Rob Papen Predator User Manual

Download

User Guide

Rob Papen and Jon Ayres

Instrument by

Jon Ayres

Mac programming by

Jacek Kusmierczyk

Graphics by

Shaun Ellwood

Sounds by

Rob Papen

Manual by

Rob Papen, Jon Ayres, 'TONAL AXiS', Armand ten Dam. Tobias Birkenbeil, Patrick Anglard and Frans Rutten

Thanks to (in alphabetical order):

TONAL Axis, Patrick

Anglard

, Pedro Camacho (www.musicbypedro.com), Armand ten Dam,

Eightysix (www.djeightysix.com), Joel Heatly, DJ Starfighter (www.studiobelverdere.com), Sinus, Sola of Giana Brothers (www.giana-brotherz.com) Mandy Rayment, team of Time+Space and all beta testers!

All technical specifications of the products specified

in this manual may be subject to change without notice. The documents may not be changed, especially copyright notices may not be removed or changed. Rob Papen is a trademark of Rob Papen Sound Design & Music. Predator is a trademark of Rob Papen ConcreteF

X (RPCX). VST is a registered trademark of Steinberg Media Technologies GmbH. All other trademarks are the property of their respective owners. LCD font type by Samuel Reynolds www.dafont.com

Registering of box version and 2nd activation request:

Extra

install on a second computer For the second 'activation code', say for use on a second computer, please create an account on the

www.robpapen.com

website and there you can obtain a 2nd activation code.

To request the second activation you will need to ad y

our Predator product inside the section 'Software registration'. Use the Predator 'activation code' which you can find at the cardboard sleeve in your packaging (box version) or inside the ShareIt registration e-mail to add Predator inside your product lis

Welcome

Thank you for purchasing the Rob Papen Predator. Predator is a killer synthesizer that combines inspiring presets and first-class features to make this

your 'go-to'

synth

for contemporary music production.

The user interface has been d

esigned so that almost all controls are visible on screen, making it fun and incredibly easy-to-use. And if you're unsure about a particular synth function, simply right click your mouse to access the help screen.

Predator is packed with powerful feature

s such as Preset Morphing, Intelligent Preset Variation,

MIDI and

Synth

Controllable FX, Unison Detune, Chord Memory and an extremely versatile

Arpeggiator

Included preset banks: HipHop (NY, Club, DirtySouth and Gfunk) banks. Jump, hardcore, breakbeat,

dubsteb, various trance styles, DnB banks and much more...

Last but not least Predator also includes PredatorFX, allowing you to use the incredible filters, modulations, effects and vocoder as an FX plug-in within your music host.

Predator really is a s

wiss-army knife for making cutting-edge contemporary music tracks.

Rob Papen and the RPCX team, January 2007

Table of contents

WELCOME

..................................................

INSTALLATION ON PC (

VST)

....................

INSTALLATION ON PC (RTAS)

..................

INST.ALLATION ON MAC

(VST, AU AND

RTAS)

..........................................................

PREDATOR FEATURES

.............................

INTRODUCTION INTO PR

EDATOR

.........11

UDIO SIGNAL FLOW

...............................11

GUI DESIGN

USER INTERFACE

................11

SER GUIDE SETTINGS

............................11

PREDATOR CONTROLS

..........................12

[ PRESET ]

................................................14

[PRESET / BANK MANAG

ER ]

................17

[ PREDATOR OSCILLATO

R ]

..................19

[ PITCH MODULATION ]

...........................22

ITCH MODULATION

LFO

........................22

ITCH BEND

............................................22

[

FILTER

]..................................................23

AIN FILTER

...........................................23

ODULATION AMOUNTS OF CUTOFF

FREQUE

NCY

............................................25

ILTER ENVELOPE

...................................26

ILTER

LFO

............................................27

[

AMP

] .......................................................29

OLUME ENVELOPE

................................29

[

FREE

MODULATION ]

..........................31

NVELOPE 1 AND

.................................31

LFO

AND

..........................................33

[

ARPEGGIATOR

]...................................36

PATTERN/

SEQUENCER SECTION

...............38

[ PLAY MODE

].........................................39

[

ADVANCED

PANEL ]

............................41

UDIO INPUT (P

REDATORFX ONLY

)

.........42

NFO

FIELDS

............................................42

[

BACK

PANEL ]

......................................43

[

FX ]

........................................................44

ONO DELAY

.........................................45

TEREO DELAY

......................................45

COMB

....................................................45

EVERB

.................................................45

HORUS

.................................................46

HORUS/D

ELAY

.....................................46

LANGER

...............................................46

HASER

.................................................46

AH/D

ELAY

...........................................47

ISTORT (DISTORTION

)

...........................47

LOW-FI

..................................................47

MP SIM

................................................47

AVESHAPER

........................................47

TEREO WIDENER

..................................48

UTOPAN

...............................................48

ATOR

...................................................48

VOCODER..............................................48

ILTER

..............................................50

QUALIZER

.............................................50

OMPRESSOR

........................................50

NSEMBLE

.............................................51

ABINET

.................................................51

ULTIDISTORT

.......................................51

UTOWAH

..............................................51

X MODULATION MATRIX

..........................52

MIDI IMPLEMENTATION

CHART

............53

APPENDIX A: WAVE TYPES...................54

APPENDIX B: LFOSYNC

SETTINGS

.......54

APPENDIX C: DELAY SY

NC SETTINGS.54

APPENDIX D: MODULATI

ON SOURCES

AND DESTINATIONS

...............................55

Installation on PC (VST)

Software box version

Predator comes with an installer "

Predator_1_5_Installer.exe

", which can

be found on the installation CD

ROM. Double-click on this program starts the installation process. The Installer will guide you through the installation process.

Please note: In order to authorize Predator you will need to be connected to the internet.

he installer will then request you to enter your personal 'activation code' which can be found on the

cardboard sleeve which contains the CD-ROM. Read now 'Next steps' below.

Software online version

If you have purchased the online version of Predator, t

he installer program can be found on the

www.robpapen.com

download page.

To get access to the download page, first create an account at the

www.robpapen.com

To create an account look for the login box which can be found at the left side of the homepage. N

ext step is adding your Predator product inside the section 'Software registration'. Use the Predator 'activation code' which you can find in the ShareIt registration e-mail to add Predator into your product list. Once added, the product will show up in yo

ur product list and also the link to the download

page will show up. Click at the download page link and it will open. The installer "

Predator_Setup.exe"

, can

be found inside and please download it.

Next steps

;

When the installer runs, first select the l

anguage for the 'Quick manual' and then choose the directory to install. Make sure you choose the right directory, so your host software is able to find the Predator VSTi. Refer to your host software's manual if you are unsure about where the host software

plug-in directory is located. The instrument files 'Predator.DLL' and 'PredatorFX.dll' together with their preset banks can be found in the 'Rob Papen' directory. The next time you start your host software Predator will be listed in the VST Instrument li

st and PredatorFX in your FX list.

During the installation process,

Syncrosoft License Control

Center

will be installed and then run. When the

Syncrosoft License Control

Center

runs, it will open the License Download Wizard page. In the Enter Activation Code box please enter your Predator 'activation code' into the 'Enter Activation Code' printed on the cardboard sleeve containing the CD-ROM or the 'activation code' inside your ShareIt registration e-mail. After activation it should show 'Rob Papen Pred

ator' in the License download screen. Whilst on the 'License Download' Page, click on Start and the license for Predator will be downloaded. You will need to be connected to the internet to download a license. After this Predator should be licensed and us

able in your host.

Options

Syncrosoft dongle

If you own a Syncrosoft dongle you can transfer the Predator license onto it by using the 'License Transfer' wizard in

Syncrosoft License Control

Center

software.

Syncrosoft dongles can be also purchased

at www.robpapen.com

2. Registration, updates and additional installation on a second computer

For registration, updates or a second activation code to install for example on a second computer, please create an account on the

www.robpapen.com

website and

there you can obtain a 2nd activation code. To request the second activation you will need to add your Predator product inside the section 'Software registration'. Use the Predator 'activation code' which you can find on the cardboard sleeve containing t

he CD-ROM or the 'activation code' inside your ShareIt registration e-mail.

If you have any questions regarding the installation of Predator please look at FAQ or contact our support team at

www.robpapen.com

Installation on PC (RTAS)

Software box vers

ion

Predator comes with an installer "Predator_RTAS_1_5_Installer.exe

", which can be found on the installation CD-ROM. Double-click on this program starts the installation process. The Installer will guide you through the installation process.

Please note

: In order to authorize Predator you will need to be connected to the internet.

The installer will then request you to enter your personal 'activation code' which can be found on the cardboard sleeve which contains the CD-ROM. Read now 'Next steps' below

Software online version

If you have purchased the online version of Predator, the installer program can be found on the

www.robpapen.com

download page.

To get access to the download page, first create an account at the

www.robpapen.com

To create an acc

ount look for the login box which can be found at the left side of the homepage.

Next step is adding your Predator product inside the section 'Software registration'. Use the Predator 'activation code' which you can find in the ShareIt registration e-mail

to add Predator into your product list. Once added, the product will show up in your product list and also the link to the download page will show up. Click at the download page link and it will open. The installer "

Predator_RTAS_1_5_Setup.exe"

, can be fo

und inside and please download it.

Next steps :

When the installer runs, first select the language for the 'Quick manual'. Next choose the directory C:\Program Files\Common Files\Digidesign\DAE\Plug-Ins

, so your host software is

able to find the Predato

r instrument.

The instrument files 'Predator.dpm' and 'PredatorFX.dpm' together with their preset banks can be found in the 'Rob Papen' directory. The next time you start your host software Predator will be listed in the RTAS Instrument list and Predato

rFX in your RTAS FX list.

During the installation process,

Syncrosoft License Control

Center

will be installed and then run. When the

Syncrosoft License Control

Center

runs, it will open the License Download Wizard page.

In the Enter Activation Code bo

x please enter your Predator 'activation code' into the 'Enter Activation Code' printed on the cardboard sleeve containing the CD-ROM or the 'activation code' inside your ShareIt registration e-mail. After activation it should show 'Rob Papen Predator' in

the License download screen.

Whilst on the 'License Download' Page, click on Start and the license for Predator will be downloaded. You will need to be connected to the internet to download a license. After this Predator should be licensed and usable in

your host.

Options

Syncrosoft dongle

If you own a Syncrosoft dongle you can transfer the Predator license onto it by using the License Transfer wizard in

Syncrosoft's License Control

Center

software.

Syncrosoft dongles can be also purchased at w

ww.robpapen.com

2. Registration, updates and additional installation on a second computer

For registration, updates or a second activation code to install for example on a second computer, please create an account on the

www.robpapen.com

website where yo

u can obtain a 2nd activation code. To request the second activation you will need to add your Predator product inside the section 'Software registration'. Use the Predator 'activation code' which you can find on the cardboard sleeve containing the CD-RO

M or the 'activation code' inside your ShareIt registration e-mail

If you have any questions regarding the installation of Predator please look at the FAQs or contact our support team at

www.robpapen.com

Installat

ion on Mac (VST, AU and RTAS)

Software box version

Predator comes as a disc image "Predator_1_5_Installer.dmg

", which can be found on the installation CD

ROM. Double-click this file to decompress and mount this image. Double click the installer program t

o begin

the installation process. You will then be guided though the installation process.

Please note: In order to authorize Predator you will need to be connected to the internet.

The installer will ask you for you to enter your personal 'activation c

ode' which can be found on the

cardboard sleeve containing the CD-ROM.

Read now 'Next steps' below.

Software online version

If you have purchased the online version of Predator, the installer program can be found on the

www.robpapen.com

download page.

get access to the download page, first create an account at the

www.robpapen.com

To create an account look for the login box which can be found at the left side of the homepage. Next step is adding your Predator product inside the section 'Software regi

stration'. Use the Predator 'activation code' which you can find in the ShareIt registration e-mail to add Predator into your product list. Once added, the product will show up in your product list, and also the link to the download page will show up. Cli

ck at the download page link and it will open. The installer '

Predator_1_5_Installer.dmg'

, can be

found and please download it.

Next steps

During the software installation process,

Syncrosoft License Control

Center

will be installed and will appear

on y

our screen or it will be shown in the dock.

When the

Syncrosoft License Control

Center

runs, click on the Wizards menu and select the 'Wizards License Download' menu item. In the 'Enter Activation Code' please enter Predator's 'activation code' printed o

n the cardboard sleeve containing the CD-ROM or the 'activation code' inside your ShareIt registration e

mail. After activation it should show 'Rob Papen Predator' in the download License screen. Whilst in the 'License Download' page, click on Start and

the license for Predator will be downloaded. You

will need to be connected to the internet to download a license. Then 'Quit' the

Syncrosoft License Control

Center

after you have finished downloading the license and t

installer will then finish the ins

tallation process

. After this Predator should be licensed and usable in your host. So next time you start your host software, Predator and PredatorFX will be listed in the VST / AU / RTAS instrument list.

Notes

1. If you run the installer and do have t

he 'Rob Papen Predator' already on a 'Syncrosoft dongle'.

Run the installer and the

Syncrosoft License Control

Center

will be installed. Select the

Syncrosoft License

Control

Center

from the dock if it does not appear on the screen Then click on 'refresh'

and the license will

appear. Then 'quit' the

Syncrosoft License Control

Center. The installer will then finish the installation

process

. After this Predator should be licensed and usable in your host as long as the 'Syncrosoft dongle' is

connected. So nex

t time you start your host software, Predator and PredatorFX will be listed in the VST / AU

/ RTAS instrument list

2. Running an installer to update Predator.

If you have already installed Predator, run the installer and the Syncrosoft License Control

Cen

ter

will be

installed. Select the

Syncrosoft License Control

Center

from the dock if it does not appear on the screen and

select Quit from the menu.

The installer will then finish the installation process.

The next time you start your host software, the

updated Predator and PredatorFX will be listed in the VST /

AU / RTAS instrument list..

Options:

Syncrosoft dongle

If you own a Syncrosoft dongle you can transfer the Predator license onto it by using the License Transfer wizard in

Syncrosoft's License Control

Center

software.

Syncrosoft dongles can be also purchased at www.robpapen.com

2. Registration, updates and additional installation on a second computer

For registration, updates or a second activation code to install for example on a secon

d computer, please

create an account on the

www.robpapen.com

website where you can obtain a 2nd activation code. To request the second activation you will need to add your Predator product inside the section 'Software registration'. Use the Predator 'acti

vation code' which you can find on the cardboard sleeve containing

the CD-ROM or the 'activation code' inside your ShareIt registration e-mail. If you have any questions regarding the installation of Predator please look at the FAQs or contact our

supp

ort team at

www.robpapen.com

Predator Features

VST2.4, AU and RTAS plug-in synthesizer for PC and Mac

Oscillators section:

3 Oscillators with 128 waves included Analogue, Additive and Spectral type of waveforms

plus pink & white noise generators. Oscillator waveform Symmetry control for each oscillator. Free running option for each oscillator and Oscillator Syncing of oscillator 2 or 3 to oscillator 1. Extended semitone range going from -48 semitones up to +48

semitones. Separate octave control and fine-tuning. Keyboard tracking on/off for each oscillator. Each Oscillator offers Pulse Width Modulation (PWM) using an independent LFO for each oscillator with individual speed and amount controls. FM and Ring modul

ation modes for Oscillator 2 and 3. Each oscillator has a PWM square wave Sub-oscillator. Spread function for detuned multiple oscillator sound within one Oscillator. Volume control for each oscillator and output on/off for Oscillator 1 and 2.

Overall Pi

tch modulation section:

Tempo sync-able global Pitch LFO. You can set the amount and also which wave is used for this LFO. Pitch bend with separate settings for up and down pitch-bends.

Filter section:

Main filter is an analogue modelled stereo Multimo

de Filter, offering 6dB LowPass and HighPass, 12dB, 18dB and 24dB LowPass and HighPass, 12dB and 24dB BandPass, 12dB and 24dB Notch, Comb and Vocal Filter Pre-filtering distortion with smooth or edgy mode option. Easy Filter control by pre-defined Cutoff

Frequency modulation controllers: Envelope, Velocity, Key-tracking, LFO and Modulation Wheel. Built-in Filter Envelope with Attack, Decay, Sustain, Fade and Release. Build in Filter LFO with various waveforms, modulation amount control and tempo sync opti

on with speed settings between 16/1 and 1/32t. LFO Poly, free or mono mode options.

Filter2 section

Additional Filter with cutoff control offering 6dB, 12dB and 24dB LowPass, HighPass, Split-1 and Split-2 setting.

Amp section:

Built-in Amp/Volume Enve

lope with Attack, Decay, Sustain, Fade and Release. Volume control. Velocity> Volume amount. Panning control.

Free modulation section: Free Envelopes

2 Envelopes with Attack, Decay Sustain, Fade and Release. Option to control the Envelopes times using "v

elocity" or "key played". Modulation Amount Envelope 1&2 and amount control for Envelope 1. 65 modulation destinations.

Free LFO's

2 LFO's with various waveforms. Tempo sync option with speed settings between 16/1 and 1/32t. Poly, free or mono mode optio

ns. Modulation Amount LFO 1&2 and amount control for LFO 1. 65 modulation destinations.

Free Modulation Matrix

8 free modulation routings. 40 modulation sources. 65 modulation destinations. Secondary modulation source & control.

Play modes section:

Pol

y/Mono/Mono2/Legato/Arp/Unison2/Unison4/Unsion6 synthesizer play modes. Portamento featuring constant rate/constant time or held(legato) constant rate/constant time. Unison detune amount, if Predator is in Unison2, Unison4 or Unsion6 mode. 8 note Chord mem

ory, saved within the preset, including syncalbe strum timing.

Demo C3 button to preview sounds.

Arpgeggiator section:

16 step

arpeggiator

, which can be used as a step sequencer or as modulation source. Arpeggiator patterns can be 1-16 steps long. Speed s

etting of 1/4, 1/3, 1/2, 2/3, 1, 3/2, 2, 3 and 4x BPM. Up, down, up/down, down/up, random, ordered, reverse ordered, ordered up/down, ordered down/up, chord and modulation mode. 1-

4 octaves settings.

Overall step length. Swing amount. Slide amount for slid

ing steps. Velocity control knob which mixes between keyboard (midi) velocity input and the steps velocity settings. Each step has on/off, Tie, Slide, Tune, Velocity and Free row. Tie modes normal and special which allows Slide, Tune, Velocity and Free settings inside a step if that step is set to Tie. Toggle modes 1 and 2 which toggle between normal and special. Arpeggiator Latch which can be controlled by the midi sustain pedal. You can load, save, copy, paste and reset

arpeggiator

patterns, so you can

reuse them in different presets.

Right mouse menu

in the arp screen brings up an arp menu which allows you to copy, paste, clear, move, reverse,

randomize and turn off / on controls, for both selected steps or all steps

Advanced section:

Adjustable Ana

logness setting to simulate the instability of vintage analogue synthesizers. Global Tuning. Attack Shape. This changes the curvature of Predator's envelopes attack stage. From exponential to linear to logarithmic. Decay/Release Shape. This Changes the cur

vature of Predator's envelopes decay and release stages. From exponential to linear to logarithmic. Velocity Shape. Changes Predator's velocity curvature. From exponential to linear to logarithmic. Over-sampling mode: Sets the over-sampling from 1x / 2x /

4x / 8x / 16x / 32x Over-sampling filter on/off: optional post-over-sampling lowpass filter. Strum timing for use with chord mode, with timing in ms or tempo synced Filter stereo spread function in case the Filter 1 is in Split-1 or Split-2 mode. Audio i

nput selector >FX or >Filter (PredatorFX only). Audio input gain control (PredatorFX only). Synth Amp Hold on/off. Turn off the PredatorFX's Amp envelope and so the sound plays without changing volume. (PredatorFX only). All advance settings are saved with

in each individual preset.

External controller hardware (fader-box or synth) settings can be saved and restored.

Overall:

16-voice polyphony. Parameter read-out field at lower right corner. Help function for most controls.

FX section:

HQ effects blocks i

n serial mode. Available effects: Mono Delay, Stereo Delay, Comb, Reverb, Chorus, Chorus/Delay, Flanger, Phaser, Wah/Delay, Distortion, Low Fi, Amp Simulator with 5 models, Waveshaper, Stereo Widener, Autopan, Gator, Vocoder, FX multi-filter, 5 Band Equ

alizer, Compressor, Ensemble, Cabinet Simulator, Multi-distortion and AutoWah Midi tempo based settings in most effects. Option to use ms settings instead of tempo based settings. 2 FX modulation sources for connecting midi or synth controls to FX paramete

rs.

Preset section:

Uses sound banks composed of 128 presets. Quick browser with browse history and favourites Preset handling with copy, paste, clear and compare function. All settings included the Advance panel settings are stored inside each preset. Presets are stored in clear categories. Four 'Preset variation' buttons with amount control of the variation. Preset morphing with amount control to morph between two presets within the selected bank. Preset / Bank Manager screen, with powerful find preset

capabilities.

Introduction into Predator

Audio Signal flow

Predator is a subtractive virtual synthesis synthesizer with 16 note polyphony including some extraordinary new ideas and features. The synthesizer is designed so that it makes use of subtract

ive synthesis but also a bit of FM synthesis is possible. The block diagram below shows the audio signal flow within Predator and Predator FX.

GUI design / user interface

The GUI design of Predator can be divided into 9 main sections: Oscillator secti

on, Pitch modulation section, Filter section, Amp section, Free modulation section, Arpeggiator section, Play modes section, Preset section and Advance section. Below at the right corner is the parameter readout field.

The Arpeggiator section and Free

modulation occupy the same space, to toggle between these two screens

press the

to Arp

to Mod

buttons. Similar you can select between the Preset section and Advance section,

by clicking on the

to Adv

to Preset

buttons.

User guide settings [ Big Bol

d ]

= Header of 'synth-section' inside Pred

ator.

Bold regular

= Header sub-part inside a 'synth-section' of Predator.

Underlined

= parameter inside Predator.

setting =

setting of a parameter.

'section' = refers to a section of Predator. For instance the

Filter section.

Predator Controls

Predator uses controller knobs and buttons to adjust its parameters. If you move your mouse over a control the controller name and its value is shown in Predators read-

out screen, which is located at the bottom right

hand side. Knobs

Knobs are controlled by left clicking on them and moving the mouse up and down, you can see the value in the read-out screen. Pressing shift and moving up / down allows you to fine tune the control and pressing ctrl + mouse button sets

the control to its default value. Buttons come in two kinds: On / Off buttons

On / Off buttons: when you left click these they toggle between being on and off. An example of this is the Oscillator tracking button.

Menu buttons When you left click on th

ese a pop-up menu appears, this allows you to select the value for this control.

Right clicking Right clicking (or control-click on Mac) on a control will bring up the midi / help menu. Here is shown the control name, the current value and which midi con

trol this control is latched to.

Also you can do the following.

Help

(right clicking or control-click on Mac)

Bring up a help screen for that control.

Set to default

(right clicking or control-click on Mac)

Set the control to its default value.

- Set to Minimum

(right clicking or control-click on Mac)

Set the control to its minimum value.

Set to Maximum

(right clicking or control-click on Mac)

Set the control to its maximum value.

Set to Mid

(right clicking or control-click on Mac)

Set the con

trol to its medium value.

Set to Random

(right clicking or control-click on Mac)

Set the control to a random value.

Increase

(right clicking or control-click on Mac)

Increases the control value by 1%

Decrease

(right clicking or control-click on M

ac)

Decreases the control value by 1%

Set Value

(right clicking or control-click on Mac)

Brings up an entry box so you can directly set the value of a control.

Latch to midi

(right clicking or control-click on Mac)

Latches that control to the next m

idi control received.

For instance to latch

Osc 1 volume

to midi expression, right click on

Osc 1 volume knob

, click on

Latch to

Mid

and then move the midi expression control, this should move the Osc 1 volume knob as well.

These addressed midi controlle

r settings are overall and will work for all presets and active Predators in your

host.

Unlatch midi

(right clicking or control-click on Mac)

Unlatches that Predator control from any midi controls.

Set Midi CC (right clicking or control-click on Mac

)

Allows you to set directly which midi cc will be latched to the control.

Clear midi

(right clicking or control-click on Mac)

Clears all of the midi latching. Note: in the preset section you can save or load your whole midi (latch) controller setup t

o Hard Disk. This

file button is called ECS.

Computer Keyboard Controls

You can alter the current preset and banks using the computers keyboard. The functions can be turned

off

at the back panel of Predator.

To access the back panel, click at the Predator

logo. This setting is global.

Up arrow button

Previous preset

Down arrow button

Next preset

Left Arrow button

Increase preset number by 32. This is useful in the manager screen.

Right Arrow button

Decrease preset number by 32. This is usef

ul in the manager screen.

Page Down

Next Predator bank

Page Up

Previous Predator bank

Mouse Scroll Wheel Controls

Scrolling the mouse wheel up and down scrolls through the presets

[ Preset ]

In this section you control th

e presets, banks, the preset variations and the preset morphing options of

Predator. Preset

Here you can select the preset, either by clicking on the preset screen itself which pops up a menu where you can select the preset. You can also use the < and >

to scroll through the presets of the selected bank as well. Next to that the preset screen has load / save / rename / copy / paste & clear presets. You can also generate morph & variant presets here Note: if you change a preset inside a bank, you need to

save that preset within the whole bank to keep the

changed preset. To keep the original preset banks, always save the bank with a new name. Bank

This is where you can select the bank, either by clicking on the bank screen and selecting from the menu or b

y using the < and > to scroll through the different types of banks. All Predator banks are saved inside Predator/Banks folder on your computer. PredatorFX saves its banks inside the Predator/FXBanks folder. It is recommended that you save your own Predator

or PredatorFX banks inside their own folder/file. In the factory banks of Predator the last preset 110 up to 128 are left empty as morphing preset spots (read preset morphing section below). To save a bank or to load a bank you need to use the

file

functi

on inside this section.

Note

: if you change a preset inside a bank, you need to save that preset within the whole bank to keep the

changed preset. To keep the original preset banks, always save the bank with a new name. Manager

Brings up the preset / bank

manager, see Preset / Bank Manager section for more details

Edit / Orig Once you have edited a preset, the Edit/Orig button will light up. If you then the click on the

Orig

button it will return the preset to its original settings, if you then click

on the

Edit

button, it will return it to its edited version. This allows you to toggle between the original preset and the edited one, to hear the differences to any changes that you have made. Note

: if you change a preset inside a bank, you need to save

that preset within the whole bank to keep the changed preset. To keep the original preset banks, always save the bank with a new name.

Variation A-D, Amount This is a unique feature that only Predator offers. It is an intelligent tool to produce usefu

l preset variations. Unlike many other "random" systems this produces 99% useful preset variations. You have 4 options, the button A, B, C & D. Each option only changes certain preset controls. A-

C changes the synthesizer parameters.

D changes only t

he FX section properties.

Amount The amount of variation is set by the variation amount

control knob, a small value produces small changes, and big values produce big changes. If you use this function you can always go back to the original preset by pre

ssing

orig

or return back again by

pressing

edit.

File

load bank

loads a bank from the computer HD. Default directory is the Predator/Banks (synth) and Predator/FXbanks (PredatorFX).

save bank

saves a bank to the computer HD. Default directory is the Pred

ator/Banks (synth) and

Predator/FXbanks (PredatorFX).

load preset

loads a preset inside the selected bank.

save preset saves a preset to the computer HD. copy preset copies a preset, which allows you to move it to another spot in the bank or to another bank.

Note: bank needs to be saved again.

paste preset paste a copied preset to another spot in the bank or to another bank. rename preset sets the name of the selected preset.

Note: bank or preset needs to be saved again.

default preset sets the preset t

o a default preset.

preset manager brings up the preset / bank manager screen

ECS This allows you to load / save an external midi controller setup. Once set it is shared by all of the presets. You can latch one of Predators controls to a midi controller

by using the right button (or control-click on Mac) menu and selecting latch midi. You can also unlatch midi controls the same way or clear all of the midi controls. For example try latching the filter cutoff control or one of the envelope knobs.

load esc

this opens the folder that holds ECS setups. Installer of Predator installed a folder called ECS and it loads .ECS files.

save esc

this gives the user the option to save the midi setup you made and use them in other songs, it is saved as an .ECS file.

set all midi this clears all the midi settings for the Predator synth. Handy if you want to start from

scratch.

Preset morphing This feature allows you to morph two presets from the selected bank/banks into a new preset. Browse through the bank to find t

wo presets that you would like to morph into each other. If you find a preset you'd like to morph, select "Store as Morph A" or "Store as Morph B" using the preset menu and this will store the current chosen preset as one of the morphing sources. Then pi

ck an empty spot in the preset bank, for instance the factory preset banks all have empty spots from preset 110 - 128. Then, click on the A or B field

and select "Stored Morph A or B" in the preset selection box (in the Morphing

section). This then sets mo

rph source A or B to the previously stored preset.

Open the

amount

knob to set the morphing, between the A and B preset and then hit

GEN

to generate a

morphing preset. You can do this as often as you like until you find a nice morphing setting. You must s

ave the newly generated preset either with the bank or as a separate preset, if you wish to use it again. Note

: in preset box A and B you can also select a preset from the regular preset list. Quick Browser Use the right mouse button (or control-click o

n Mac) inside the Preset display menu to open the

"QuickBrowser".

This "Quick Browser" shows all the available banks and its presets. If you then click on a preset, that bank and preset will be loaded in.

Recently Browsed

This shows a list of all the rec

ently used presets. Clicking on an entry loads in that

preset again. Clicking on "Clear Recent" removes all entries

Favorites

This shows a list of presets selected as being

Favorites

presets.

Clicking on an entry loads in that preset. You can select a p

reset to be a

Favorite

by clicking on "Add Current to Favourites". "Remove Current from

Favorites

" removes the current preset from the

Favorite

list,

and "Clear

Favorites

" removes all entries.

The

Favorite

list is stored on the computer's hard-disc, so t

he list will be

remembered the next time you use the plug-in.

[Preset / Bank Manager ]

The manager screen allows you to see all the presets & banks at one time. Also it allows you to alter presets and banks, and search for presets within all the ba

nks.

You enter the Manager screen by clicking on the

Manager

button in the Preset section or clicking on the

Preset Manager entry in the file menu. To return to the main screen, click on the

button.

In the Manager screen, the left hand screen shows

the presets in the current bank, and the right hand screen the installed banks. At the bottom are the preset / bank controls. In the Preset screen, the current preset is shown in red, and clicking on a preset loads it in. Clicking and moving a preset al

lows you to move the preset from it's current position to a new position. Shift + clicking allows you to select a range of presets and Ctrl + clicking allows you to select unconnected presets. These multi-presets can be saved to disk via the

save

button

/ menu entry. Alt + clicking & moving allows you to swap presets. Right clicking brings up the preset command menu. In the Bank Screen, the current bank is shown in red, clicking on a bank loads it in and right clicking bring up

the bank command menu. M

oving the scroll bar at the right moves the displayed banks.

Preset Commands

Load

Loads in a saved preset / presets

Save

Saves the current preset/presets as a fxp file.

Copy

Copies current preset

Paste

Pastes last copied preset

Swap

Swaps the cu

rrent preset with another one

Move

Moves the current preset to another position

Insert

Inserts a blank preset at the current position, moving the rest of the presets forward one.

Original

Returns the current preset to it's original settings

Edited

Returns the current preset to it's last edited settings

Default

Sets the current preset to the default settings

Delete

Deletes the current preset, move the rest of presets back one

Rename

Renames the current preset

Find

Read find section below

Hel

Brings up the Manager help screen

Undo

Undo last preset command

Preview

Previews the current preset

Bank Commands

Load

Loads in a bank, if the current bank has been changed from its original state, then a back up

of it as a ~fx file is created.

Save

Save current bank

Copy

Makes a copy of current bank

New

Creates a new bank

Delete

Deletes the current bank (actually renames it as a ~fxb file so it's not shown)

Rename

Renames current bank

About Find Clicking on the find button brings up

the file dialog. This searches all the banks for presets which includes the searched for string. In the Preset screen, all found presets are shown in white (the others are shown in gray). In the Bank screen, all the found preset in all the banks are shown

, these are shown as firstly bank name then list of presets within that bank. Clicking on a bank loads in that bank, clicking on a preset within a bank loads in that preset.

[ Predator Oscillator ]

Predator s sound begi

ns with the oscillator section. Predator can use up to 3 oscillators to generate its basic sound. Of course you don't need to use them all...it all depends on the type of sound you want to produce.

We have added FM & ring modulation options to Oscillator 2 and 3, to further shape the sound. This adds an extra dimension to Predators

soundscape

Oscillator on/off Next to the Oscillator label you can find a button to switch the oscillator on or

off

Waveform Here you can select the basic shape or harmon

ic content of the oscillator, this is known as its waveform.

Predator has a total of 128 waveforms, ranging from classic

analog

style waveforms including saw & square

to additive and spectral waveforms.

Symmetry (Sym.) This controls the

symmetry of the selected waveform. The effect it has differs from waveform to waveform, but basically it moves the midpoint of the waveform. It is most commonly used with the Square waveform. Here the symmetry control alters the pulse width of the wa

veform, from very narrow pulse waveforms to normal square waves.

Free on/off When this is turned on, it returns an oscillator to the initial position when you press a new key, when its off, the oscillator continues from its last position, it is "free-run

ning".

This is useful in

spread

sounds because it removes the initial attack part of the sound.

Sync on/off (Osc.2 and Osc.3) Only available for Oscillator 2 and Oscillator 3. If you switch it on, the oscillator synchronizes to Oscillator 1. This means

that when oscillator 1 finishes the wave cycle, it resets the synced oscillator to the initial position. This means that the oscillator does not have a life for its own anymore and is bound to Oscillator 1. You can hear it very well if you detune, for in

stance, Oscillator2 and then turn Sync on. The detuning disappears, and it now has the same pitch as Oscillator 1. However, Oscillator 2 will sound different because it is being reset by Oscillator 1, this will cause the sound to have different harmonic co

ntent. Listen to preset "Predator SyncLead" of the first bank for an example.

Semi This controls the root pitch setting of the oscillator, with semitones you can alter the tuning from -48 semitones down (-4 octaves) to 48 semitones up (+4 octaves) from

the base note.

Fine Next to the

semi

knob fine sets the fine-tuning of the oscillator with a range of -100cent up to +100cent.

Track The track button is located at the very top of the

semi

button.

With track set to

the oscillator follows the

keyboard

in pitch. When it is

off

the pitch of the oscillator stays the same independent of what key is played.

In the case of FM or Ring modulation, or for FX sounds it can be handy if you can turn this setting

off.

Octave up/down Next to the

track

control you c

an find an up and down arrow. Pressing up increases the oscillator tuning by

an octave, pressing down decreases the oscillator tuning down by an octave.

Sub This knob controls the volume of the oscillators sub-

oscillator. The sub-oscillator is a square w

ave which is one octave lower than the normal oscillator pitch. The sub-oscillator pitch is always connected to the oscillator pitch, so if you detune the oscillator, the sub

oscillator detunes along with it. Spread

This is a special Predator function. If

you open this control knob, a multiple oscillator sound is generated using one oscillator. The spread knob controls the level of detuning for these multiplied oscillators. If you keep spread to 0 level, a normal oscillator is generated.

PWM PWM stands f

or Pulse Width Modulation. This controls the maximum PWM modulation amount of the LFO

(see

speed

parameter). PWM alters the symmetry setting (the middle point) of the oscillator over time. You can use PWM on any waveform, but it is most commonly used with

the square wave where it alters the

pulse width of the waveform. Speed:

The amount of

PWM

(Pulse Width Modulation) is altered over time by a sine-wave LFO. With speed you control the speed of this LFO. Of course you need to open the PWM amount to hear

the result of any speed changes.

Volume With volume you control the volume of the oscillator before it goes into the 'Filter section'. NB if you set the filter

pre-filter distortion

edgy

, the volume of the oscillator influences the distortion of the

ilter, and so you can add distortion with lower oscillator volume settings.

Output This controls whether an oscillator is output to the 'filter section'. With FM and Ring modulation you do not want the modulating oscillator output to be fed into the filte

r. So with Osc.1 and Osc.2 you have the option to shut off the output to the filter, when you are using them as a modulation oscillator.

FM Mode This controls the FM or ring modulation options for Osc 2 and Osc 3. When you use either in FM or ring modu

lation, youll need to keep the modulation oscillator on but not heard, so you can turn

off

the output of the oscillator to the filter using the output button. With FM modulation the oscillator modulates the pitch of the target oscillator, so you get over

tones to the original sound. With Ring modulation, both oscillators are multiplied together and you get sound that uses a combination of both sources.

FM Amount This controls how much the oscillator is frequency or ring modulated.

[ Pitch Modulation ]

This section shows how you can alter the overall pitch of the sound, either using an LFO to change the pitch over time (vibrato) or how much the pitch bend controller alters the pitch.

Pitch Modulation LFO

Amount The amount of LFO modulation appli

ed. At the full amount, the pitch goes up / down by one semitone (

sine,

triangle

and

S&H

waves) & up only by one semitone for the square and saw waves.

Amount control Here you can select the controller (for instance Modulation Wheel) that controls the amount

of Pitch LFO modulation. Listen to "Predator SyncLead" in the first bank. The control amount can be set to positive as well as negative.

Speed This controls how fast or slow the L.F.O is running.

Sync If you turn sync on, the

speed

of the LFO will

be tempo based.

To find the correct setting you need to adjust the

speed

parameter.

Waveform

Sine, Triangle, Saw Up, Saw Down, Square

and

S&H. Sinus

and

Triangle

are most often used for pitch because they produce a modulation that goes up and down smoothly. The other waveforms are more suitable for FX sounds or special sounds.

Pitch bend

Down This sets the pitch change when you move the pitch-bend wheel Down. It ranges from

Off

, down to - 48

semitones (-4 octaves). Up

This sets the pitch change when

you move the pitch-bend wheel Up. It ranges from

Off

, up to + 48 semitones

(+ 4 octaves).

[ Filter ]

The sound generated in the oscillators is passed into the filter. Here, the harmonic structure is altered by the selected filter type. Predator als

o has an extra secondary filter called F2 in case extra changes are needed.

Main Filter

Cutoff This sets the filters frequency where the filter starts altering the sound. For instance, if you set the Cutoff to 2000Hz and use a 12dB Lowpass filter it re

duces any frequencies above 2000Hz, so for instance a sound at 4000Hz will be reduced by 12dB. The Cutoff frequency can be static at a fixed frequency, but you can also modulate the Cutoff frequency with the

Filter Envelope, Keyboard tracking, Modulation W

heel

and

LFO

Therefore there is a line on Predator front-end which shows that these controls alter the Cutoff frequency. The modulation doesnt move the Cutoff control knob from its initial position, but if you add any kind of

modulation (change the sil

ver colour control knobs) the Cutoff frequency is internally modulated.

Resonance (Q) The resonance controls how much the sound at the

Cutoff frequency

is increased, so the resonance "emphasises" this frequency. As you increase resonance it gets more an

d more pronounced till the filter self-

oscillates". So basically the resonance is feedback onto the Cutoff frequency. NB: the 6dB filter types are unable to self-oscillate, and in Comb filter the resonance controls the comb filters feedback. To hear what

resonance does, the best thing to do is to try changing it. If you open the LFO modulation you

will hear that the Cutoff frequency starts to move. Opening the Resonance emphasises this movement. There is a special mode to create resonance sounds without

using the oscillators. This is originally only

possible with

analog

synthesizers. To use this special resonance sounds, you need to turn off all the

oscillators.

One word of caution, this resonance sound can be very loud, so be careful with the volume.

so it produces a bit of noise artifacts.

Filter mode

Bypass

The filter is bypassed and the sound passes through unaffected.

6dB LowPass

Low frequencies pass through this filter and frequencies above the

Cutoff frequency

are reduced by 6dB per

oct

ave.

For example: a frequency 2000Hz is 6dB softer in volume if the

Cutoff frequency

is set to 1000Hz.

6dB HighPass

High frequencies pass through this filter and those below the

Cutoff frequency

are reduced by 6dB per octave. The filter is open if the Cutoff frequency knob is fully turned left.

12dB LowPass

Low frequencies pass through this filter and those above the Cutoff frequency

are reduced by 12dB per octave.

12dB HighPass

High frequencies pass through this filter and those below the

Cutoff f

requency

are reduced by 12dB per octave. The filter is fully open if the

Cutoff frequency

control knob is fully turned left.

18dB LowPass

Low frequencies pass through this filter and those above the Cutoff frequency

are reduced by 18dB per octave.

dB HighPass

High frequencies pass through this filter and those below the

Cutoff frequency

are reduced by 18dB per octave. The filter is fully open if the

Cutoff frequency

knob is fully turned left.

24dB LowPass

Low frequencies pass through this filter

and those above the

Cutoff frequency

are reduced by 24dB per octave.

24dB HighPass

High frequencies pass through this filter and those below the

Cutoff frequency

are reduced by 24dB per octave. The filter is fully open if the

Cutoff frequency

knob is f

ully turned left.

12dB BandPass This filter mode is a combination of 12dB LowPass and 12dB HighPass filters. Only those frequencies near to the filter

Cutoff frequency

pass through (a band of frequencies), the

resonance (Q)

, controls the width of this

band so that low & high frequencies are removed.

24dB BandPass This filter mode is a combination of a 24dB LowPass and 24dB HighPass filter. Only those frequencies near to filter

Cutoff frequency

pass through (a band of frequencies), the

resonance

(Q)

controls the width of this band, so low & high frequencies are removed.

12dB Notch Those frequencies near to the filter Cutoff frequency

are reduced in volume (12dB), the resonance controls

the width of this removal region.

24db Notch Those frequ

encies near to the filter

Cutoff frequency

are reduced in volume (24dB), the resonance controls

the width of this removal region.

Comb filter This is a very short delay, which emphasises the comb filter frequency. The

Cutoff frequency

controls the

leng

th of this delay and

resonance (Q)

the feedback of the filter.

Vox filter Vocal Filter, which adds a voice-like filtering to the sound. In Vox filter mode, the distortion knobs controls the vowel of the filter.

Pre-Filter Distortion It is possible to o

verdrive the oscillator sound ahead of going into the Filter. This can be done in a

smooth

way or in an

edgy

way. For the

edgy

setting, the following apply: Overdrive of the filter already starts at about -3dB with a sinus waveform using only 1 oscillator. Overdrive of the filter starts at -9dB with a sinus waveform using 2 oscillators. Overdrive of the filter starts at -12dB with a sinus waveform using 3 oscillators.

So be careful with the volume of the oscillators if you are in

edgy

filter overdrive mode

The

smooth

overdrive is more "subtle" and less aggressive than the

edgy

setting. Also distortion in

smooth

setting starts only if you open up the drive

amount.

Try it out yourself and open the

resonance (Q)

to hear the difference in sound with both disto

rtion modes.

Modulation amounts of Cutoff frequency

Envelope Adds a positive or negative

Cutoff frequency

Envelope amount. The 'Envelope' is inside the Filter section itself. Keep in mind that if you use negative modulation, that the envelope is reversed.

Velocity Adds a positive or negative

Cutoff frequency

modulation by the amount of velocity used. If Predator is in

arpeggiator

mode (

Play mode

) the

arpeggiator

velocity settings are active.

Keytrack Adds a positive or negative

Cutoff frequency

modulat

ion by the keyboard note position.

With positive amount, the

Cutoff frequency

goes up the higher you play the keyboard.

With negative amount, the

Cutoff frequency

goes down the higher you play the keyboard.

LFO Adds negative or positive

Cutoff frequency

modulation by the 'Filter LFO'.

Mod.Wheel Adds negative or positive

Cutoff frequency

modulation by the 'Filter LFO'.

Filter 2 (F2)

Filter 2(F2) is an extra filter after the main filter that you can turn on or off. Great if you want to take away bass fr

om a sequence sound or as extra filter to shape the sound. In the 'Free modulation section' you can select the Filter2 Cutoff frequency as a destination. So you can still use a 'Free Envelope', 'Free LFO' or any other midi controller to dynamically control

filter 2 s

Cutoff frequency. Cutoff

This sets the filters frequency where the filter starts altering the sound. For instance, if you set the Cutoff to 2000Hz and use a 12dB Lowpass filter it reduces any frequencies above 2000Hz, so for instance a sound

at 4000Hz will be reduced by 12dB. The Cutoff frequency can be static on a fixed frequency, but you can also modulate the Cutoff frequency with parts of the 'Free modulation section'.

Type

Bypass

The filter is bypassed and the sound passes through un

affected.

6dB LowPass

Low frequencies pass through this filter and frequencies above the

Cutoff frequency

are reduced by 6dB per octave. For example: a frequency 2000Hz is 6dB softer in volume if the

Cutoff frequency

is set to 1000Hz.

6dB HighPass

gh frequencies pass through this filter and those below the

Cutoff frequency

are reduced by 6dB per octave. The filter is open if the

Cutoff frequency

knob is fully turned left.

12dB LowPass

Low frequencies pass through this filter and those above the Cu

toff frequency are reduced by 12dB per

octave.

12dB HighPass

High frequencies pass through this filter and those below the

Cutoff frequency

are reduced by 12dB per octave. The filter is fully open if the

Cutoff frequency

knob is fully turned left.

dB LowPass

Low frequencies pass through this filter and those above the Cutoff frequency

are reduced by 24dB per octave.

24dB HighPass

High frequencies pass through this filter and those below the

Cutoff frequency

are reduced by 24dB per octave. The fil

ter is fully open if the

Cutoff frequency

knob is fully turned left.

Split 1 In this mode, Filter 1 and Filter 2 are in parallel, so that Filter 2 has the same properties, such as envelope, filter tracking etc, as Filter 1. The only difference is that F

ilter 2's frequency can be altered independently from Filter 1's. Using Filter Pan in the advance screen, you can pan Filter 1 and Filter 2, from both being centered, to Filter 1 being panned left and Filter 2 being panned right.

Split 2 In this mode,

Oscillator 1 goes into Filter 1, Oscillator 2 goes into Filter 2 and Oscillator 3 goes into both Filter 1 and 2. Filter 1 and Filter 2 are also in parallel and joined, so that Filter 2 has the same properties, such as envelope, filter tracking etc, as Filt

er 1. The only difference is that Filter 2's frequency can be altered independently from Filter 1's. Using Filter Pan in the Advance screen, you can pan Filter 1 and Filter 2, from both being centered, to Filter 1 being panned left and Filter 2 being pann

ed right.

Filter Envelope

The Filter Envelope is addressed to the main filter

Cutoff Frequency

of Predator and the amount is controlled

by the

Env

amount in the Filter section.

An envelope is a time based modulation inside a synthesizer. If you pres

s a key it moves from 0% up to

100% and back to 0% when you release the key. Between this you can adjust the time how it does do this.

The first part is know as the attack, this is the time it takes to reach 100%.

The second part is know as the decay, th

is is the time it takes to reach the sustain (the final) level. If this level of sustain is for instance 50, the decay goes down to 50% and stays there. Finally when you release the key, the envelope goes to 0%, during the period that you just set. An extr

a feature inside Predator is Fade. Fade adds a second part to the sustain level, when it is positive the sustain level goes up to 100% over a set period, if it is negative then the sustain level goes down to 0% over a set period. This is a handy feature i

f you want the Cutoff frequency of the filter to rise whilst holding the

keys. Listen to preset "Syntho Brass" in the first bank.

To hear the full effect of the Filter Envelope you have to open the Env amount, which you can find in the filter section nex

t to the Cutoff Frequency.

The amount can be positive or negative.

Attack An envelope always rises from 0 to 100% and back to 0% when the key is released. Attack controls how fast it rises to 100%. So if you open the Attack control knob, it takes longer

to go from 0 to 100%. With Attack closed, the envelope starts at 100%.

Decay After the attack stage, with the envelope at 100%, the decay stage is reached. Decay reduces the envelope level to the sustain level over a set time. So if you use a long deca

y, it takes longer to reach the sustain level. If the sustain level is 100% the Decay has nothing to fall to and so the sustain stage is reached immediately after the attack.

Sustain This is level of the sustain stage. After the attack & decay stage, the

envelope goes into the sustain stage and remains here for as long as you have a key pressed down. The sustain level is the level of this sustain stage. Sustain level in the Filter envelope means the level of where the

Cutoff frequency

parameter stays as

ong as you hold the key(s).

Sustain fade If the fade is set to off, the sustain remains at the sustain level i.e. it is a classic sustain. If you open the fade amount in a positive direction the sustain changes into a second attack. So after the Decay rea

ches the Sustain level it starts rising to 100% again and the time it takes to reach 100% is set by the Fade time. If you open the fade amount in a negative direction the sustain changes into a second decay. So after the Decay reaches the Sustain level it starts falling to 0% again and the time it takes to reach 0% is set by the Fade time.

Release After you have released a key (note), the release stage starts. The envelope then decays from the sustain level to 0%, the time it takes is set with the release

knob.

Filter LFO

An LFO (Low Frequency Oscillator) is an oscillator at a very low pitch/frequency. In Predator the LFO can have a frequency between 0.03Hz and 27.50Hz.

The Predator Filter LFO produces changes to the Filter

Cutoffs frequency

. You nee

d to open the

LFO amount in the 'Filter section' to hear the results. Often used is the sine waveform, here the Filter

Cutoff frequncy

rises up and down. But also using other

waveforms

with the LFO can be used to produce interesting results.

Predator has t

he option to "tempo base" the LFO, which makes it a great feature for changing sounds in a

musical tempo based way.

Waveform

Sine, Triangle, Saw Up, Saw Down, Square

and

S&H

Here you can set the type of wave, this modulates the Filter

Cutoff Frequency

Sinus

and

Triangle

are often used because they produce a modulation that goes up and down smoothly. The other waveforms are more suitable for FX or special sounds. Try selecting another waveform with the preset "Moving Filter", which you can find in the

first bank of

Predator, and see what it sounds like. Speed

This controls how fast or slow the LFO is running. If the control

Sync

is set on then the speed is tempo

based. Sync

If you turn Sync on, the Speed of the LFO will be tempo based. So it will sync

hronise with the song tempo.

To find the right setting you need to adjust the

Speed

parameter.

Mode

Poly, Free

and

Mono This controls how the LFO responds when you hit one or more keys.

Poly mode:

Each note you play has its own Filter LFO and each LFO s

tarts from the zero position.

Poly mode is useful for complex sounding Filter LFO modulation.

Free mode:

The LFO is free running and all the notes share the same LFO.The LFO is always running and does not reset when you press a key.

Mono mode:

Similar

to free mode All the filter LFOs have the same value, however when you press

a key in Mono mode, all LFOs are reset to their initial start position.

Amount control Here you can select the controller to adjust the

LFO

modulation inside the 'Filter secti

on'. This can be a positive or a negative amount. So you can increase the modulation or decrease the modulation. Look at preset "Moving Filter" in the first bank as an example. You can see that in this preset the Mod.Wheel is addressed with -38% amount. So

if you open the Mod.Wheel the

LFO

modulation inside the 'Filter section' will be less.

In fact with a fully open Mod.Wheel the

LFO

does not modulate the filter anymore.

This happens because the

LFO

amount in the filter is 38% and the modulation control

is set to -38%.

[ Amp ]

The audio that comes from the 'Filter section' moves on to the 'Amp section', this amplifies the signal and controls the volume and panning. An important controller of the Volume is the Volume Envelope. This

controls the volume contour over time. Also in the Amp section is velocity control, this controls the response of Predator to the velocity of the keyboard or

arpeggiator

Volume This sets the overall volume of the preset.

Pan This sets the overall pannin

g of the presets, from totally left, to

centered

, to totally right.

Vel>vol This sets the amount volume depends on the velocity of the keys pressed (how hard you strike the key), either normally or in the

arpeggiator

if selected.

Volume Envelope

This e

nvelope controls the volume contour over time.

An envelope is a time based modulation inside a synthesizer. If you press a key it moves from 0% up to 100% and back to 0% when you release the key. By using the Volume Envelope you can adjust the amount of

time it takes to do this.

The first part is known as the attack stage, this is the time it takes to reach 100% The second part is know as the decay, this is the time it takes to reach the sustain (the final stage) level. If this level of sustain is for i

nstance 50, the decay goes down to 50% and stays there.

Finally when you release the key, the envelope goes to 0%, during the period that you have set.

An extra feature inside Predator is Fade. Fade adds a second part to the sustain, when it is positi

ve the sustain level goes up to 100% over a set period, if it is negative the sustain level falls to 0% over a set period. The amp envelope controls how the main volume of each note sounds.

Attack An envelope always rises from 0 to 100% and back down to

0% when the key is released. Attack controls how fast it rises to 100%. So if you open the Attack knob, it takes longer to go from 0 to 100%. With Attack closed, the envelope starts at 100%.

Decay After the attack stage, with the envelope at 100%, the de

cay stage is reached. Decay reduces the envelope level to the sustain level over a set time. So if you use a long decay, it takes longer to reach the sustain level. If the sustain level is 100% the Decay has nothing to fall to and so the sustain stage is

reached immediately

after the attack. Sustain

This is the level of the sustain stage. After the attack & decay stage, the envelope reaches the sustain stage and remains here for as long as you have a key pressed down. The sustain level is the level of thi

s sustain stage. Sustain level in the volume envelope means that the level of the volume parameter will stay as long as you hold the key(s).

Sustain fade If the fade is set to off, the sustain remains at the sustain level i.e. it is a classic sustain If

you open the fade amount in a positive direction the sustain changes into a second attack. So after the Decay reaches the Sustain level it starts rising to 100% again and the time it takes to reach 100% is set by the Fade time. If you open the fade amount

in a negative direction the sustain changes into a second decay. So after the Decay reaches the Sustain level it stars falling to 0% again and the time it takes to reach 0% is set by the Fade time.

Release After you have released a key (note) the release

stage starts. The envelope then decays from the sustain

level to 0% the time it takes is set the release knob.

[ Free modulation ]

The free modulation section is at the bottom left hand corner, it the

arpeggiator

page is open click

on the

mod

button at the upper right corner of the

arpeggiator

screen to open the Free modulation section.

This section holds 2 Envelopes, 2 LFO's and a Modulation matrix with 8 slots. The free modulation section is added to give you extra tools for addi

tional sound shaping options. For instance, if you wish to make an FM synthesis sound you can address the Envelope to the FM amount inside oscillators 2 and 3. Or maybe you would like a stereo panning effect by an LFO. Another option is to connect the

arp

eggiator

free or velocity row to other parameters inside Predator.

Envelope 1 and 2

Each envelope has its own destination. With Envelope 1 you also have the option to control the amount of modulation either by midi or synth part. The

destination

paramete

r is the one that will be changed over time by the Envelope. For example the pitch

of an oscillator. Listen to preset "Pred Brass" in the first bank. An envelope is a time based modulation inside a synthesizer.

If you press a key it rises from 0% up to 100% and back down to 0% when you release the key. Between this you can adjust the time how it does do this.

The first part is known as the attack, this is amount of time it takes to reach 100% The second part is know as the decay, this is the time it tak

es to reach the sustain (the final) level. If the level of sustain is for instance 50, then the decay falls to 50% and stays there. Finally when you release the key, the envelope lowers to 0%, during the period that you have set.

An extra feature inside

Predator is Fade. Fade adds a second part to the sustain, when it is positive the sustain level rises to 100% over a set period, if it is negative then the sustain level falls to 0% over a set period.

Attack An envelope always rises from 0 to 100% and

back to 0% when the key is released. Attack controls how fast it rises to 100%. So if you open the Attack control knob, it takes longer to go from 0 to 100%. With Attack closed, the envelope starts at 100%.

Decay After the attack stage, with the envelope

at 100%, the decay stage is reached.

Decay reduces the envelope level to the

sustain

level over a set time. So if you use a long decay, it takes longer to reach the sustain level. If the sustain level is 100% the Decay has nothing to fall to and so the s

ustain stage is reached immediately

after the attack. Sustain

Next we have the sustain stage. After the attack & decay stage, the envelope reaches the sustain stage and remains here for as long as you have a key pressed down. The sustain level is the leve

l of this sustain stage. Sustain level in the Free Envelope means that the "level"(amount) selected in the destination parameter stays for as long as you hold down the key(s).

Sustain fade If the fade is set to off, the sustain remains at the sustain leve

l i.e. it is a classic sustain If you open the fade amount in a positive direction the sustain changes into a second attack. So after the Decay reaches the Sustain level it starts rising to 100% again and the time it takes to reach 100% is set by the Fade

time. If you open the fade amount in a negative direction the sustain changes into a second decay. So after the Decay reaches the Sustain level it starts falling to 0% again and the time it takes to reach 0% is set by the Fade time.

Release After you have

released a key (note) the release stage starts. The envelope then decays from the sustain

level to 0%, the amount of time this takes is set by the release knob. VEL > time

This controls how the envelope responds to the velocity of notes pressed. If you

use a positive amount, the envelope times get shorter for higher velocities.

If you use a negative amount, the envelope times get longer for higher velocities. KT > time

This controls how the envelope responds to the notes pressed. If you use a positive a

mount, the envelope times get shorter for higher notes.

If you use a negative amount, the envelope times get longer for higher notes Destination Envelope 1

This is where you can select the destination the Envelope 1 modulation. Listen to preset "Pred Bras

s" in the first bank. In this preset the

fine pitch

of Oscillator1 is modulated by

Envelope 1.

Amount Envelope 1 This is where you can select the amount of Envelope 1 modulation. This can be positive or negative modulation depending on the selected para

meter.

Listen to preset "Pred Brass" in the first bank. Again, in this preset the

fine pitch

of Oscillator1 is modulated.

Increase or decrease the amount to hear how this changes the sound. Amount control Envelope 1

This is where you select the controller

for controlling the

amount Envelope 1

parameter. With amount you

can set the how deep it controls the

amount Envelope1

parameter. This can be a positive or negative amount. So that you can either increase the modulation or decrease the modulation. Listen

to the preset "Psy FX 01" in the first bank. In this preset the Mod.Wheel controls the amount of Envelope 1 modulation. If you open the Mod.Wheel you will hear that the pitch fall stops in this preset.

Destination Envelope 2 This is where you can select t

he destination and amount of Envelope 2 modulation.

Listen to preset "Pluck FM" in the first bank. In this preset the

FM 3 amount

of Oscillator3 is being modulated

by Envelope 2. Amount Envelope 2

This is where you select the amount of Envelope 2 modulati

on. This can be a positive or negative amount of modulation depending on the selected parameter. Listen to preset "Pluck FM" in the first bank. In this preset the

FM 3 amount

of Oscillator3 is being modulated by Envelope 2. Decrease the amount to hear th

e results.

LFO 1 and 2

Each LFO has its own destination. The Predator LFO continuously changes this destination control over time. With LFO 1 you also have the option to control the amount of modulation by midi or synth part. An LFO (Low Frequency Osc

illator), is an oscillator at a very low pitch/frequency. In Predator the LFO can have a frequency between 0.03Hz and 27.50Hz. Used often is the sine waveform. But the other waveforms of the LFO can also be used and produce interesting results. Predator

has the option to "tempo base" the LFO, which makes it a great feature for changing sounds in a

musical tempo based way. Waveform

Sine, Triangle, Saw Up, Saw Down, Square

and S&H

This is where you can set the type of wave that modulates the LFO destinati

on. Sinus and Triangle are often used because they produce a modulation that goes up and down smoothly. The other waveforms are more suitable for FX sounds or special sounds.

Speed This controls how fast or slow the LFO is running. If the control

Sync is

set on then the speed is tempo

based. Sync

If you turn Sync on, the Speed of the LFO will be tempo based. So it will synchronise with the song tempo. To find the right setting you need to adjust the

Speed

parameter.

Mode

Poly, Free

and

Mono.

Thi

s controls how the LFO responds when you hit one or more keys.

Poly mode:

Each note you play has its own Filter LFO and each LFO starts from the zero position. Poly mode is useful for complex sounding Filter LFO modulation.

Free mode:

The LFO is free r

unning and all the notes share the same LFO. The LFO is always

running and does not reset when you press a key.

Mono mode: Similar to free mode All the filter LFOs have the same value, however when you press

a key in Mono mode, all LFOs are reset to th

eir initial start position.

Destination LFO 1 This is where you can select the destination of the LFO 1 modulation. Listen to preset "Hipass arp" in the first bank. In this preset the

Filter2 Cutoff frequency

is modulated by

LFO1. Destination amount LFO

This is where you can select the amount of LFO1 changes the LFO 1 destination control. This can be a positive or negative modulation depending on the selected parameter.

Listen to preset "Hipass arp" in the first bank. In this preset the

Filter2 Cutoff

frequency

is modulated.

Increase or decrease the amount to listen to what it does. Amount control LFO1 destination

This is where you can adjust how much LFO 1 s amount is changed by the modulation source and also which modulation source is used.

This

can be a positive or a negative amount. So you can increase the modulation or decrease the modulation. Look at preset "Hipasser arp" in the first bank as an example. You can see that in this preset the Mod.Wheel is addressed with -81% amount. So if you op

en the Mod.Wheel the LFO 1 modulation inside the destination will be less. In fact with a fully open Mod.Wheel the LFO 1 does not modulate the destination anymore. This happens because the LFO 1 destination amount is 81% and the modulation control is se

t to -81%.

Destination LFO 2 This is where you can select the destination of the LFO 2 modulation. Listen to the preset "Hipass arp" in the first bank. In this preset the Amp panning is modulated by LFO2.

Destination amount LFO 2 This is where you can s

elect the amount of LFO2 changes the LFO 2 destination control. This can be a positive or a negative modulation depending on the selected parameter. Listen to the preset "Hipass arp" in the first bank. In this preset the Amp panning is modulated. Increase

decrease the amount to listen to what it does.

Free Mod 1 - 8 Predator has 8 slots to set your own modulation connection. Clicking on a modulation number label bypasses that modulation. There are 40 modulation sources that include midi s

ources and synth sources. These sources connect to 65 modulation destinations inside the Predators synth. There is also an amount control for each connection. So you could for instance control a modulation by a Free Envelope.

Source 1

-8

This is where you

can select one of the 40 modulation sources. Listen to the preset "Control arp" in the first bank. In this preset at source 1, the Arpeggiator velocity is selected as modulation source. In source 2, the Arpeggiator free row is selected as modulation source

Destination 1

-8 Here you select one of the 65 modulation destinations. Listen to preset "Control arp" in the first bank. In this preset destination 1 modulation is

sym

(symmetry) of Osc.1. In source 2, the Filter Resonance is selected as modulation dest

ination.

Destination amount 1

-8 This is where you select the amount of the modulation. This can be a positive or a negative modulation depending on the selected parameter. Listen to the preset "Control arp" in the first bank and do change the amount of de

stination 2 to hear what it

does. Amount control 1-8 destination

This is where you select the controller for controlling the

destination amount

parameter. With amount you can

set how much this control alters this

destination amount

value.

This can be ei

ther a positive or a negative amount. So you can increase the modulation or decrease the modulation. Look at the preset "Control arp" in the first bank as an example. You can see that in this preset the Osc.1

sym (

symmetry) is addressed with 0% amount.

if you now open the Mod.Wheel the modulation inside the destination will be increased.

[ Arpeggiator ]

Predator offers a unique and very powerful

arpeggiator

, because it not only offers many features, but it can

be used al

so as a kind of sequencer. This because you have the option to tune a step and to tie a step in two different ways. A classic

arpeggiator

(arp) is when, instead of playing all the pressed keys at the same time, it plays them one after another endlessly. Next to classic arp modes Predator also offers a chord mode which triggers the played notes as a chord. The arpeggiator

has a built in sequencer for making rhythmic patterns. Each step of the pattern sequencer offers

on/off, Tie, Slide, Tune, Velocity

sett

ings and also,

Free

modulation settings. To turn on the

arpeggiator select the 'Play Mode section' of Predator. To see the

arpeggiator

controls click on the

> Arp

button if the 'Free modulation section' is open.

Steps Number of steps in the

arpeggiator sequencer. This can be from 1 to 16 steps.

Speed Speed of the

arpeggiator

in respect to the host tempo, from ¼ of the tempo up to 4 times the tempo.

Mode This controls how any pressed keys are arpeggio played.

the notes are played in the order they

are pressed.

Down

the notes are played in the reverse order to which they are pressed.

Up/Down

the notes are played in the order they are pressed then in reverse order.

Down/Up

the notes are played in reverse order then normal order.

Random

from the

pressed keys a random one is played.

Ordered

the notes are ordered from lowest to highest and are played in that order.

Rev. Ordered

the notes are ordered from highest to lowest and are played in that order.

Ordered Up/Down

the notes are ordered and then p

layed from the lowest to highest and then back to

lowest.

Ordered Down/Up

the notes are ordered and then played from the highest to

lowest and then back to highest.

Chord

chord is a special mode where all the pressed keys are played at the same time so producing a chord.

Mod

the

arpeggiator

can be used as modulator in "free mod" section.

Octaves Determines how many octaves the

arpeggiator

plays. For instance if you set octave to 2, then it will play the

pressed notes firstly in the original octave and

then the pressed notes an octave higher. So pressing A4, C4

and E4 in the up mode with octave set to two plays A4, C4, E4 then A5, C5 and E5. Tie mode

normal

: steps with tie do not have an individual

slide, tune, velocity

and

free

setting.

special:

step

s with tie do have still individual

slide, tune, velocity

and

free

settings.

Toggle 1 :

plays in special mode and then normal mode and so forth.

Toggle 2 :

plays in normal mode and then special mode and so forth.

Listen to the presets "SeqArp tie normal"

and "SeqArp tie seq" to see what great things you can do using this

feature. Host sync

This turns on / off the

arpeggiator

syncing to your host sequencer. Depending on your host and also what

you are doing you may want this to be either on or

off

Default

is on.

Latch When latching is turned on you dont need to keep a key pressed down for that note to be included in the arpeggiator

. For instance if you have pressed C4 then released it and then pressed A4 and then released it,

when the latching is on the arpeggiator

will play C4 and then A4. Turning on / off the latching clears the

arpeggiator

of any notes.

Tip

: you can use also the sustain pedal to Latch and Unlatch the arpeggiator

File If you press this button, you have the option to load or save the

arpeggiator

settings that you have made to your hard disk. There is already a folder containing some arp patterns. All settings of the

arpeggiator

are saved and loaded using this function.

The copy and paste function are there to copy a

arpeggiator

setting

into another preset inside the bank. Note

that you always need to save the new preset or the whole bank. The

Clear

function will reset all arpeggiator

parameters to their default setting. Arp Key Entry on/off

When you press a note it will be entered into

the arp pitch's row at the current step.

C3 (midi 60 ) is set to 0 and the root key. So you should play notes in the key C. Step length

This controls how long each arp note/step is. Note that a 100% setting is needed if you use a

tied

step!

Swing This

controls the swing of the

arpeggiator

, this is the difference in timing between consecutive notes and it

gives a more human/swing feel to the

arpeggiator

Slide Controls the time taken for notes to slide from the previous notes pitch to the current one.

This only applies to notes which have sliding on in their steps. Note, always open the slide amount if you use slide in steps.

Vel / keyboard This controls whether Predators velocity parameter settings are controlled by the

arpeggiator

sequencer

step set

tings (at 0%) or the pressed keys velocity (at 100%) or a combination of the two values. Try preset "Arpoharp velocity keyb." and look at the setting. Here the input of the keyboard is in control. The velocity settings in the steps make no difference. Als

o try preset "Arpoharp velocity arp" and look at the settings. Here the input of the keyboard has no influence. The velocity settings of the steps determine the way that Predator responds to velocity. Of course you can also mix between these two settings.

Pattern/sequencer section

The main section of the arp screen is taken up with the Arpeggiator pattern/sequencer screen. This sequencer allows you to have much more complex

arpeggiator

patterns than in most other synthesizers. The

arp sequencer can have

up to 16 steps. The number of steps is set using the

Steps selector. Each step in

the arp sequencer can have different properties that alter how that arp note is played. The current selected arp step is shown in orange, and you can select several arp st

eps by alt + left clicking on the start and end step. Right Clicking in the arp screen brings up an arp menu which allows you to copy, paste, clear, move, reverse, randomize and turn off / on controls, for both selected steps or all steps.

Step 1-16 on/o

ff This shows the arp sequencer step number. Clicking on it turns this step On or Off. If it is set to off when an

arpeggiator

is played a rest occurs rather than a new note at this step.

Tie Tie controls whether the note is tied at the selected step

. You can toggle tie by clicking in the step box. When a step is in tie, the current arp note continues to play the step ahead. So it allows you to play notes which are twice(or more) as long as the normal arp notes. In other words, you can tie notes toge

ther using this function. Keep two options in mind when using notes with tie:

1. You need to have the arp

step length

control set to 100% to make the steps tied.

2. You have two ways of using tie notes:

normal:

steps with tie do not have an individual slide, tune, velocity

and

free

setting.

special:

steps with tie do still have their individual

slide, tune, velocity

and

free

settings. Listen to the presets "SeqArp tie normal" and "SeqArp tie seq" to see the excellent results you can achieve using this f

eature.

Slide Slide controls whether the note slides from the previous notes pitch to the current notes pitch or not. The speed of sliding is controlled by the

Slide

amount knob. Clicking on the slide box inside turns on / off sliding.

Note

: Sliding do

es not work in Chord mode.

Tune Tuning offset of the arp note, from -36 semitones to +36 semitones. If you use tie in a step, the tune does not work at that step if the

arpeggiator

is in

tie mode

normal

Vel Velocity of the arp sequencer step/note. T

his is used in combination with the

vel /Keyboard

control to control how the velocity of each arp sequencer step is controlled by the arp sequencer and how much by the velocity of the played note. If you use tie in a step, the velocity does not work at th

at step if the

arpeggiator

is in

tie mode

normal

Free Free control allows you to control other properties of Predator (i.e. panning etc) using the

arpeggiator

. This is

because you can use the Free control in the Free modulation section to modulate othe

r controls by selecting

the source to be

Arp Free

If you use tie in a step, the free setting does not work at that step if the

arpeggiator

is in

tie mode

normal

[ Play mode ]

In Play Mode you can control how Predator responds to notes played, eithe

r polyphonic or monophonic or by

passing them into the

arpeggiator

. The portamento is set here as well as the chord memory. Play modes

Poly

Synthesizer is in polyphonic mode and has 16 voices.

Mono1

Synthesizer is in monophonic mode 1 and uses 1 voice. Only a single note can be played at once, pressing another key releases the previous note.

Mono2

Synthesizer is in monophonic mode 2 and uses 1 voice only. If you have a key pressed down and then press another key the new note plays, and if you then

release this note the original held note is retriggered.

Legato

Synthesizer is in monophonic mode and uses 1 voice. Similar to

mono2

but if you have a key pressed down and then press another key the note is

not retriggered (i.e. envelopes dont restart),

and if you release this second key the pitch

returns to the original note.

Arp

Arpeggiator is played. See

arpeggiator

section for the settings.

Unison2

This combines 2 voices on one note. If you use the

unison detune

these 2 voices are

detuned resulting i

n a phat sound.

Note in Unison2 you only have 8 notes polyphonic limit.

Unison4

This combines 4 voices on one note. If you use the

unison detune

these 4 voices are detuned resulting in a phat sound. Note in Unison4 you only have 4 notes polyphonic lim

it.

Unison6

This combines 6 voices on one note. If you use the

unison detune

these 6 voices are detuned resulting in a phat sound. Note in Unison6 you only have 2 notes polyphonic limit.

Uni detune Unison detune controls the detuning between the stacke

d voice in

Unison2/4/6

play modes.

So Predator has to be in

unison2/4/6

mode for this feature to work.

Port Portamento speed sets the time or rate of how notes change in pitch from the previous note played to the current note played.

Port modes

Off

No portamento, the note goes immediately to the played one.

Constant Rate

The portamento changes at a constant rate, greater keyboard note ranges take a longer time.

Constant Time

Always takes the same time to portamento between any notes.

Held Rate

Same as Constant Rate but portamento only appears if you are holding a note and then playing another.

Held Time

Same as Constant Time but portamento only appears if you are holding a note and then playing another.

Chord The Chord memory control enable

s you to record chords. Up to 8 notes can be memorised and it is also

saved within the preset. Clicking the chord gives you the options.

Off

Chord memory is

Off

and has no effect.

Learn

Chord memory will store any 8 notes you play. First, play the root

note and then the other

notes of the chord.

Play

The chord memories will be played, so if you pressed C, E & G while in chord

learn

mode,

then press D in chord

play

mode, it will play the chord D, F# & A.

Please look in the 'Advance panel'. There you have

the option to set the strum timing for the chord. This strumming can be set to be tempo based. Listen to the "cluster" sounds inside of the "Ambient bank" of Predator what cool things you can do with it. The advance panel can be reached by clicking at it

in the preset section.

Demo If you press this button a demo C3 note is generated. Great to test audio from Predator and also a good way of previewing sounds.

[ Advanced Panel ]

In this section you can set the special advanced parameters and settings for each preset. If you are in the preset section, click on the > adv

button to go to this section.

Clicking on

> Preset

returns to the preset screen.

Analog This sets the amount of

analog

drifting, as in an old

analog

synthesiz

er. The higher this amount, the more that Predator's oscillators will drift in pitch over time. The setting is stored inside each preset.

Global tuning This sets the global tuning of a preset. Default is 440Hz. Note: this setting is stored inside each pre

set.

Over sampling mode This sets the Predators oscillators over-

sampling mode.. You can select from 1x, 2x, 4x, 8x, 16x and up to

32x oversampling

. The higher

oversampling

levels use more CPU but the sound produced is better and there

is less aliasing n

oise. The settings you use depend on the type of sound you wish to make for Predator. For lead sounds and sounds played in the higher keyboard region 8x and 16x is best. If the sound is mostly played in the lower keyboard ranges (such as bass lines), the

setting 2x or 4x is usually good enough. Have a listen to preset "Predator SyncLead" in the first bank and switch to a lower setting, you can hear the changes the oversampling level has on the sound. Tip: this is also a nice tool in case you are running

out of CPU power. Set Predator to 1x as long as you work on your song. The moment you are ready with the Predator track, freeze or record it by using 16x oversampling. Note: this function is not effective inside PredatorFX.

Over filtering This is where y

ou can set

off

an additional oversampling filter. It reduces the very high frequencies of the oscillators, thus reducing aliasing noise. You may want to turn this on or off depending on the sound that you are using. Default setting is

off.

Note: t

his function is not effective inside PredatorFX.

Attack shape This changes the curvature of all Predator's envelope Attack stage. From Exponential (negative values) to linear (0) to Logarithmic (positive values). Default is linear (0). Note: this setting

is saved inside each preset, so always check this if you build a new preset.

Decay / Release shape This changes the curvature of all Predator's envelope Decay/Release stages. From exponential (negative values) to linear (0) to logarithmic (positive values

). Default is exponential (-20%), which is good for most synth sounds. Tip: for Pad sounds 0% is an excellent setting. Note: this setting is saved inside each preset, so always check this if you build a new preset.

Velocity shape Changes Predator's veloci

ty curvature response to the keyboard input or host input. From exponential (negative values) to linear (0) to logarithmic (positive values). Default is linear (0) Note: many keyboards already have a built-in velocity curvature response setting. So the de

fault of 0 is

probably the best to use. This setting is also saved inside each preset. Strum

In chord mode, you can set timing offset between the play chord notes, so creating strum effects. The sync button allows you to set this timing in ms or in quart

er beats, synced to the host's tempo.

Filter Pan This allows you to pan Filter 1 and Filter 2, when your using the 2nd Filter's Split modes. At 0% both filters are

centered

, and at 100% Filter 1 is panned left and Filter 2 is panned right.

Default setti

ng is 50%, so if you switch a current preset to "split 1" or "split 2" the setting is 50%.

Audio input (PredatorFX only)

Audio input volume If you use the PredatorFX in your host, you can adjust the input volume here. There are dedicated preset banks f

or the PredatorFX with examples of how you can use PredatorFX.

FX path If you are using PredatorFX in your host mixer you can amend the routing here. You have two options:

> Filter

The sound thats fed to PredatorFX goes into the Predators filter and then into the fxs. Here you can use midi input into the FX to control the volume, filter & free envelopes of PredatorFX.

To use the volume envelope you need to have

Amp Env Hold

set to off.

> FX

Here the sound goes directly into PredatorFXs effec

ts, however the synth part is still running and

can be used as a source for the vocoder or for controlling the FX parameters.

There are dedicated preset banks for the PredatorFX.

Amp env. Hold If this function is set on the volume envelo

pe is turned off, so the volume of the amp is not changed by the

volume envelope.

If you still want to use the volume envelope, youll need to have Amp Env Hold set to

off

and have some midi connection into PredatorFX. Now when you press a key the volume

envelope is reset

and so the volume of the input is changed.

Info fields

Parameter read-out field The parameter read-out field is located at the lower right corner of Predator. If you change a parameter it displays the exact changing value and the parame

ter that has been changed. If

you also move the mouse over a control, you can see its current "value". ?

If you click this button it opens the HTML based Quick manual.

[ Back panel ]

If you click on the Predator Logo, the back panel is shown. T

his is where you can read the credits and info on controls.

Next to that some global settings for Predator can be found. Computer Keyboard on/off

You can alter the current preset and banks using the computers keyboard. This setting is global and will work

for all Predator's active in your host.

Below the functions that are available.

Up arrow button

Previous preset.

Down arrow button

Next preset.

Right Arrow button

Increase preset number by 32, useful in the manager screen.

Left Arrow button

Decrease preset number by 32, useful in the manager screen.

Page Down

Next Predator bank

Page Up

Previous Predator bank

Mouse Scroll Wheel Ctrls Scrolling the mouse wheel up and down scrolls through the presets.

White text If the red text appe

aring inside Predator is hard to read, please do switch to "white text".

This setting is global and will work for all Predator's active in your host. Normal text

If the font type is difficult to read, you can switch to "normal text". This setting is globa

l and will work for all Predator's active in your host.

[ Fx ]

In this section you can use up to 3 effects for Predator. These are connected into series. So that if you use Fx1 it goes into Fx2 and then into Fx3. A special feature of Predator is t

hat you can control all Fx parameters by midi or use as a Predator modulation source. The quality of the Fx section is so good that we have created PredatorFX as a fx version of Predator.

PredatorFX shows up in the FX list of your host and has its own pre

set banks which are stored in the

Predator/FXBanks folder. Type

Here you can select one of the 24 effects for each of the 3 FX units of Predator. Mix

This is where you control how much the fx output is mixed with the original signal. Fully left only the

original signal is output and the more you move the knob to the right, the more the Fx will

be added. If you use PredatorFX in your host mixer inside an effect send group, it is recommended to set all of the Mix

values to fully right (wet). Pan

Controls

the Panning of the selected Fx. Fx No This is where you can select which one of the 3 Fx units that you want to select or edit. Right clicking on the FX LEDs

This brings up the FX Control Menu. This shows the Fxs used and whether its bypassed or n

ot, also it allows you to load / save / copy / paste & clear Fxs, swap the FXs around, and bypass individual FXs . FX Sync Length allows you to set the delay length in tempo based settings or milliseconds!

The Fx number itself shows if the Fx unit is

used and whether it is bypassed or not. If the Fx unit is not used

the Fx number is shown in gray.

If it is used then it s shown in black if on, gray if bypassed. You can toggle between a Fx being bypassed or not by clicking on the Fx number.

Bypass Thi

s bypasses all the 3 Fx units at once. So only the dry signal is heard.

Mono Delay

A mono tempo based delay, great for making rhythmic grooves. For instance the 1/8* (1/8 dotted) is nice for all kinds of arpeggiator or lead sounds. To make the sound a

bit spacey, modulation of the length is possible which makes the delay swirl.

Length

Length of the delay set in tempo based settings.

Feedback

Feedback of the delay.

LP Filter

Low pass filter frequency.

HP Filter

High pass filter frequency.

Widen

ereo widening amount.

Mod Amount Delay modulation amount. Mod Speed Delay modulation speed.

Stereo Delay

Two tempo based delays. One delay for each of the audio channels (left and Right). This is useful for making deep pad sounds if you use 1/8* (Left

) and 1/4 (right) settings.

The

Feed Equal

option makes it possible to have equal feedback fade time, even if the left and right delay

have other length settings.

Left Delay

Left length of the delay set in tempo based settings.

Right Delay Right length

of the delay set in tempo based settings.

Feedback

Feedback of the delay.

CrossFeed

Feedback between the left / right delay.

LP Filter

Low pass filter frequency.

HP Filter

High pass filter frequency.

Mod Amount Delay modulation amount. Feed Equal

Equal

makes that both L and R feedback do fade way equal, regardless

which length you use.

Comb

The Comb Filter effect uses two joined comb filters where the output of one is fed back into the other one. Comb filters that are very short in delay a

nd has a frequency, which in turn determines the length of this

delay.

Comb 1 Freq Comb Filter 1 Frequency. Comb 1 Feed Comb Filter 1 Feedback amount. Comb 1 Mod Comb Filter 1 Feedback modulation amount. Comb 2 Freq Comb Filter 2 Frequency. Comb 2 Feed

Comb Filter 2 Feedback amount.

Comb 2 Mod Comb Filter 2 Feedback modulation amount. Mod 1&2 Speed Feedback tempo based modulation speed.

Reverb

This effect reproduces the sound of acoustics in rooms using different sizes and reflections.

Pre-Delay

Pre-delay amount of the

reverbed

signal.

Size

Reverb room size.

Damp

Reverb damping amount.

LP Filter

Low pass filter frequency.

HP Filter

High pass filter frequency.

Spread

Stereo spreading amount.

Chorus

The chorus is a modulated delay signal

which is useful for thickening up the sound and making it sound

fatter .

Length

Length of the chorus.

Width

Maximum change or modulation to chorus length.

Speed

Speed that the chorus length changes.

Spread

Difference in speed between the left and ri

ght hand channels.

LP Filter

Low pass filter frequency.

Widen

Stereo widening amount.

Chorus/Delay

This is a combined chorus / delay. Specially developed in case you want to use another effect in combination with Chorus without losing a delay function.

Length

Maximum length of the chorus in milliseconds.

Width

The amount how much the chorus length will change.

Speed

The rate the chorus length changes.

Spread

The amount the chorus length differs between left and right channels.

Delay

Length of the

chorus delay. Delay is after the chorus.

Feedback

Amount the chorus delay feeds back into the sound.

Delay Vol

Volume of the delay.

Flanger

The flanger effect is a very short delay which changes overtime, to make a whooshing type sound.

Length

of the flanger.

Width

Maximum change to flanger length.

Speed

Speed the flanger length changes, this is midi tempo based.

Feedback

Feedback of the flanger.

Pan Mod

Flanger panning amount.

LP Filter

Low pass filter frequency.

HP Filter

High pass fi

lter frequency.

Phaser

A phaser is a combination of filters that can create a phasing effect.

Stages

Number of stages in the phaser.

Pitch

Pitch of the phaser.

Feedback

Feedback of the phaser.

Width

Maximum change to phaser pitch.

Speed

Speed th

e phaser length changes, this is midi tempo based.

Spread

Amount the phaser stages are spread from the central pitch.

Pan Mode

Speed the phaser pans from the left / right hand channels.

Wah/Delay

This effect produces a wahwah type effect by running the sound through a lowpass

-filter thats frequency is

changed over time. There is a built in delay which adds delays to the sound.

Low Range Lowest Frequency of the filter. Here you can adjust how deep the LP filter ranges. The more

you move the dial to the left, the lower the filter goes.

High Range Highest Frequency of the filter. Here you can adjust how high the LP filter goes.

The more you move the dial to the right, the higher the filter goes.

Speed

The rate the filter frequency changes

over time. Tempo based.

Resonance Controls the resonance of the used low-pass filter. Delay

Length of the wahwah delay. This delay is after the WahWah FX.

Feedback

Amount the wahwah delay feeds back into the sound.

Delay Vol

Volume of the delay.

Distort (distortion)

This distorts the audio by saturating, limiting, rectifying and bandpass filtering the input.

Limit

Hard limiter threshold.

Rect

Amount of rectification, from -100% (no change), 0% half to 100% - full.

Distort

Amount of Distortio

Tone

Frequency of the band pass filter.

Emphasis

Bandwidth of the band pass filter.

Post-Boost

Amount the filter signal is boosted.

M-

Wheel>Tone Amount the band pass filter frequency is changed by the modulation wheel.

Low-Fi

This effect reduce

s the digital audio quality of the sound, which results in old style computer sound effects.

Bits

Bit level of the signal.

Sample Rate

Sample rate of the signal.

LP Filter

Frequency of the low pass filter.

M-

Wheel>Filter Amount the low pass filter fre

quency is changed by the modulation wheel.

Amp Sim

Several types of amp types are simulated. Great for creating edgy sounds.

Type

Type of amp simulation. Settings are:- None, 4x10" guitar speakers, 4x12" guitar speakers

Bass speaker, Combo speaker

and

Radio speaker

The

none

speaker setting is useful if you want to only use the distortion in the FX effect.

Distort

Amount of distortion added to the sound. Also works if the

none

speaker setting is selected.

Bass

Bass EQ Volume. Adds or removes low end fr

om the speaker simulator.

Treble

Treble EQ Volume. Adds or removes high frequencies from the speaker simulator.

Volume

Volume boost. Adjusts the volume of the processed sound.

Note

: with the Amp simulator FX it is recommended to fully open the

Mix

control

knob (wet).

WaveShaper

The waveshaper effect shapes the in-going sound to a kind of distorted version of it. It is then passed through a low pass filter which its frequency is changed over time by a tempo based LFO.

Top Amt

The amount positive input is

waveshaped.

Bottom Amt The amount negative input is waveshaped. Rect

The amount the sound is rectified, at -100% the sound goes through as normal, at 0% no negative output is heard and at 100% any negative output is made positive.

Filter

Low pass filter f

requency. This filter does not filter the high frequencies.

LFO Amount The amount the low pass filter frequency can change. LFO Speed The rate the low pass filter frequency can change.

Stereo Widener

This effect widens the stereo sound.

Widen

Stereo wid

ening amount.

Width

Maximum change to the stereo widening amount.

Speed

Speed at which the stereo widening amount changes.

LP Filter

Low pass filter frequency.

HP Filter

High pass filter frequency.

AutoPan

Autopan pans the sound between the left and righ

t speakers.

Amount

Amount the autopan moves the sound in the stereo field.

Speed

The rate at which the autopan moves the sound. This is Tempo based so for example 1/1 does mean that the pan moves from left to right within 1bar.

Note: for maximal effec

t you also need to open the Fx Mix

control knob fully right (wet).

Gator

The gator uses a 16 step sequencer to alter the volume of the sound to give a trancegate type effect. Basically it is a sequencer controlled audio gate.

Speed

The speed of the ga

tor. Speed is time based from 16/1 up to 1/32T speed. If for example the speed is set to 1/1 each step is 1/16 note. If for example the speed is set to 2/1 then each step is 1/8 of a note.

Smooth

How much the volume changes are smoothed out. This helps to

avoid clicks.

Mode

Whether the gator affects the left & right channels, the left channel only or the right channel only or both.

Sync

Turns on / off the host syncing. For example if you do not hear the gator FX in standalone host, then switch to

off

. In

side a host sequencer program the best setting is

auto

sync

. The

default setting in most presets is

auto.

So if you have problems with these settings, try

off

Left

Left channel sequencer. Clicking here turns on / off that step in the gator. When a st

ep is on (light colour) the gate is open and you can hear the audio. When a step is off (dark colour) the audio is muted.

Right

Right channel sequencer. Clicking here turns on / off that step in the gator. When a step is on (light colour) the gate is open

and you can hear the audio. When a step is off (dark colour) the

audio is muted.

Swing

Adds swing to the timing of Gator

Note: FX

Mix

sets how much of the Gator FX is added. With the Gator FX it is wise to fully open the

Mix

control knob (wet).

Vocoder

Predator features a 32 band vocoder. The vocoder can use either samples or sound (input) that is fed into Predator. The vocoder fx means that the sound of the sample or input, will be altered by the sound of Predator and the vocoder fx. So for example if you use a speech (sample or input) it can create a classic robot "vocoder " effect.

The base sound of a vocoder is the "carrier". This can be Predators synth sound, but also the input itself. If you use the Predator synth as "carrier" you can produce a p

olyphonic vocoder sound. For instance you can

take a drumloop and play this vocoder

-wise in a polyphonic way, and the drum loops will alter Predators output. Listen to preset "voco-drummer" in the first preset bank. There are more vocoder example presets included that show how to use the vocoder.

Keep in mind that if you change the sound of the "carrier" (which can be Predators own synth sound), that the vocoder sound overall will change too. The modulator is the sample or input. So this audio signal is

used by the vocoder to alter Predators output.

How to use it:

Inside Predator: You can use the Vocoder inside Predator with a sample as a source or an audio input if the audio host allows you. The most common use has Predators output as the "carrier

" for example the preset

"voco-

drummer" allows you to play polyphonic vocoder sounds.

Inside PredatorFX: You can use the Vocoder inside PredatorFX as well. Firstly you select PredatorFX as an "insert" effect in your host mixer. This allows the vocoder

to receive an

input from the host. PredatoFX needs to be in >FX mode, this means that the synth part of PredatorFX works as normal and can

be used as the carrier. You can use the vocoder in two ways in PredatorFX, either you can set it so the left chann

vocodes

the

right channel, or the synth part of PredatorFX is

vocoded

by the audio input. In order to get the synth part of PredatorFX to work you need to be able to trigger PredatorFX's oscillators using midi. So for instance in Cubase SX you need to set up a midi track that is output as PredatorFX.

Note: you can only use the Vocoder in one FX slot, if you try to use two Vocoder slots, it will cause the sound to be distorted.

The vocoder has several controls, these being the upper dials and the lowe

r buttons.

Samples Clicking the long sample button allows you to load in a sample to use as the modulator in the Vocoder. You can use either wav or aiff samples at 8/16/24 bits, mono or stereo wav and at any of the most common sample rates. The sample c

an be up to 3,000,000 sample points long (more than a minute at 44.1Khz sample rate). You can either load in samples that are stored in the Predator Sample directory (or sub-directories under it) or stored anywhere else on your hard disk. After you have loaded a sample, its name is shown here (with a * at the end if the sample is not in the sample directory).

If you use samples in the Predator Sample directory, and you move onto another computer make sure the same sample is stored in the Predator Sample d

irectory on the new machine, then the vocoder will work. This is because for samples stored in Predator sample directory, the relative path is stored, so presets should work on any machine with the right samples. You can use samples stored in other places

, but on different machines these presets may not work unless the same sample is stored in exactly the sample place.

Near the sample load box are several buttons to alter the properties of the Vocoder: Sample / Input

This selects if the vocoder uses a s

ample or the sound (input) going into the vocoder. In PredatorFX, this button is changed to LR / Synth, this means you can either have it so that PredatorFX uses the L channel signal as modulator and R channel signal as carrier, or it can use the input sig

nal (in

mono) as the modulator and PredatorFX synth output as the carrier. Car Mod / Mod Car

This selects whether the sound in (sample or input) is the modulator or the carrier in the Vocoder. For most purposes you want it set so that the sound in is the

modulator i.e. Car Mod, but you can experiment with the

other settings, here the sound of Predator modulates the input (the sample or input). One Hit / Looping

This controls whether the sample plays only once when you press a key (

One Hit

) or loops cont

inuously

(

Looping

Reset Off / On This controls whether the sample resets, if you have a key pressed and you then press another one. The sample always starts from its start position, if you have no key pressed and then press one.

Next are the dials

controlling the Vocoder filter properties.

Mix This controls how much the dry sample or input is mixed with the Vocoder output.

BandWidth Controls the width of the

vocoder s filters, smaller settings give a sort of ringing comb filters sound, larger

es a more traditional vocoder sound.

Shift This controls how much the vocoder output is pitch shifted, from -36 semitones to +36 semitones.

LP Filter Built in lowpass filter.

HP Filter Built in highpass filter.

Boost Overall volume of the vocoder, from -40db to 0db.

In Volume The volume of the input into the vocoder (either from a sample or via direct input into Predator).

Smpl Tune

Tuning of the sample used by the vocoder, it ranges .from -12 semitones to +12 semitones. Very useful if you have a dru

m loop and you want to adjust its tempo

FX Filter

This is a analogue modelled stereo Multimode Filter, which has all the properties of Predator s main filter.

Type

Sets the type of filter, offering 6dB LowPass and HighPass, 12dB, 18dB and 24dB LowPass, HighPass, 12dB and 24dB BandPass, 12dB and 24dB Notch and Comb Filter modes.

Frequency Sets the Cutoff frequency of the filter. Q

Sets the Resonance level of the filter.

Distort

Sets the pre-filter distortion of the filter.

Smooth

Sets the pre-filter dist

ortion as

smooth

edgy

in sound.

Equalizer

The equalizer uses 5 bands at 60Hz, 200Hz, 600Hz, 2000Hz and 8000Hz frequencies. The control knob for each band controls that bands volume, from -20db to +20db When using the equalizer, it is recommended that y

ou a fully wet signal.

Compressor

The compressor is an audio effect that changes the dynamic range and response of a signal.

Threshold This sets the threshold on which the compressor starts to work. Ratio

This sets the amount of dB reduction.

So with a

ratio setting of 1:2, and the signal exceeds the

threshold by 4dB then it is reduced by 4db/2 = 2db .

Attack

This sets how fast the compressor kicks in.

Release

This sets how long the compressor takes to react to a reduction in volume.

Volume

This allows y

ou to correct the volume after the signal has been compressed.

Note: FX

Mix

sets how much of the Compressor FX is added. With the Compressor FX it is wise to fully open

the

Mix

control knob (wet).

Ensemble

This effect uses 6 choruses, each having its own

setting, to give the effect of several copies of the sound

playing at once.

Length

Length of the ensemble effect.

Width

Maximum change to

ensemble

length.

Speed

Speed the ensemble length changes.

Feedback Feedback of the choruses. Ensemble

Amoun

t the choruses differ from each other.

Spread

Amount the choruses are panned to the left or right.

Cabinet

Several types of cabinet types are simulated. Great for creating edgy sounds.

Type

Type of cabinet simulation. Settings are:- None, Fende

r, Marshall &

Off Axis. The none

speaker setting is useful if you want to only use the distortion in the FX effect.

Distort

Amount of distortion added to the sound. Also works if the none cabinet setting is selected.

Bass

Bass EQ Volume. Adds or removes low end from the cabinet simulator.

Treble

Treble EQ Volume. Adds or removes high frequencies from the cabinet simulator.

Volume

Volume boost. Adjusts the volume of the processed sound.

Note: with the Amp simulator FX it is recommended to fully open the Mix control knob (wet).

MultiDistort

Allows you to use several different types of distortion effects

Type

Different type of distortion allowed, they are None, Atan, Cos, Cross, Foldover, Fuzz, Limiter, Overdrive, Power, Rectifier, Saturator, Square,

None means no distortion is used

Pre-boost How much the signal is boosted before going into the distortion Amount 1 Control how much the signal is distorted Amount 2 Additional distortion parameter for Fuzz Normalize How much the output volume is normaliz

ed to the input volume, at 100% the output volume

should be the same as the input volume.

Low Filter Post distortion low-pass filter High Filter Post distortion high-pass filter Post-Boost How much the output of the distortion is boosted.

AutoWah

Autowa

h uses a low/bandpass filter to filter the signal using the volume of signal to alter the frequency of the

filter.

Type

Type of auto-wah filter, lowpass or bandpass

Low Frequency Lowest frequency of auto-wah filter High Frequency Highest frequency of auto-wah filter Amoun

How much the volume of the signal alters the filter's frequency

Resonance / Bandwidth of autowah filter

Smooth

How much signal volume is smoothed.

Fx modulation matrix

Below the FX section you can find two modulation matrix slots. Using these slots you can connect different midi or Predator synth parts to the FX parameters. There are 40 modulation sources and you can use any FX parameter as a destination. For instance you can increase the Reverb length by using the Mod.Wheel. Lis

ten to preset "Jump Flip One" in the first bank.

Source

Here you can select the source that will modulate the Fx parameter.

Amount

Here you can set how much the modulation source will alter the Fx parameter.

Destination Here you can select the destinati

on FX control, all the FX parameters are shown here, though some work better using modulation than others, its best to experiment and see the results.

MIDI Implementation Chart

Product: Rob Papen PREDATOR

Version 1.5.5 Date: 1 Feb 2009

Manufacturer

ob Papen / RPCX

Function

Transmitted Recognized Remarks

Basic Channel

Default

Changed

Mode

Default

Omni

Changed

Note Number

yes

True Voice

Velocity

Note On

yes

te Off

Aftertouch

Poly (Key)

yes

Mono (Channel)

yes

Pitch Bend

yes

Control Change

yes

Program Change

yes

Bank Change

yes

System Exclusive

System Common

Song Position

Song Select

Tune Request

System

Real-time Clock

yes

Commands

yes

Aux Messages

Local On/Off

All Notes Off

yes

Active Sensing

System Reset

yes

pendix A: wave types

Wave types1-128. Analogue types:

Sine, Saw, Square, Triangle, Rez 1, Rez 2, Rez 3, HalfSine, SineSaw, SineSqr, SineRez, SawSqr, SawRez, SqrRez, White Noise, Pink Noise.

Additive wave types: Harmonic 1, Harmonic 2, Harmonic 3, Harmon

ic 4, Saw 2, Saw 3, Saw 4, Saw 5, Sqr 2, Sqr 3, Sqr 4, Sqr 5, Triangle 2, Triangle 3, Glass, Hollow. Octave, Overtone, Rez 4, Rez 5, Digix, Organ 1, Organ 2, Organ 3, Church Organ, Whistle, Vocal A, Vocal E, Vocal O, Vocal U, Vox 01, Vox 02, Vox 03, Vox 04

, Vox 05, Vox 06, Vox 07, Vox 08, Vox 09.

Spectral wave types:

Spectral 01 - Spectral 73.

Appendix B: LFOSync Settings

Off, 16/1*, 16/1, 16/1T, 8/1*, 8/1, 8/1T, 4/1*, 4/1, 4/1T, 2/1*, 2/1, 2/1T, 1/1*, 1/1, 1/1T, 1/2*, 1/2, 1/2T, 1/4*, 1/4, 1/4T, 1/

8*, 1/8, 1/8T, 1/16*,1/16, 1/16T, 1/32*, 1/32, 1/32T.

Note: "T" stands for Triplet and "*" stands for a dotted note. In the case of a dotted note, the note duration is equal to 1.5 times its original undotted value.

Appendix C: Delay Sync Settings

f, 1/2, 1/2T, 1/4*, 1/4, 1/4T, 1/8*, 1/8, 1/8T, 1/16*,1/16, 1/16T, 1/32*, 1/32, 1/32T.

Note: "T" stands for Triplet and "*" stands for a dotted note. In the case of a dotted note, the note duration is equal to 1.5 times its original undotted value.

Appe

ndix D: Modulation Sources and Destinations

Modulation Sources Synth:

Free Envelope 1&2, Filter Envelope

Bipolar.

Free LFO 1&2, Filter LFO

Bipolar.

Arpeggiator Velocity

The Velocity row settings of the Sequencer. Bipolar.

Arpeggiator Free

The Fre

e row settings of the Arpeggiator. Bipolar.

Offset

onstant value to extend the range of controls. Bipolar.

White Noise

White noise

Pink Noise

Pink noise

Input

Audio input into Predator

Osc 1

Output of oscillator 1

Osc 2

Output o

f oscillator 2

Osc 3

Output of oscillator 3

Osc Mix Out

Output of all oscillators

Filter Out

Output of Filter

Modulation Sources Midi:

Modulation Wheel

The MIDI modulation wheel (MIDI CC 1) (unipolar ).

Mod.Whl.+Aftertouch

The MIDI modula

tion wheel combined with Aftertouch.

Channel Aftertouch (mono)

One aftertouch value is used for the whole keyboard. All notes being played on a specific channel share the same monophonic aftertouch value. This is how most keyboards work (unipolar).

Poly

Aftertouch

The Aftertouch value of each separate note is used as a modulation source. Your MIDI keyboard must support this. If this doesn't work it is likely that your keyboard has no polyphonic aftertouch (unipolar).

Velocity

The MIDI note-on velocity in

formation. The harder the key is hit, the higher

the modulation value (unipolar).

Pitch Bend

The value of the pitch-Wheel which is taken as modulation source. It is usually

centered

which produces no change in pitch, with top value

producing maximum posit

ive values and bottom value producing maximum

negative values.

Note

The note being played with a linear response. The modulation value follows the note number (bipolar).

Breath Controller

MIDI CC 2 (unipolar).

Foot Controller

MIDI CC 4 (unipolar).

Expression Contr.

MIDI CC 11 (unipolar).

CC16 Controller

MIDI CC 16 (bipolar).

CC17 Controller

MIDI CC 17 (bipolar).

CC18 Controller

MIDI CC 18 (bipolar).

CC19 Controller

MIDI CC 19 (bipolar).

CC20 Controller

MIDI CC 20 (bipolar).

CC21 Contro

ller

MIDI CC 21 (bipolar).

CC84 Controller

MIDI CC 84 (bipolar).

CC85 Controller

MIDI CC 85 (bipolar).

CC86 Controller

MIDI CC 86 (bipolar).

CC87 Controller

MIDI CC 87 (bipolar).

CC88 Controller

MIDI CC 88 (bipolar).

CC89 Controller

MIDI CC 8

9 (bipolar).

CC90 Controller

MIDI CC 90 (bipolar).

Modulation Destinations:

Global: Global Pitch

Main pitch control in semitone ranges. (-

48 to +48 semitone).

Port Time/Rate

Portamento time/rate control.

Pitch modulation LFO Speed

Main pitch

LFO modulation speed control.

Pitch modulation LFO Amount

Main pitch LFO modulation amount control.

Osc 1: Volume

Volume control of oscillator 1.

Semi tuning

Pitch control of oscillator 1 in semitones (-

48 to +48 semitones).

Fine tuning

Pitch

control of oscillator in cents

100 to +100 cent).

Symmetry waveform

Symmetry control of the waveform.

Sub-oscillator Volume

Volume of the sub-oscillator square wave.

PWM Amount

Amount of PWM modulation control.

PWM Speed

PWM LFO speed control.

Osc 2 and 3: FM amount

Amount of FM or Ring modulation.

Volume

Volume control of oscillator.

Semi tuning

Pitch control of oscillator in semitones (-

48 to +48 semitones).

Fine tuning

Pitch control of oscillator in cents (-

100 to +100 cent).

Symmetry waveform

Symmetry control of the waveform.

Sub-oscillator Volume

Volume of the sub-oscillator square wave.

PWM Amount

Amount of PWM modulation control.

PWM Speed

PWM LFO speed control.

Filter: Filt Cutoff Frequency

Cutoff Frequenc

y control.

Filter Resonance (Q)

Resonance control or the amount of feedback of the comb filter.

Filt Distortion

Controls the pre-filtering saturation distortion.

Filter Envelope Amount

Filter Envelope amount control.

Filter Env Speed

Filter Envelo

pe speed control.

Filter LFO Speed

Filter LFO speed control.

Filter2 Cutoff Frequency.

Filter2 Cutoff Frequency control.

Filter Attack

Filter Envelope attack amount

Filter Decay

Filter Envelope decay amount.

Filter Sustain

Filter Envelope sust

ain amount.

Filter Fade

Filter Envelope fade amount.

Filter Release.

Filter Envelope releaseamount Amp: Volume

Volume control. Panning

Panning control. Amp Env Speed

Volume Envelope speed control. Amp Attack

Amp Envelope attack time Amp

Decay

Amp Envelope decay time. Amp Sustain

Amp Envelope sustain amount. Amp Fade

Amp Envelope fade time. Amp Release.

Amp Envelope release time Free Envelope/LFO:

Envelope1 Speed

Envelope 1 speed control. Envelope1 Amount

Envelope 1 amount

control.

Envelope2 Speed

Envelope 2 speed control. Envelope2 Amount

Envelope 2 amount control. Envelope1 Attack

Envelope 1 attack time Envelope1 Decay

Envelope 1 decay time. Envelope1 Sustain

Envelope 1 sustain amount. Envelope1 Fade

Envelope

1 fade time.

Envelope1 Release.

Envelope 1 release time Envelope2 Attack

Envelope 2 attack time Envelope2 Decay

Envelope 2 decay time. Envelope2 Sustain

Envelope 2 sustain amount. Envelope2 Fade

Envelope 2 fade time. Envelope2 Release.

Envelo

pe 2 release time

LFO1 Amount

LFO1 amount control. LFO1 Speed

LFO1 speed control. LFO2 Amount

LFO2 amount control. LFO2 Speed

LFO2 speed control.

Predator User Guide version 1.5.5a

Rob Papen Predator User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual