob to apply your selection.

The display will ask if you’re sure.

0 1 A r e y o u s u r e ? < >

III III N o

6 Rotate the bottom display knob counter-clockwise to select No, or clockwise to select Yes. Make sure Yes

is shown and press the bottom display knob to apply.

SAVE/FILE: Rename Bank

To rename any bank in Receptor:

1 Rotate the top display knob to select the Rename Bank option.

2 Rotate the bottom display knob to select the bank you wish to rename.

The bank name is ﬂashing, indicating you must press the bottom display knob to apply your selection.

0 1 R e n a m e B a n k < >

III III B a n k : B A N K 5

3 Press the bottom display knob to apply your selection.

The display will now allow you to rename the bank.

0 1 R e n a m e ( C u r s o r < > ) < >

III III B a n k : B A N K 5

Rotate the top display knob to move the cursor. Rotate the bottom display knob to change the character over which the cursor appears. The entire bank name ﬂashes, indicating you must press the bottom display knob to apply the name change.

NOTE: You can delete the underlined character by pressing the top display knob.

4 Rotate the top and bottom display knobs to rename your bank, then press the bottom display knob to

apply the name change.

The display will as if you’re sure.

0 1 A r e y o u s u r e ? < >

III III N o

5 Rotate the bottom display knob counter-clockwise to select No, or clockwise to select Yes. Make sure Yes

is shown and press the bottom display knob to apply.

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SAVE/FILE: Rename Patch

To rename a patch:

1 Rotate the top display knob to select the Rename Patch option.

2 Rotate the bottom display knob to select the bank that contains the patch you wish to rename.

The bank name is ﬂashing, indicating you must press the bottom display knob to apply your selection.

0 1 R e n a m e P a t c h <

III III B a n k : M e l l o w S o u n d s

3 Press the bottom display knob to apply.

The bottom line of the display is now used for selecting which of that bank’s 128 patches you wish to rename.

4 Rotate the bottom display knob to select the patch you wish to rename.

The patch number is underlined and ﬂashing, indicating you must press the bottom display knob to apply your selection.

0 1 R e n a m e P a t c h <

III III 0 2 6 : f u n K E Y

5 Press the bottom display knob to apply your selection.

The display will now allow you to rename the patch.

0 1 R e n a m e ( C u r s o r < > ) <

III III 0 2 6 : f u n K E Y

NOTE: You can delete the underlined character by pressing the top display knob.

6 Rotate the top and bottom display knobs to rename your bank, then press the bottom display knob to

apply the name change.

The display will ask if you’re sure.

0 1 A r e y o u s u r e ? <

III III N o

7 Rotate the bottom display knob counter-clockwise to select No, or clockwise to select Yes. Make sure Yes

is shown and press the bottom display knob to apply.

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Meters Mode

Receptor is a completely modular and ﬂexible synth and effects device. Because of this, there may be times when you’ve inserted a particular plugin that dramatically affects either the signal level for a particular channel or the overall CPU load on Receptor.

Meters Mode performs three functions:

• It lets you to view the signal level at any point within Receptor’s multi-channel signal chain.

• It lets you to view the CPU load for any individual plugin.

• When used in conjunction with the SETUP button, it lets you monitor MIDI input activity (see “SETUP: MIDI Monitor” on page 60).

0 1 L : !

III III R :

In general, if you press one of the View buttons followed by the METERS button, you’ll monitor both the CPU usage of that particular plugin, plus the signal level at the output of that plugin.

If you’re familiar with Receptor’s Graphical view, the following illustration shows you all the various places that you can “tap” the signal and meter it.

Press SOURCE then METERS to view the CPU usage of this plugin, plus the signal level at the output of this plugin.

Press FX A then METERS to view the CPU usage of this plugin, plus the signal level at the output of this plugin.

Press FX B then METERS to view the CPU usage of this plugin, plus the signal level at the output of this plugin.

Press FX C then METERS to view the CPU usage of this plugin, plus the signal level at the output of this plugin.

Press MIX (or SINGLE) then METERS to view the CPU usage of this channel, plus the signal level at the output of this channel.

Press MULTI then METERS to view the CPU usage of the entire Receptor, plus the master signal level at Receptor’s stereo output.

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Metering Signal Levels

Like all of Receptor’s Modiﬁer buttons, the METERS button works in conjunction with one of the view buttons.

For example, if you want to monitor the signal level present at the output of Channel 3, you would:

1 Press the top display knob to enter Channel Select Mode, then rotate it to select Channel 03. Press it again

to exit Channel Select Mode.

This tells Receptor that it’s Channel 3’s Mix level you want to monitor.

2 Press MIX.

This tells Receptor you want to meter the signal at the output of the Mix channel.

3 Press METERS.

This puts Receptor into Meters Mode.

If a signal clips, it’s indicated by an exclamation point at the far right of the LCD. To clear the clipping indicators, press the bottom display knob.

4 Exit Meters Mode at any time by simply pressing the METERS button again to turn it off.

As you can see, this is a fairly powerful feature, since it lets you meter the signal level at any part of the audio chain. For example, if you wanted to meter the signal level coming out of the VSTi assigned to Ch 1 before it reaches the effect stack, you would:

1 Select Channel 1.

2 Press SOURCE.

3 Press METERS.

NOTE: If Receptor is in SINGLE view when you press the METERS button, the display shows the output of the current channel (just as if you were in MIX view). If Receptor is in MULTI view when you press the METERS button, the display shows the output of Receptor’s Master channel (just as if you were in MIX View and had selected the Master (“M”) channel.

Metering CPU Usage

Usually, the 2-character CPU gauge in the lower-left corner of the LCD displays the overall CPU load currently used by Receptor. However, there may be times when you want to see exactly how much CPU a particular plugin uses. This, too, is another use for Meters Mode.

Once you’ve put Receptor into Meters Mode, the CPU gauge indicates the CPU usage of a particular plugin or channel (rather than the global CPU load on Receptor). For example, to see exactly how much CPU processing is required to play a VSTi synthesizer instantiated on Ch 2, you would:

1 Select Channel 2.

2 Press SOURCE.

3 Press METERS.

The CPU gauge would show you how much CPU that particular VSTi (Source) was using on that particular channel.

METERS: “Load Blank Patch” Shortcut

The METERS button performs a special shotcut when you press it with Receptor in Setup Mode. Speciﬁcally, if you press the SETUP button, then press the METERS button, Receptor will load a blank Multi patch, just as if you chose this option from MULTI view (as discussed on page 43). This is simply a shortcut that allows you to quickly load a blank Multi patch into Receptor, giving you a clean slate with which to begin building patches.

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Graphic Editor

This section discusses Receptor’s built-in graphic editor, which is available

by either connecting a keyboard, monitor, and mouse directly to Receptor; or

remotely controlling it from a computer using Ethernet.

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7 Graphic UI - Mix View

Receptor’s editing capabilities are enhanced by connecting a monitor, keyboard and mouse directly to the unit, or by networking Receptor with a computer and controlling it from that computer. Both of these methods employ the same graphical user interface, which is described in this and the following “Graphic UI” chapters.

Receptor is designed to run full-screen on a 1024x768 pixel monitor. Different views are accessed by clicking the various tabs in the View Bar.

Mix Button Setup Button Edit Button Editor Select Button

--- View Bar Buttons ---

The main Receptor views are:

• Mix View – Click the Mix button to see Mix View, which is where you conﬁgure Receptor’s 16 instrument channels, 2 effect bus channels, and its master channel. Mix View is discussed thoroughly in this chapter.

• Setup View – Click the Setup button to see Setup View, which is where you set global MIDI and communication parameters, and various preferences. Setup View is discussed thoroughly in Chapter 9, “Graphic UI - Setup View”.

• Edit View – Click the Edit button to see Edit View, which is where you edit any instantiated plugin on Receptor. To select which plugin to edit, click the Edit Select button and select from the list of currently instantiated plugins. Edit View is discussed thoroughly in Chapter 8, “Graphic UI - Edit View”.

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Overview of Mix View

Mix View is Receptor’s main and default view. It’s where you conﬁgure Receptor’s 16 instrument channels, 2 effect bus channels, and its master channel. As you can see in the following illustration, Mix View contains ﬁve basic areas.

Channel Details

Channel Selectors

Multi Patch

CPU Gauge

Mixer

--- Mix View’s Five Basic Areas ---

Basic operation couldn’t be simpler. Across the bottom of the screen are all 19 Receptor channels. The top of the screen is a detailed view of one of those channels.

To assign an audio input, VST instrument or effect to a particular channel, simply open that channel’s detail by clicking the big Channel Selector button. Click the Source selector and select a plugin from the Plugin Select panel that appears. Use the bank/patch selectors to select the desired patch.

Use the mixer at the bottom of the screen to adjust volume, pan, and effect sends.

Receptor’s graphical interface shows you only what is relevant. For example, if a channel has no plugins assigned to it, then it is disabled in the mixer. Similarly, Channel Details show you only those parameters that are currently accessible. For example, a plugin’s bank and patch selection parameters are not available until you actually select a plugin.

The following sections discuss the various Mix View elements in detail.

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Mixer Anatomy

The bottom half of the Mix View windows shows... you guessed it... a MIXER! Receptor has 16 different instrument channels, each of which derives its sound from either a built-in VSTi or from an external audio input. In addition, Receptor has two dedicated effects busses and a master output channel, resulting in a mixer with 19 total channels strips.

--- Mixer ---

The following illustration shows, in detail, the elements contained in each type of mixer channel.

Instrument Channel

Effects Bus

Master Channel

Channel Selector

Plugin Overview

Send 1 Level

Send 1

Pre/Post Fader

Send 2 Level Send 2

Pre/Post Fader

Pan/Balance

Mute

Solo

Volume

Channel Level

Output

Assignment

Channel Number

--- Mixer Channel Strip Details ---

NOTE: These parameters are the same as those accessed from the MIX button on Receptor’s front panel. In most instances, Receptor’s Graphical User Interface mirrors its front panel operations quite closely.

The following sections discuss, from top-to-bottom, each mixer channel parameter illustrated above.

Channel Bypass

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Channel Selector

The giant glowing button at the top of a mixer channel is the Channel Selector. By default, Channel Selectors always display the name of the Source, with the exception of the two busses and master, which display the name of the ﬁrst instantiated effect. Click a Channel Selector to view all the information for that channel in the upper Channel Details area. The Channel Details area (as discussed in “Channel Details Overview” on page 94) is where you assign instruments, effects, and patches to each channel, so these buttons will get quite a virtual workout.

Basically, the Channel Selector works as follows:

• When a Channel Selector is gray (as seen above), it means that a channel does not have any plugins assigned to it and it displays “(none)” as the track name. Click a gray Channel Selector to display the Channel Details area for that channel. Once the Channel Details are displayed, you may assign a sound Source and various insert effects to a channel.

SHORTCUT: Shift-click a gray Channel Selector to open a Source Select panel for that channel. This saves you a step since you don’t have to display the Channel Details before you select a Source.

• When a button is blue (as seen above), it means that one or more plugins are assigned to that channel but that channel is not currently visible in the Channel Detail at the top of the screen. If you click a blue Channel Selector, it will turn orange, and that channel’s parameters will appear in the Channel Detail area.

SHORTCUT: Shift-click a blue Channel Selector to open a Source Select panel for that channel. This lets you instantiate a different Source without ﬁrst opening the Channel Detail area. Ctl-click a blue Channel Selector to uninstantiate all plugins on that channel, thus clearing it in one swift action.

• When a button is orange (as seen above), it means that one or more plugins are assigned to that channel and that it’s the channel whose parameters are currently visible in the Channel Details at the top of the screen.

SHORTCUT: Shift-click an orange Channel Selector to open a Source Select panel for that channel. This lets you instantiate a different Source without ﬁrst opening the Channel Detail area. Ctl-click an orange Channel Selector to uninstantiate all plugins on that channel, thus clearing it in one swift action.

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Plugin Overview

The Plugin Overview icons may be tiny, but they’re very useful. They provide a visual overview of all the plugins in Receptor. With a quick glance, you can see which channels have instantiated plugins and which channels have bypassed plugins.

Source Icon

Instantiated Plugins

FX A, B, C Icons

Bypassed Plugin

Uninstantiated Plugin

These icons can be quite useful when trying to track down a rogue plugin that might be hijacking Receptor’s valuable CPU resources.

Send 1 Level

Use this fader to set how much signal to send to Receptor’s Effects Bus 1 (whose effect chain is conﬁgured in the B1 channel).

NOTE: Send Levels are not present in the Effects Bus channels nor the Master channel.

Send 1 Pre/Post button

This button determines whether the signal is routed to Effects Bus 1 before (pre) or after (post) going through the channel volume.

In the default post fader position (the button is dark), changing the strip’s volume level changes the amount of effected signal proportionately.

In the pre fader position (the button is on and purple in color), the Send Level and Volume level act independently. This is useful if, for example, you wish to hear only an effected signal with no dry signal, which you would accomplish by turning on the Pre Fader button and setting the Volume level to zero.

NOTE: Since Send Levels are not present in the Effects Bus channels or the Master channel, neither are the Pre/Post buttons.

Send 2 Level

Use this fader to set how much signal to send to Effects Bus 2 (whose effect chain is conﬁgured in the B2 channel).

NOTE: Send Levels are not present in the Effects Bus channels nor the Master channel.

Send 2 Pre/Post button

This button determines whether the signal is routed to Effects Bus 2 before (pre) or after (post) going through the channel volume.

In the default post fader position (the button is dark), changing the strip’s volume level changes the amount of effected signal proportionately.

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In the pre fader position (the button is on and purple in color) the Send Level and Volume level act independently. This is useful if, for example, you wish to hear only an effected signal with no dry signal, which you would accomplish by turning on the Pre Fader button and setting the Volume level to zero.

NOTE: Since Send Levels are not present in the Effects Bus channels or the Master channel, neither are the Pre/Post buttons.

Pan/Balance

Slide the Pan/Balance fader left and right to position the Instrument in the stereo ﬁeld. Control-click the fader to reset it to the default center position.

All Receptor channels are stereo so, if an instantiated plugin is actually mono, Receptor will double the signal such that the left and right channels are identical. In the case of mono plugins, this parameter works like a traditional pan control. In the case of stereo plugins, it acts as a balance control.

Mute

Below the Pan fader is the Mute button (as indicated by the “M”). Click the Mute button to disable a channel’s output. Muted channels are also indicated in the Meter Bridge. Plugins on a muted channel are still active and using CPU resources. Use the Bypass button if you want to mute a plugin (or channel) and also free up CPU resources.

NOTE: Mute and Solo buttons are not present in the Master channel.

Solo

To the right of the Mute button is the Solo button (as indicated by the “S”). Click the Solo button to hear only this (and any other soloed) channels. Soloing a channel automatically mutes all channels that aren’t currently soloed, allowing you to isolate speciﬁc channels for editing.

NOTE: Mute and Solo buttons are not present in the Master channel.

Volume

The big fader is, of course, the Instrument Channel’s Volume fader. Use it to adjust the overall volume level of the instrument. Control-click the fader to reset it to its default, nominal level.

Output Assignment Selector

Click the button labelled “Output” to open the Output Assignments panel.

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Use the Output Assignments panel to route the output of any channel to a particular hardware output or (for Channels 1-16, and Effects Bus 1 and 2) to the Master channel bus. Output routings are displayed in a simple grid, where a blue button indicates that an output is active and a white button indicates that an output is not active.

Receptor’s 19 channels, consisting of instrument channels 1-16, Effects Bus 1 (B1), Effects Bus 2 (B2), and the Master (M) channel appear in columns. All possible output routings appear in rows, and include:

• Master Bus - this is the default routing for the 16 instruments channels and two effects busses. When you route a channel to the Master bus, it’s output signal appears on the output(s) assigned to the Master (M) Channel. Click the Master Bus button beneath any channel number to turn the output on or off for that channel.

• Analog L/R + ADAT 1/2 - The Analog L/R and ADAT 1/2 outputs are duplicated on Receptor. Whatever appears on the analog output appears on the ADAT 1/2 output and vice-versa. Although you may route any channel directly to this output, Receptor’s Master Channel is permanently routed to the Analog L/R + ADAT 1/2 output. So, if you’re wanting to route some channels to separate outputs for submixing purposes, you’ll probably want to choose another output pair. Click the Analog L/R + ADAT 1/2 button beneath any channel number to turn the output on or off for that channel.

• ADAT 3/4 - You may route the output of any channel to ADAT 3/4. This is ideal if you wish to set up separate submixes or apply external effects to one or more Receptor channels. Click the ADAT 3/4 button beneath any channel number to turn the output on or off for that channel.

• ADAT 5/6 - You may route the output of any channel to ADAT 5/6. This is ideal if you wish to set up separate submixes or apply external effects to one or more Receptor channels. Click the ADAT 5/6 button beneath any channel number to turn the output on or off for that channel.

• ADAT 7/8 - You may route the output of any channel to ADAT 7/8. This is ideal if you wish to set up separate submixes or apply external effects to one or more Receptor channels. Click the ADAT 7/8 button beneath any channel number to turn the output on or off for that channel.

• S/PDIF L/R - You may route the output of any channel to the stereo S/PDIF output. This is ideal if you wish to set up separate submixes or apply external effects to one or more Receptor channels. Click the S/PDIF L/R button beneath any channel number to turn the output on or off for that channel.

To close the Output Assignments panel and keep your changes, click the Close button. To close the Output Assignments panel and cancel all changes made since opening the panel, click the Cancel button. To reset all Receptor channels to their default output assignments, click the Defaults button.

NOTE 1: The same Output Assignments panel opens no matter which channel’s Output Assignment Selector you click. Opening the Output Assignments panel gives you a quick one-screen overview of Receptor’s entire output conﬁguration.

The Output Assignment Selector at the bottom of each panel has two color states. If the button is gray, it means that the channel is set to its default output assignments. If the button is blue, it means you are currently overriding the default output assignment for that channel.

Custom Output Routing

Default Output Routing

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Channel Number

The channel number appears at the bottom of the channel strip. Instrument Channels are numbered 1-16. Effects Busses are numbered B1 and B2 (for “Bus 1” and “Bus 2”). The Master output channel is labeled “M”, for Master. These are the same numbers that appear in the top left corner of Receptor’s front panel LCD.

NOTE: By default, an instrument’s channel number is also its MIDI receive channel, unless you manually override that value using the Source slot’s MIDI Filter Button (discussed later in this chapter).

Channel Bypass

Click the Channel Bypass button to bypass every plugin in that channel. When a channel is bypassed, it’s Bypass button is yellow (as are the Bypass buttons for all plugins in that channel).

If the channel is already bypassed, then clicking the Channel Bypass button will un-bypass the channel and every plugin in that channel.

The Channel Bypass button provides a quick and effective way to instantly regain all the CPU resources used by a channel’s plugins, which can help when balancing Receptor’s processing needs.

POWER USER TIP: Channel Bypass is great for live performance. You could, for example, load a large Multi patch with every instrument channel set to respond to the your MIDI controller’s MIDI transmit channel, and with all but one instrument channel bypassed. You could then switch between patches (and synths) by bypassing and un-bypassing instrument channels. Essentially, this gives you a very quick way to change patches in a live situation, without recalling patches and waiting for a number of plugins to instantiate.

Channel Levels

The Channel Levels show the output volume of the Instrument channel. If a level has clipped, the red LED will remain lit until cleared. You can clear the clipping indicator by clicking it.

NOTE: Watch these levels carefully! There can be quite a bit of signal level variation between different plugins. Some boisterous plugins may clip the output levels at the channel’s default volume — others may have rather subdued outputs.

Channel Details Overview

The top half of the Mix View windows shows the detailed plugin assignment parameters for the channel whose Channel Selector button is currently glowing orange.

Source Slot

FX Slots

--- Channel Details Overview ---

Channel Number

Single Patch Slot

FX Routing

The following sections discuss the various Channel Detail parameters in depth.

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Source Slot Anatomy

These parameters are nearly the same as those accessed from the SOURCE button on Receptor’s front panel. They deﬁne a channel’s audio source (either an external audio input or a VSTi) and, as such, are only available in Instrument Channels. There are no Source Slots in either the Effects Bus or Master channels.

Bank Selector

Patch Selector

Output Level

Edit

Bypass

Source Selector

Prev/Next Patch

Save/File MIDI Filter

Source: Source Selector

Click the Source Selector to open a pop-up panel of audio sources for the instrument. An audio source can be either a VSTi (software plugin) or an external audio input. If you select a VSTi, Receptor instantiates that plugin. If you select an audio input, Receptor uses the signal appearing at that input as the audio source.

Select the desired source from the pop-up Source panel to instantiate it. Sources appear in the list as follows:

• (none) - This option always appears on top. Selecting it uninstantiates a Source plugin. When you uninstantiate a Source plugin, you automatically clear any FX instantiations used in the channel. Essentially, (none) provides a shortcut for completely clearing an instrument channel.

• Audio Inputs - These always appear just below the (none) option and are shown in red, indicating that they are audio input sources, not VSTi plugins.

• VSTi plugins - All VSTi plugins appear in alphabetical order. Some plugins may have a 2-character preﬁx contained inside a square bracket. This preﬁx, described a bit later, does not alter the display order of plugins.

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If you wish to limit the number of plugins in the list, you can view only those plugins of a particular type. Click the “View plugin type” menu to select whether you want to see all available plugins, or just those from a particular manufacturer. You can also choose to view only the available audio inputs. If more than 128 plugins are currently available, then NEXT PAGE and PREVIOUS PAGE icons will appear at the bottom of the Plugin Select panel. Use these to view the next or previous set of 128 plugins.

Some plugins may have bracketed preﬁxes before their names. Here’s what they mean:

• [##] - This means that a demo version of the plugin is currently installed and that, by instantiating it, you will activate its demo period.

• [nn] - In this case, nn = some number, such as 17, or 03, or 11. This means that the plugin is currently running in demo mode and this preﬁx shows you how many days remain in your demo period.

• [??] - This means that an error is preventing you from instantiating this plugin. In most cases, it appears because the iLok is not inserted into Receptor properly.

• No Preﬁx - If there is no preﬁx before a plugin name, that means it’s either a free plugin or a premium plugin that you have purchased.

Source: Bank Selector

The Bank selector is available only if you selected a VSTi in the Plugin selector. It will not appear if you select an audio input for the source.

Click the Bank Selector to open the Load Panel to its Bank List view. The bank you select determines the list of patches that appear in the Load Panel’s Patch List.

In general, select the desired bank from the Load Panel, then click the Load Panel’s Patch tab to select a patch to load from within that bank. For detailed information about loading banks and patches, see Chapter 10, “Graphic UI - Loading Patches”.

SHORTCUT: When the Load Panel is open, press CTL-TAB to switch back and forth between the Bank and Patch tabs without using the mouse.

Source: Patch Selector

The Patch selector is available only if you selected a VSTi in the Plugin selector. It will not appear if you select an audio input for the source.

Click the Patch selector to open the Load Panel to its Patch List view. The Patch List contains the names and numbers of all 128 patches stored within the current bank.

In general, select the desired patch from the Patch List and close the Load Panel when you’re ﬁnished. For detailed information about loading banks and patches, see Chapter 10, “Graphic UI - Loading Patches”.

The patch selector shows the name of the current patch. If a patch has been modiﬁed since it was loaded from disk, its name is italicized.

SHORTCUT: When the Load Panel is open, press CTL-TAB to switch back and forth between the Bank and Patch tabs without using the mouse.

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Source: Prev/Next Patch Buttons

The button with the left-pointing arrow selects the previous patch in a patch list without having to open the patch panel. The button with the right-pointing arrow selects the next patch in a patch list without having to open the patch panel.

NOTE: If you’re currently displaying the last patch in a bank and you click the Next button, Receptor will load the ﬁrst patch in the following Bank. Similarly, if you’re currently displaying the ﬁrst patch in a bank and you click the Prev button, Receptor loads the last patch in the previous bank. In other words, it’s possible to use the Prev/Next buttons to step through every patch, no matter how many banks are associated with a plugin.

Source: Bypass Button

Click this button to bypass the instrument slot. An instrument slot is bypassed when the button is bright yellow. In addition, all text in a bypassed slot appears grey, further indicating that it’s bypassed. Bypassing an instrument mutes that instrument and releases the CPU resources required to run it. Bypass is useful whenever Receptor’s CPU resources are maxed out and you want to disable a particular plugin.

NOTE: If you bypass an Instrument whose Source is set to one of the audio inputs, then the audio input is muted, but no signiﬁcant amount of CPU resources are saved (since routing audio uses much less processor than instantiating a VSTi).

Source: MIDI Filter Button

This button opens the corresponding channel’s MIDI Filter panel and displays some information about the state of that ﬁlter. Speciﬁcally:

• The number on the button displays the MIDI Filter panel’s Listen to MIDI Channel value. By default, this number equals the Instrument Channel number and appears in white text. If you override the value in the MIDI Filter panel, the text will be yellow.

• The button color indicates whether or not any MIDI ﬁltering is applied.

Gray button = NO MIDI Filtering is active

Blue button = MIDI Filtering is active

If the button is gray, then no MIDI ﬁltering is applied and every parameter in the MIDI Filter panel is set to its default state. If the button is blue, then some form of MIDI ﬁltering is in effect (meaning some parameter in the MIDI Filter panel is set to something other than the default value.

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Click the MIDI Filter button to open the MIDI Filter panel for that channel.

--- MIDI Filter Panel ---

The MIDI Filter panel is used to re-channelize, remap, and ﬁlter the MIDI data used to control a particular Receptor channel. From top-to-bottom, the MIDI Filter panel contains the following elements:

• Listen To MIDI Channel

• Play Plugin MIDI Channel

• Note Range

• Velocity Range

• Ch Transpose

The following sections discuss each of these elements in detail.

Listen to MIDI Channel

Use this section to tell Receptor which MIDI channel to route to the selected VSTi. By default, an instrument channel listens to the like-numbered MIDI Channel. For example, the VSTi you instantiate on Instrument Channel 6 would respond to data coming in on MIDI channel 6. In general, you will change this default mapping whenever you want to stack two or more VSTi’s on the same MIDI channel (to create either layered sounds or split keyboards).

For example, you might want to instantiate an analog synth on Instrument Ch 1 and a string synthesizer on Instrument Ch 2, but play them simultaneously from your keyboard to create a thicker, richer sound. To do this, you would set the source on Instrument Channel 2 to listen to MIDI Ch 1. Now, when you play your MIDI keyboard using MIDI Ch 1, Receptor plays both the VSTi assigned to Instrument Ch 1 and the one assigned to Instrument Ch 2.

You can choose between MIDI channels 1-16, or you can choose ALL, which means that the VSTi receives MIDI data from any and all MIDI channels.

The MIDI Filter button shown in Mix view always displays the Listen to MIDI Channel value.

NOTE: The Listen to MIDI Channel setting only changes the MIDI channel used to control the sound being produced by an instantiated VSTi. It does not re-channel the data used to control the Instrument’s Mixer Channel (such as Volume, Pan, Effects Send Levels, and so on). For example, if you instantiated a VSTi on Instrument Channel 2, but told it to receive on MIDI Ch 1, the VSTi would respond to note, pitch bend, mod, and sustain pedal data on MIDI channel 1, but the Instrument Channel’s volume, pan, effects send levels, and so on would still respond to MIDI channel 2. This allows you to separately address and mix Receptor’s 16 instrument channels, even though some of them may use layered or zoned instruments.

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Multitimbral Synth Tip: Note that the Listen to MIDI Channel and Play Plugin MIDI Channel settings, when used together, let you play multiple channels on a multitimbral VSTi. If you instantiate a multitimbral VST and assign its LISTEN TO value to ALL and its PLUGIN CH value to THRU, then every incoming MIDI channel will be thru’d to the like-numbered VST channel, allowing for multitimbral operation of that VST.

Play Plugin MIDI Channel

Use this section when a plugin needs to play on a particular MIDI channel regardless of what MIDI channel is used to trigger it.

By default, this parameter is always set to 1, meaning every instantiated instrument plays whatever sound is assigned to it’s internal deﬁnition of channel 1. In general, you will not need to change this default MIDI channel mapping since the majority of VSTi’s are monotimbral and will respond the same no matter which MIDI channel you use to play them.

A small number of VST instruments (such as Native Instruments’ B4) respond differently depending on which MIDI channel you play them on. For example, B4’s upper manual is hardwired to MIDI Ch 1; its lower manual to MIDI Ch 2; and its pedals to MIDI Ch 3. If, for example, you instantiated the B4 on Instrument Channel 7, you would hear its upper manual play (since all plugin channels are, by default, remapped to Ch 1). If you actually wanted to play the lower manual, you would set the Play Plugin MIDI Channel value to 2 so that the incoming MIDI data would be routed to B4 Channel 2, which is the lower organ manual.

In addition, some VST instruments are multitimbral and may therefore have different sounds assigned to different MIDI channels. Most of these multitimbral instruments will work ﬂawlessly with MIDI channel 1, which is why this is the default value. However, the Play Plugin MIDI Channel parameter lets you control any plugin channel you wish, regardless of which Instrument Channel you used to instantiate the plugin, or which incoming MIDI Channel it listens to.

You can choose between MIDI channel 1-16, or you can choose THRU, which means that the VSTi plays on the same MIDI channel set in the Listen to MIDI Channel column.

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The following examples may help you better understand the correlation between Receptor and the Listen to MIDI Channel and Play Plugin MIDI Channel settings.

--- Remapping Examples ---

The previous ﬁgure shows three different Instrument Channels, numbers 5-7. Each Instrument Channel has an identical multitimbral VSTi instantiated as its Source. Let’s look at the three examples one-at-a-time:

• Instrument Channel 5: This Instrument Channel is using the default values for both the LISTEN TO and PLUGIN CH options. In this example, any note and performance data that Receptor “hears” on MIDI CH 5 will be used to play the VSTi (as set by the LISTEN TO parameter). Similarly, any MIDI data arriving on MIDI CH 5 will also be used to control the Instrument Channel’s mixer parameters. Because the multitimbral VSTi is being told to use Ch 1 (the PLUGIN CH parameter), a Cello sound is actually heard.

• Instrument Channel 6: This Instrument Channel is using the default PLUGIN CH value and a custom LISTEN TO value. In this example, any note and performance data that Receptor “hears” on MIDI CH 5 will be used to play the VSTi (as set by the LISTEN TO parameter), however the Instrument Channel’s mixer parameters are actually controlled by MIDI Channel 6 (The Instrument Channel number). Because the multitimbral VSTi is being told to use Ch 1 (the PLUGIN CH parameter), a Cello sound is actually heard.

• Instrument Channel 7: This Instrument Channel is using the default value LISTEN TO value and a custom PLUGIN CH value. In this example, any note and performance data that Receptor “hears” on MIDI CH 7 will be used to play the VSTi (as set by the LISTEN TO parameter). Similarly, any MIDI data arriving on MIDI CH 7 will also be used to control the Instrument Channel’s mixer parameters. Because the multitimbral VSTi is being told to use Ch 3 (the PLUGIN CH parameter), a Violin sound is actually heard.

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