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Accelerator
User Manual
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User manual
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Radikal Technologies Accelerator User Manual

ACCELERATOR manual
Accelerator manual
Firmware version 1.5 and higher. Jörg Schaaf, Radikal Technologies Deutschland GmbH, Copyright © 2011
Maintaining the highest quality standards is the top priority for Radikal Technologies GmbH. This is why the design process for any of our new products continues even after they are released to the public. Technical changes are implemented at any time without prior notification, if we feel they serve to improve the product. According to this statement the technical specifications and/or the look of the instrument might va­ry from the specs and pictures shown in this Manual.
© 2011, Radikal Technologies Deutschland GmbH
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Declaration of Conformity
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For the following named product
Accelerator
it is hereby declared, that it confirms to the requirements of the council Directive 89/ 336/FWG for radio frequency interference. It also complies with the regulations about radio interference of electronic devices dated on August 30th, 1995.
The following standards have been used to declare conformity
-! EN 50082-1! 1992,
-! EN 50081-1! 1992,
-! EN 60065! 1993
This declaration has been given responsible by the manufacturer:!
RadikalTechnologies Deutschland GmbH, Eduard-Schmid-Str. 27, D-81541 Munich
Munich, 01.03.2011 Jurgen Korduletsch, Geschäftsführer Jurgen Korduletsch, Managing Director
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Table of contents
1.0 Warranty! 8
1.1 Terms! 8
1.2 Coverage! 8
1.3 Transfer of warranty! 8
1.4 Liability! 8
1.5 Safety notices! 8
2.0 Introduction! 10
Feature summary! 10
a.) 8 voice polyphonic synthesizer! 10
b.) Advanced synthesis engine! 10
c.) FX bus system! 10
d.) Step sequencer and programmable, polyphonic arpeggiator! 10
e.) Everything under control - the masterkeyboard features.! 11
f.) Randomize sound - individual sounds on a fingertip! 11
g.) Song chain: fast access to performances, splits and single sounds!11
h.) Matter of course! 11
3.0 About this manual! 12
4.0 First Steps! 12
4.1 User Interface basics! 12
4.2 Selecting and playing performances! 14
4.3 Selecting and playing single sounds! 16
4.4 Creating split and dual layer sounds! 18
4.5 Saving performances! 18
4.6 Loading Chains and using chains! 19
4.7 Chain save procedure! 21
4.8 Randomize sound algorithm! 22
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Table of contents
5.0 Sound editing details! 23
5.1 Overview about the synthesis engine features! 26
5.2 Oscillator section! 27
5.3 Noise section! 29
5.4 VCF section (Multimode filters)! 30
5.5 String filter (delay with damped feedback loop)! 31
5.6 VCA and voice EQ section! 33
5.7 LFO section! 36
5.8 Envelope section! 37
5.9 Modulation matrix (voice modulation matrix)! 38
5.10 Global modulation matrix (bus/part modulation matrix)! 43
5.10 Pitch bend range! 45
5.11 Mono modes and retrigger settings! 45
5.12 Glide and glissando! 47
5.13 Saving single sounds! 48
6.0 FX section and bus system! 50
6.1 Introduction: FX-chains and output busses! 50
6.2 The output busses! 51
6.3 FX fundamentals! 52
6.4 Distortion/Saturation! 54
6.5 Modulation delay! 54
6.6 Phasing! 56
6.7 Leslie! 57
6.8 Chorus! 59
6.10 Post FX EQ! 61
7.0 Sequencer section overview! 61
7.1 Entering of notes and chords! 66
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Table of contents
7.2 Further playback variations! 67
7.3 Adding parameter sequencer lines! 69
7.4 Saving of sequencer motifs! 70
7.5 Loading sequence motifs from memory! 71
7.6 Combining sounds and sequencer motifs in performance memories.! 72
7.7 Realtime transpose of sequence lines! 72
8.0 Arpeggiator section! 75
8.1 Arpeggiator basic functions! 75
8.2 Arpeggiator user motifs! 77
9.0 Multi performances! 80
9.1 Keyboardzone parameter in the performance edit menu! 80
9.2 Performance default edit part.! 84
9.3 Performance Button Modes! 85
9.4 User knob assignments (USER)! 85
10.0 Chain editing details! 87
10.1 Adding MIDI splits to direct access memories of the chain! 93
10.2 Programming a song chain! 95
11.0 Setting up the Accelerator! 97
12.0 Global parameters in the system menu! 99
12.1 Setting up a velocity curve for the Accelerator keyboard! 99
12.2 Pedal configuration! 99
12.3 Global sequence transpose! 100
12.4 MIDI system channel and MIDI input/output definitions! 100
12.5 Setting up MIDI Input and output definitions! 102
12.6 MIDI synchronisation! 103
12.7 Mastertune! 104
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Table of contents
12.8 Setting up the display backlight color! 105
12.9 Setting up realtime controls and the acceleration sensor.! 105
13.0 Addendum! 106
13.1 MIDI NRPN Listing! 106
14.0 Upgrade opportunities! 118
14.1 Voice expansions! 118
14.2 Software upgrades! 118
15.0 Feature summary! 119
Connections:! 120
Weight and dimensions! 120
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1.0 Warranty
1.1 Terms
Radikal Technologies warrants all electronic und mechanical components of this product, subjects to the conditions herein described, for a period of 12 months from purchase. If any covered malfunctions occur during the warranty period, the unit will either be repaired or replaced at the Manufacturerʼs election. The general business terms and conditions of Radikal Technologies GmbH Germany shall apply.
1.2 Coverage
Radikal Technologies Deutschland GmbH reserves the right to perform warranty re­pairs or product replacement subject only to prior warranty registration by the custo­mer. Such registration needs to be submitted together with a copy of dealer invoice or sales receipt. The final decision concerning validity of the warranty is made by Radikal Technologies GmbH. In case of a justified warranty claim the submitted pro­duct will be repaired or replaced within 30 days of receipt at Radikal Technologies offices. Any physical damage to the instrument or unauthorized attempts to open or fix the unit will render the warranty null and void. Repair of non-registered products or products with a lapsed warranty will be performed at customerʼs expense. We strongly recommended that customers ask for an estimate of costs before sending in their instruments for repair. Cost of packaging and shipping will be charged additio­nally.
In case of covered warranty claims the product will be shipped back to the customer free of charge. Shipment to customers residing outside of Germany will take place at the cost of the customer.
1.3 Transfer of warranty
This warranty is exclusive and personal to the original owner and may not be trans­ferred. Other than Radikal Technologies Deutschland GmbH, no third party (retailer, etc.) is authorized to promise or perform warranty services. Services other than ones specified herein are not covered under this warranty
1.4 Liability
Claims for additional damages of any kind, including all claims of financial damages as a result of malfunction of a product, are specifically excluded hereunder. The liabi­lity of Radikal Technologies Deutschland GmbH in all cases is expressly limited to the purchase price or the adjusted value of the product only. All warranty services and shipments are performed subject exclusively to Radikal Technologies Deutsch­land GmbHʼgeneral business terms and conditions.
1.5 Safety notices
CAUTION: Please do not open the instrumentʼs case at any time, to avoid the possi-
bility of electric shock. There are no functions or features inside the unit intended for the user. Do not ever make any attempt to repair the instrument yourself! Any techni­cal problems should be addressed with qualified service personnel only.
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WARNING: Do not expose the unit to rain or humidity to avoid electric shock or shorts.
Before using your unit please read the security and user instructions carefully.
•
Store the safety and user instructions in a safe and readily accessible place.
•
Never use the unit close to water (i.e. bathtub, sink, swimming-pool)!
•
Do not to set your unit up too close to heat-sources (heaters, Amps, etc.). To ensu-!
• re proper air ventilation it is important not to obstruct the unitʼs heat vents.
Make sure to place the unit on a solid surface strong enough to support its weight.
•
Connect the unit only with the correct and sufficient power sources.
•
Position the power-cord carefully, so nobody will fall over it.
•
Only use undamaged and fully functioning power-cords
•
Turn off unit and remove the power-cord before moving or transporting the unit.
•
Unplug the power-cord before cleaning the unit
•
When youʼre not using the unit for any extended period of time make sure to turn it
• off and remove the power-cord.
Clean the unit only with a dry or slightly damp cloth. NEVER use cleaning soluti-
• ons!
Make sure that no hard particles or liquid can get inside the unit.
•
As a result of rapid temperature-changes it is possible that condensation can form
• inside the unit. Make sure your unit has sufficient time for the condensation to dry
off, before reconnecting it to a power-supply after such temperature change.
The unit needs to be checked by a qualified service-technician in case:!
The power-cord or the plug has been damaged
•
Hard particles or liquid have managed to get inside the unit
•
The unit has been exposed to rain or humidity
•
The unit has been dropped and/or shows physical damage
•
The unit is not functioning in the usual or described fashion!
•
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2.0 Introduction
We first would like to thank you for purchasing the Accelerator. You have purchased a modern music instrument, which not only sounds great, but also doubles as a po­werful ”Performance-Controller” for your entire live setup.
Feature summary
In this section we will summarize the key features of the Accelerator. Everything is described in much more detail later in this manual, but we thought it would be a good tidea to give you a basic overview first.
a.) 8 voice polyphonic synthesizer
The Accelerator in its standard configuration sports 8 voices and two part multitim­brality. The polyphony can be increased to up to 32 voices via expansion modules. Each of the two expansions adds 12 voices. At least one expansion must be inserted to get 8 part multitimbrality.
b.) Advanced synthesis engine
Besides the basic voice structure with three oscillators, three multimode filters, 6 en­velope generators and 4 LFOs the Accelerator offers some advanced synthesis algo­rithms and parameters that allow for the creation of synthesizer sounds that cover a much wider range than more basic subtractive synthesizers.
c.) FX bus system
The Accelerator has 4 FX-Busses with incredible FXs. Each of the two Accelerator parts is fed into a separate bus. The remaining two busses are used for smooth tran­sitions from one performance to the next. When switching from one layer or split so­und to the next, the Accelerator selects the next two busses for the new sounds. The FXs of the former sound remain untouched without any glitches or interrupted rever­bration release phases. Each FX-chain contains the following algorithms: distortion, stereo modulations-delay, phasing, leslie, chorus, reverb and a post FX EQ.
d.) Step sequencer and programmable, polyphonic arpeggiator
A polyphonic step sequencer and a programmable polyphonic arpeggiator for each part - with independent or global transpose zones for the sequencers - gives the Accelerator its special music machine appeal. Another highlight for sure is the realti­me access to the music parameters of the sequencer and arpeggiator motifs. In addition three sequencerlines can be assigned to synthesizer parameters in the modulation matrix.
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e.) Everything under control - the masterkeyboard features.
If you happen to play more than a single instrument on stage you will benefit from the masterkeyboard functionality the Accelerator offers. By pressing a single button in the song chain mode, all attached MIDI instruments receive bank and program changes, volume and panpot settitngs. Velocity and keyboard split zones let you play multiple instruments together with the accelerator sound engine from the keyboard. Zones can not only be assigned to the Accelerator keyboard. If you connect a se­cond masterkeyboard or synthesizer to the Accelerator MIDI input, additional zones can be programmed to integrate your second keyboard completly into your setup.
f.) Randomize sound - individual sounds on a fingertip
The randomize sound function of the Accelerator selects elements from different, al­ready programmed sounds in memory and recombines them to new sounds. This algorithm creates thousands of variations of sounds. As soon as you hear a result that you would like to recall later, you can save the sound into the singlesound me­mory.
g.) Song chain: fast access to performances, splits and single sounds
Organizing your favorite sounds and performances without changing the order of the sounds in the memory - that is the main benefit you get from chains. But chains can do more. Switching between different play modes, building new combinations and splits from single sounds and playing MID instruments without programming a com­plex masterkeyboard program - all this can be done in chains.
Even cooler is the opportunity to use the chain memories for the organisation of your live gigs. Create a chain for each song of your setlist. During the gig one can select a song from the setlist in the display menu. For each song the Accelerator sports 10 direct access buttons that recall the programs preselected for the song. Additionally these programs can be organized in a row. The [NEXT]-button increments the positi­on in the song row and recalls the sounds and performances more or less automati­cally. The button can also be controlled by a foot switch remote control.
h.) Matter of course
Voice rem ain
USB MIDI
The Accelerator appears as a MIDI interface in your computer as soon as you con­nect the ACC to the USB port. Not even a driver installation is necessary as the Accelerator works fine with the USB MIDI class device drivers.
Galvanic isolated USB port.
USB normally can cause groundloops in your setup if you connect a music instru­ment to a USB host. The Accelerator USB connector is galvanic isolated and pre­vents these problems.
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Balanced inputs for external instruments
Memory organisation
3.0 About this manual
4.0 First Steps
If you are not familiar with the connection and cabling of keyboards and amplifiers please just check chapter 11.1 „Connections and preparations“. Weʼll assume in the next section, that your Accelerator is already powered up and connected to a valid amplifier and speaker system.
4.1 User Interface basics
Every technical device has a user interface philosophy. If the user interaction with the device evolves more or less consistently in all sections, the operation is much easier and more or less self explanatory as soon as you have understood the basics. For that reason the following section is the most important one in the entire manual aside from your skills. Here are the most essential facts about the Accelerator:
a.) All encoders (knobs) of the Accelerator have multiple button functions. In most cases these buttons recall submenus. Instead of navigating with cursor buttons the encoder buttons allow for a much faster direct access to different edit sections.
b.) By holding down a button or an encoder button the Accelerator shows up a description of the parameter or parameter section that is assigned to that button.
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c.) At the top left corner of the „Advanced Edit“ section you can locate the [page]-en­coder. By turning this encoder you can reach different edit pages. Available edit pa­ges can be seen at the top page bar in all display menus. By touching the page en­coder alternate views of the selected edit page can be recalled. In the envelope ge­nerator edit page you can for example recall another menu page with a graphic view of the envelope:
d.) In the display menu parameters are shown, that can be controlled with the display encoders 1-3. If multiple rows of parameters are shown, the current row of three is highlighted. The next row can be selected by using the [cursor up] and [cursor down] ([ ] [ ]) buttons to the left of the display. As you already learned, the page encoder button offers different views of edit pages. Some pages only show one row of acces­sible parameters. The envelope graphics and VCO waveform view for example does not leave enough room to display more than 3 parameters. But even in those menus
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the ([ ] [ ])-buttons allow for the selection of other parameters.
Selecting performances from the display menu:
The name of the selected performance program shows up with large let- ters. Above the name the memory location is shown. The performance memory is arranged in three sets (A,B,C), banks (0..9) and memory slots (0..9). Each set contains 10 banks with 10 slots each. „Bass plus Strings“ is a split program that has been stored in the first set „A“ at banknumber „0“ and memory slot „0“. Now check the bottom row in the display menu. There are three functions visible:
[SET]
The first encoder shows the set selection. Select one of the sets A,B or C with the en­coder. The preset performances are all sto­red in Bank A. The set selection is only ne­cessary when selecting performances with the bank and program select buttons. In the display select mode, performances can be selected by just choosing a category and se­lecting performances with the [LOAD-SO­UND] encoder.
[CATEGORY]
The second encoder allows for choosing a category for the performance selection.
4.2 Selecting and playing performances
After powering up, the Accelerator always starts in Performance mode:
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Selecting performances from the display menu:
[LOAD SND]
The third display encoder allows for the se­lection of all Performances of the selected category. To load a selected performance just push the [Load Snd] encoder button after di­aling in the desired performance. The factory soundset already contains 60 performance examples. They are stored in Set A at the first 6 memory banks (0-5).
In the following picture, we highlighted all buttons and encoders, that are essential
Selecting performances with bank and program buttons:
[PERFORM]
Switches to Performance mode.
[BANK]
Activates memory bank selection mode.
for the display menu driven performance selection and basic editing:
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Selecting performances with bank and program buttons:
[0] - [9]
Selects the desired bank beween 0 and 9.
[PROGRAM]
Activates program selection mode.
[0]-[9]
Selecting the desired memory slot.
For the selection of another performance set simply use the first encoder in the dis-
Single sound selection:
[SINGLE]
Single Mode selection.
[BANK]
Bank change mode selection.
[0] - [9]
Selection of the desired bank/category
[PROGRAM]
Program Change mode selection.
[0]-[9]
Selecting of memory slots.
play menu.
If you get lost in one of the edit menus and would like to jump back into the performance selection, just push the [PERFORMANCE]-button. This button is hard­wired to the performance mode menu. Please also recall, that the parameter triple in the bottom area of the display area can be selected with the cursor ([ ] [ ])-buttons. If you are missing the category and set selection in this button row simply press the [ ]-button a couple of times until the parameter group is selected again.
A performance of the Accelerator contains all parameter settings of the involved parts. If you tweak the parameters of one of the parts and save the performance, the sound data of the involved parts get saved as well. Other performances or the single sound memory of the tweaked part remain untouched. The Accelerator has 300 performance memories. Each of these performance memories can hold the patch data of up to 8 parts in the expanded version. 2400 single sounds can be saved insi­de the performance memories.
4.3 Selecting and playing single sounds
500 single sound memories are available beside the performance memories. Like performances, the single sound memories are arranged in sets, banks and memory slots. Single sounds are not only associated with categories - the whole single sound memory is arranged in categories. The numeric buttons are labeled with categories. If you select a bank, you choose a category as well. If you select for example the bank „Organ“, all programs of that bank are organ sounds. By selecting a different set, multiple banks of organs can be selected. Before selecting single sounds the single mode must be selected by pressing the [SINGLE]-button:
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The basic Accelerator offers two independent synthesizer parts. That means, two
Selecting parts:
[PART]
Pushing [PART] selects the part select mode.
[1] [LOWER] - [2] [UPPER]
Select the part with numeric buttons 1 and 2.
Single sound selection with the display menu:
[SINGLE]
Select the single mode.
[PROGRAM]
Recall the program select menu by pushing [PROGRAM].
Knob 2 [CATEGORY]
Select the sound category by dialing display encoder 2.
Knob 3 [LOAD SOUND]
Dial in the desired sound and confirm the se­lection with the encoder button.
single sounds can be played simultaneously. Both parts have independent stereo busses with independent FX chains. If you save a single sound all FX settings will get saved as well. In most performances multiple synth parts are in use. The program selection in sin­gle mode works always on the selected part. The first two parts are also called „up­per“ and „lower“. If you program split and layer sounds you need to deal with those two parts. The edit matrix and the edit menus are also always assigned to the selected part. If you start to tweak a sound in a split or layer performance you should check, whether you have selected the correct part.
Now you can recall the program selection by pushing the [PROGRAM]-button:
Single sounds can be selected in the display menu as well. Instead of dealing with [BANK] and [PROGRAM]-select modes and set selections, all sounds of a category can be dialed in and confirmed with the Load-Sound encoder. Sets A -C are already almost filled with factory sounds. In the display picture above you see the sound se­lection menu. The second display encoder selects the category and with the third encoder you can choose a sound by dialing the knob and load the sound by pushing the encoder:
In the text field above the third encoder, the sound name sometimes getʻs truncated if the string length does not fit the text field. After the confirmation with the encoder button the full name appears in the display with larger characters.
!!!!
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4.4 Creating split and dual layer sounds
Setup the split function and define the splitpoint
[SPLIT]
Pushing [SPLIT] activates the Split function.
Hold [SPLIT] + keyboard­note.
Selecting the keyboard note while holding [SPLIT] sets the splitpoint.
[PART]-> [0-MASTER]
Activate the part select mode and select vir­tual part 0 (MASTER). Now the keyboard is assigned to the split function.
You already learned now how to select parts and their single sounds. In this section you will create a basic split performance. With split performances two parts are sha­ring the keyboard. Two separate sounds can be played with the left and right hand. All you need to know is how to activate the split mode and how to define the split­point on the keyboard. The Split mode has a dedicated button on the frontpanel right next to the [SINGLE]-button. Pushing the [SPLIT] button activates the split function:
4.5 Saving performances
You should now learn how to save such basic performances. Please remember - the performance memory does not only hold the playmode (single, split, dual or multi) and the program change numbers of the involved parts - the sound data of all parts and the FX settings of the busses will be saved as well. Even the Arpeggiator set­tings are part of the performance. The save dialog pops up if you press the red [SAVE]-button left of the display enco­ders:
You can decide whether you would like to save a performance or a single sound. We choose [Perf.] with the first display encoder button in order to save the performance.
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Here you can choose a category for your new performance with the first encoder. Now press [NEXT] again:!
At the last page of the save performance dialog you can enter a name for your performance. We implemented two ways to name a performance:
1.) The first encoder selects the position of the name string and the second encoder
selects the character at that position.
2.) Pushing the [CHAR]-encoder button activates the keyboard entry mode for the
naming procedure. If this function is activated, the keyboard is not triggering notes anymore. The characters are assigned to different notes on the keyboard. Please refer to the labelling on the frontpanel and use the keyboard like a typewriter.
When you are satisfied with the name push [SAVE]. Now your performance is stored in the memory.
4.6 Loading Chains and using chains
In Live situations one needs a much faster access to sounds and performances than in the home studio. Chains offer a way to select up to 10 sounds of a song with sin­gle fingertips. Just load a song of your setlist in the display menu to get direct access to all sounds and mode settings you have prepared for that song. The chain sound access memories 0-9 are references to single programs, split or dual layer selections or performances. By pushing a numeric button between 0-9, the chain recalls the
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memory locations and mode settings. You can concentrate on your playing instead of
Chain mode activation and usage:
[CHAIN]
Pushing [CHAIN] activates the chain mode.
[Bank]
With the [BANK] encoder one can select a bank between A and J. The axamples are all located in bank A. The Accelerator offers 100 chains from A0 to J9.
[Slot]
Select one of the chains A0 - A6 with the se­cond display encoder.
[LOAD]
Push [LOAD] to load the chain.
[0]-[9]
Now you can select the referenced memories by using the numeric buttons 0-9.
Basic chain editing:
[CHAIN]
Pushing [CHAIN] activates the chain mode.
[Bank]
With the [BANK] encoder one can select a bank between A and J. Choose an empty chain and press [LOAD].
dealing with sets, banks, programs, part selections and mode settings.
Chains can also be used to build some favorite banks without rearranging the whole memory. The Accerelator ships with some example chains that will help you to un­derstand the benefits of the chain mode:
In order to create your own chain, all you have to do is combining all the different skills you already learned about the Accelerator. The chain mode offers some additi­onal features we will present in depth in chapter 10.0. Here we will just arrange some performances and single sounds into a chain, that you can already create a favorite soundbank.
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Basic chain editing:
[Slot]
Select an empty memory slot.
[LOAD]
Push [LOAD] to load the empty chain.
[0]-[9]
Select the first numeric button [0].
Now you can leave the chain mode and select a single sound or a Performance. After selecting the desired sound press [CHAIN] again and select another numeric button for your next favorite sound.
[CHAIN]
Jump back into the chain mode.
[0]-[9]
Select the next numeric button [1..9].
[PERFORMANCE], [SIN­GLE], [DUAL] or [SPLIT]
Choose the desired mode for the next memo­ry. Select the performance, a single sound or two single sounds for a split or dual sound.
[CHAIN]
Jump back to the chain mode.
[0]-[9]
You can now switch between your two chain memories.
Just follow these instructions for all chain reference memories.
The last step of the chain programming is the save procedure. The save-menu offers
How to save a chain:
[CHAIN]
Activate the chain mode.
[SAVE]
Press [SAVE] to enter the save dialog.
[BANK] + [SLOT]
Select the target memory slot with the [BANK] and the [SLOT] display encoders.
[NEXT]
Jump to the next dialog page, where you can enter a name for the new chain.
different options dependent on the selected edit section. If the chain mode is active, the save menu automaticly offers the save function for chains.
4.7 Chain save procedure
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How to save a chain:
< x >
Select the position in the string with the first display encoder.
(Char)
Dial in the desired character for that string position with the second encoder.
or:
[Char]
Push the [CHAR] display encoder to activate the keyboard typewriter function and enter the string with the keyboard.
[SAVE]
Press [SAVE] to save the new chain.
4.8 Randomize sound algorithm
Using the randomize sound function:
[SINGLE]
Push [SINGLE] to activate the single sound mode.
[RANDOM]
Push [RANDOM] to activate the randomize sound function.
[0]-[9]
Choose a sound category for the randomize function by pressing one of the numeric but­tons [0]-[9]. The randomized sound function combines elements of sounds already stored under that category. For that reason, pushing [BASS] will probably create a new bass so­und.
You should reduce the mastervolume a little bit before using the randomize function. In some cases a randomized sound can be much louder than the factory sounds.
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You should choose the category carefully when saving a new single sound. If the category does not match the sound character, the randomize function will prove use­less after a while. If you save a sound that does not match any of the categories, choose „Other“. Sounds, that are saved under „Other“ will not get used by the Rand­omize function.
5.0 Sound editing details
The most essential parameters are available in the edit matrix at the left side of the frontpanel:
The edit matrix assignment can be selected with the buttons at the left side of the matrix. Depending on your selection (VCO, VCF, VCA or LFO) the knobs are con­trolling the parameters printed in the matrix. Pushing one of the buttons multiple ti­mes selects the desired subsection. The Accelerator sports for example 3 VCOs which can be accessed by pushing the [VCO] button multiple times. At the right side of the button row LEDs are indicating which VCO you chose.
Check the display while selecting the VCO in the matrix. The display menu follows the selection in the matrix:
The active parameter row is higlighted and the parameter values of the active para­meters are visible at the bottom end of the display area. Another triple of parameters can be selected with the [ ] [ ]-buttons.
If you push the [PAGE]-Encoderbutton, alternate views of the edit section show up:
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Up to 9 parameters with their values are visible in this view. The parameter triples can be selected in the same way like in all other views - with the [ ] [ ]-buttons. Furthermore, different rows can also be selected with the encoder buttons of the edit matrix. That allows for navigating in a menu page without using the cursor buttons. If you press the [VCO2PM]-encoder button, the parameter triple with the PM parame­ters gets selected and highlighted:
Now push the matrix encoder button that is assigned to the VCO waveform parameter. The parameter triple with the waveform parameter gets selected again in the display menu as well. The more you learn about the different interactions betwe­en the matrix and the display menu the faster you will manage the menu navigation in the future.
At the upper section of the display you will notice tabs, you maybe already know from some computer programs. The [PAGE]-encoder allows for a fast selection of the different tabs. Dialing the [PAGE]-encoder switchs through the different edit me­nus.
You will notice, that each tabbed menu jumps back into the view which was selected when leaving the dialog last time. The views of the different sections are working in­dependent from each other. If you navigate with the [PAGE]-encoder, the selected edit parameter triple gets memorized as well for all edit pages. That makes navigati­on very quick. If you select different VCOs with the [PAGE]-encoder, the LED in the edit matrix will highlight these VCOs as well. That means that also the assignment of the matrix en­coders follows the selection. Now push the [PAGE]-encoderbutton multiple times until the waveform view shows up:!
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When you dial the waveform encoder in the edit-matrix or the display encoder for the
Edit matrix navigation check - how to reach the envelope graphic view:
[VCF]
Push the [VCF] button opens the VCF edit menu.
waveform, you can follow the changes of the waveform shape in realtime in the dis­play. Now turn the TLM encoder in the edit matrix. The waveform changes caused by the TLM modulation will be shown as well. Beside that an overlay window shows the va­lue of the TLM modulation as well:
Last, but not least - sometimes you may come across a parameter that does not tell you anything. Donʻt hesitate to use the help function in such a case. If for example you hold the TLM encoder in the matrix or the display a little bit longer, the TLM help screen pops up in the display.
You should now play around a little bit further with all these editing and navigation features. Use the help function whenever something appears that you are not famili­ar with. Later inside the parameter reference we will not cover all these different edi­ting options anymore. Weʼll assume, that you know how to reach different views and edit sections in later chapters. If we were to decribe that again and again in detail, the manual would get too heavy for overseas shipments. After practising a little bit you may want to do a little test. Try to figure out how to re­ach the envelope generator graphics view in the display. If you find it you mastered the menu navigation contest.
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Edit matrix navigation check - how to reach the envelope graphic view:
[ATTACK]
Push the [ATTACK]-encoder button in the e­dit matrix.
By selecting an envelope generator palarameter in the matrix, the envelo- pe generator edit menu opens automaticly. Envelope 3 is preselected be- cause EG 3 is assigned to the VCF1 cutoff frequency.
[PAGE]
If you now push the [PAGE]-encoderbutton a couple of times, the graphic view will pop up automaticly:!
Edit matrix encoder 5-8
With the edit matrix encoders [ATTACK], [DECAY], [SUSTAIN] and [RELEASE] the envelope shape can be altered. The graphic changes accordingly. An additional envelope parameter is assigned to the middle display encoder - [HOLD] controls the length of a plateau between the attack and the decay phase of the envelope.
After learning everything about menu navigation itʻs time to learn more about the synthesizer engine of the Accelerator.
5.1 Overview about the synthesis engine features
On the next page you see a graphic overview of the voice architecture. We omitted envelope generator 5 and 6 as well as the LFO section and the modulation matrix. We also omitted the realtime controls, the step sequencer and the FX-Bus. Otherwi­se, the graphic would become too complex. But you will get an impression about the raw voice architecture. Oscillators as well as the noise source have independent level controls for both Multimode filters. The noise source has an additional Multimode filter. Oscillator signals can be fed parallel into both filters with adjustable levels. Filter 1 can be fed into filter 2 for series configurations. Between filter 1 and filter 2 is a spe­cial string filter that allows for a wide range of virtual instrument FXs. As you can see, Multimode filter 1 acts as a prefilter and filter 2 acts as a post filter for these virtual instrument FXs. You will learn more about the string filter in a later chapter. The string filter can be bypassed for normal series configurations of filter 1 and 2.
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At the end of the signal chain is a 3 band full parametric EQ.
Oscillator parameters reference
VCO waveform [WA­VEFRM]
The waveform changes the VCO signal sha­pe from sine over triangle and sawtooth to rectangle.
Time Linearity Modulation [TLM]
The TLM modulation changes the shape of the oscillator waveform. Results in pulswidth modulation on rectangle waves.
Oscillator synchronisation [SYNC] ( VCO 1 only)
This parameter is only available in the oscil­lator 1 section. Oscillator 1 gets synchroni­sed to oscillator 2. If oscillator 1 is synchroni­zed to oscillator 2, each zero crossing of oscillator 2 resets oscillator 1 to the begin­ning of the waveform. At settings below 127, oscillator 1 only resets, if itʻs waveform is clo­se to the zero crossing as well. The value de­termines how close the waveform shape must be at the zero crossing in order to get resetted by Oscillator 2.
Ok - that is really a very simple overview only but it should give you a first impression about the sonic capabilities. In the picture you can also locate the phasemodulation between oscillators and you can check, which envelopes are assigned to which sec­tions by default. Everything else will be described in much more detail in the different section chapters for VCOs, VCFs, VCAs, LFOs and the modulation matrix.
5.2 Oscillator section
The Accelerator sports 3 oscillators, one filtered noise source and a ringmodulator per voice. The oscillators have continuously adjustable waveforms, time linearity modulation for futher wave adjustments, oscillator 2 and 3 can phase modulate oscil­lator 1-3, oscillator 2 can synchronize oscillator 1 and oscillator 2 and 3 can be fed into the ringmodulator. All these signal sources can be fed with independent adjus­table volumes into both filters. First we will concentrate on the oscillators.
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Oscillator parameters reference
VCO2 phasenmodulation [VCO2PM]
Controls the depth of the oscillator 2 phase­modulation.
VCO3 phasemodulation. [VCO3PM]
Controls the depth of the oscillator 3 phase­modulation.
Phasestartpoint [PHASE]
At a value of 0 the oscillator is set to freerun­ning mode. Values above zero start the oscil­lator at a certain phase.
Coarse tune [COARSE]
Adjusts the pitch of the oscillator in halftone steps.
Finetune [FINETNE]
Finetune (percentage)
Frequency Offset. [FREQOFF]
Finetune in Hertz (linear detuning for equal frequency beating between oscillators over the entire keyboard range).
Oscillator Volume. [VO­LUME]
Oscillator Volume. The volume can be modu­lated in the modulation matrix. If volume is set to zero, no oscillator signal can be fed into the filters with the filter feeds.
Oscillator feed for VCF 1. [FEED1]
Controls the feed level for multimode Filter 1 (VCF1).
Oscillator feed for VCF 2. [FEED2]
Controls the feed level for multimode filter 2 (VCF2)
Pitchscaling. [SCALE]
At a value of 12, each key at the claviatur in­creases the oscillator pitch by one halftone. Values below 12 decrease the pitch diffe­rence between keys, values above increase the pitch difference.
Waveform inversion. [INV]
This parameter is only available for oscillator
1. If the inversion is set to 1, the waveform runs backwards. If the waveform is set to sawtooth and a second sawtooth oscillator runs with a little detune, the resulting wave­form sum looks similar to a pulsewidthmodu­lated rectange.
Ringmodulator volume. [RINGVOL] (VCO3 section only)
Sets the ringmodulator volume. The outputs of oscillator 2 and 3 are fed into a ringmodu­lator. A ringmodulator builds the sum and the difference of the two oscillator frequency spectrums.
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Oscillator parameters reference
Ringmodulator filter 1 feed. [RINGF1] (VCO3 section only)
Controls the ringmodulator level for filter 1.
Ringmodulator filter 2 feed. [RINGF2] (VCO3 section only)
Controls the ringmodulator level for filter 2.
5.3 Noise section
Noise parameters:
Noise volume. [NOISVOL]
Controls the level of the noise signal.
Noise feed for VCF1. [NO­ISEF1]
Controls the VCF1 noise feed.
Noise feed for VCF2. [NO­ISEF2]
Controls the VCF2 noise feed.
Noise filter keyboard Sca­ling. [KEYSCL]
Controls the keyboardscaling of the noise filter frequency. Higher notes will increase the cutoff frequency if the keyboard scaling has a positive value.
Cutoff frequency. [CU­TOFF]
The filter frequency of the noise filter. Filterresonance. [RESO]
The resonance of the noise filter.
Filtertyp. [FLTTYPE]
Lowpass, highpass, bandpass and notch are the different available filter types. Each filter­type is available in 12dB and 24dB versions.
The noise section of the Accelerator has an independent multimode filter section. As the volume and the filter parameters can be controlled by envelopes and other mo­dulation sources in the modulation matrix, adding noise keeps the rest of the sound engine nearly untouched - even if you need a short noise burst with a certain fre­quency spectrum. The noise section is located directly behind the three oscillators in the edit menu. Se­lect the noise section by dialing in the Noise tab in the display menu.
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Noise parameters:
5.4 VCF section (Multimode filters)
Filter section VCF1 and VCF2
Cutoff frequency. [CU­TOFF]
The cutoff frequency of the filter. Resonance. [RESO]
The resonance of the multimode filter.
Filtertyp. [FLTTYPE]
Lowpass, highpass, bandpass and notch are the different available filter types. Each filter­type is available in 12dB and 24dB versions.
Envelope depth. [EG­DEPTH]
The third envelope is assigned to the first VCF and the fourth envelope is assigned to the second VCF. EG-depth controls the depth of the envelope control over the cutoff fre­quency.
The Accelerator sports two multimode filters plus the noise multimode filter. in additi­on the Accelerator has a special string filter which we will describe in the next chap­ter. All filter types have in common, that they are passing certain frequency compo­nents while damping other frequency components. Depending on the resonance set­tings the frequency components at the cutoff frequency can get boosted as well.
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