SonicProjects OP-X PRO User Manual

SonicProjects

OP-X PRO

MANUAL

www.sonicprojects.ch

Introduction

Congratulations on the purchase of the SonicProjects OP-X PRO!

The OP-X PRO has the same basic engine as the OP-X while offering a
multimode filter and a lot of additional features and tuning options.

The technical structure of this synth is quite unique. The enigine is based on
six totally independent voices which correspond to the voice boards of the
original. There's no voice cloning used to achieve polyphony as it is usually the
case in vst instruments. Each voice is built separatly, each voice has its own
signal path and each voice differs slightly in its parameter settings and sound ­as it is present too in the original. This imperfectness is one of the main
reasons for the organic and lively character of the old faithfull originals.

Although this is a great thing for some sounds (especially pads), it's not so
great for others (brass, fm, ...). While you had to tune the voice cards of the
original by trimpot adjustments, the voices of the op-x can be tuned by the
touch of four global buttons - separatly for oscillators, filters, envelopes and
portamento times. The original did just provide an autotune button, which
tuned the oscillators. The rest was influenced by temperature and aging
processes. In the OP-X PRO you can additionally tweak the tuning of the
voices to your liking with virtual trimpots. They represent the real trimpots of
the original's voice boards which normally had to be tuned by a service
technician from time to time.

With the the op-x you get total control over the tuning - as you might have
wished it from any analog synth of the past - without missing the organic
feeling. You can mix tuned oscillators, detuned filters etc. There are no limits.
Even the spread knob, which effects a continuous and proportinal detuning,
can be used for polyphonic sounds, also in combination with the knob detune.

We call this concept Separate Voice Design (SVD).

You can learn more about it on this site which includes a lot of audio clips:

http://www.sonicprojects.ch/obx/separatevoicedesign.html

A welcome consequence of the separate voice design is the presence of
stereo pan controls for each voice. This popular feature of old analog synths
allows mind blowing real stereo without deluting chorus or delay effects.

A further thought had to go to the filter. The old discrete SEM filter was highly
appreciated because it didn't loose gain or thickness in high resonance
settings and had an extraordinary precious balanced sound and great depth.
The filter of the op-x is specially designed and tries to copy this character. The
OP-X PRO furthermore implements a parallel multimode filter with continuous
blending from high pass to band pass to notch. Like in the old SEM there's too
a continuous blending from the low pass mode (12/24dB switchable) to the
multimode filter with notch effect in 50/50 setting when blended to high pass.

Installation

Doubleclick the installer and follow the instructions.

The installer will look for the shared vst plugins folder. You can also browse
your computer for the vst plugins folder manually. The plugin will be installed in
a subfolder named „SonicProjects“. The installer will also create a folder
named „SonicProjects“ in your start menu. You will find the pdf manual and
the uninstaller there.

Note: You need a vst host to run the plugin. It can't be run standalone. If you
don't have a one then have a look at our dedicated site where we have listed
some tested and recommended free vst hosts including short guides:

http://www.sonicprojects.ch/obx/freevsthost.html

After first loading in your host you have to enter your personal id and key data
to unlock the plugin. After successful unlocking the plugin loads, but still
without sound. You have to reload the plugin now. From then on it will work.

If the key data was not entered correctly nothing happens when you click on
„enter key“. Be sure to enter the whole line containing name AND four digits id
number in the „User ID“ field:

Use copy and paste for the license key to avoid typing mistakes. If you have
problems with the reg window disappearing then deactivate „always on top“ for
your plugin window. You can alternatively load the plugin first by clicking on
„try demo“ and then enter your data by clicking on the blue window.

Remove the plugin:

Use the uninstaller in the „SonicProjects“ folder in the start menu.

License and copyright

The plugins are bound to the registered user. It's not allowed to pass them on
to third persons. Each plugin contains a hiddden serial that allows to identify
and trace the original user in case of irregular distribution.

The voice LEDs

These LEDs indicate voice activity. Each voice has its propriate LED. That
means, when a voice is receiving trigger data to play, its propriate LED shines.
In unisono mode, all six LEDs are glowing at the same time.

The original has this LEDs too, but mounted on the individual voice boards in
the inside of the device. With their help, you could see that a voice was
working correctly.

The MANUAL section:

VOLUME

Master volume. Its setting is stored with the preset.

TUNER

The individually and slightly detuned voices can be tuned here. Read the intro
for comprehensive info on the voice tuning.

OSC

Tunes the oscillators. In released state, each voice is slightly and individually
detuned as it would be on startup in the original. More subtle detunings can be
achieved with the spread knob which also works in polyphonic mode.

FILT

Tunes the filters. In released state, the filter cutoff of every voice is slightly
different, as it is the case in every original device that is not freshly serviced.
These detunings can be altered for each voice with the FILT trimpot row in the
MANUAL section (see MANUAL and „Tuning Trimpots“).

ENV

Tunes the attack and decay times of the filter envelopes. In released mode,
the attack and release time of every voices' filter envelope is slightly different.
This gives organic life to pad and sweep sounds. These times can be tuned
with the DEC / REL trimpot rows above the keyboard. See „Additional Knobs
row“ and „Tuning Trimpots“ for more information.

The fourth element of the op-x' tuning capabilities is located in the addidional
functions section below the filters section: the portamento detuner "Port DET".
See "PORTAMENTO", "ADDITIONAL FUNCTIONS SECTION" and „Tuning
Trimpots“ section for detailed info.

SPREAD

Spreads the oscillator tuning of the voices - good for fattening up unisono
sounds, but also usable for more controlled detune of polyphonic sounds.

FILT Trimpots

These trimpots let you tune the filters of voice one to six. This setting is only
active when the FILT tune button is reseased (detuned mode). The standard
detuning is the 12 o'clock setting (and this means not tuned equally). You can
hear the settings with resonance set to a high amount. More info about the
trimpot tuning can be found in the „Tuning Trimpots“ section of the manual.

Learn more about the benefits of slightly different filter settings for each voice
on this dedicated site inluding a lot of audio examples:

http://www.sonicprojects.ch/obx/separatevoicedesign.html

The CONTROL section

PORTAMENTO

Also called "glide" sometimes. Makes the pitch change continuously between
the notes. Short settings in unisono sounds makes the sound "squeak". The
function also works in polyphonic mode. The portamento can be detuned with
"Porta DET" in the additional functions section (below filters section). In
released "Porta DET" mode, the portamento times of each voice are equal. In
pushed mode, the times vary from voice to voice which was typical for the
original. The result in unisono mode is a special sort of "depth" while gliding. In
polyphonic mode it will result in the typical analog portamento feel.

UNISON

Stacks all six voices of the first voice bank for fat solo sounds. Use the spread
knob or release the osc tune knob to fatten up the sound.

OSC 2 DETUNE

Fine tuning for oscillator 2. This is used to produce beats when both oscillators
are on. This results in a fat sound.

Trimpot

The trimpot below the detune knob lets you adjust the subtle beats between
oscillator 1 and 2. In zero setting this is really zero which is actually never the
case in real hardware devices. In this setting the sound is determined by the
random phase difference between oscillator 1 and 2. Fully turned right there
are subtle and individual beats for each voice as it is normally the case in
hardware devices even in „tuned“ mode. This setting brings back the real
hardware feel to the virtual world. For absolutely equal and not phase
determined tuning you have to use the „SYNC“ button in the oscillators
section. So there are in fact three variants for „tuned“ mode.

Also Have a look at the „Oscillators tuning“ sub-section in the „Tuning trimpots“
section of the manual.

The MODULATION section

This is the section where the main LFO is controlled and routed to the desired
modulation aims. For the modulation lever, there's a separate and independent
sine LFO (rate control above levers). If wished, the modulation lever can be
switched back to the main LFO as it is in the original device (ADDITIONAL
FUNCTIONS SECTION, "Wheel LFO").

RATE

Regulates the LFO rate. The rate response is logarithmical. If the LFO is
synchronized to song tempo (which can be done in the ADDITIONAL
FUNCTIONS section with the LFO button, III for triolic behaviour), the knob will
react in three big steps (multiplied by the song tempo).

The waveforms: Several waveform buttons can be switched on at the same
time. This will combine the chosen waveforms to a resulting new wave by
adding ther outputs to each other.

The available waveforms:

SINE

Switches on the sine wave of the LFO.

SQUARE

Switches on the square wave of the LFO.

S/H

Switches on the sample & hold wave of the LFO. Technically explained, white
noise is "sampled" with the speed of the LFO rate. This results in a random
step wave.

FREQUENCY DEPTH

Regulates the modulation intensity of the LFO to the oscillators and the filter.
The response of this knob is specially designed. In the first quarter, you have
double logarithmic response which allows to make finest adjustments in very
low modulation settings, e.g. for almoust imperceptible oscillator vibrato. The
rest of the scale does react linear for fast changes.

OSC 1

Switches the above regulated LFO output to oscillator 1 pitch.

OSC 2

Switches the above regulated LFO output to oscillator 2 pitch.

FILTER

Switches the above regulated LFO output to the filter cutoff. The influence
amount is dependent on the filter cutoff. Low cutoff settings result in lower LFO
influence. This is again a copied behaviour of the original.

PULSE WIDTH DEPTH

Regulates the modulation intensity of the LFO output to the pulse width of the
oscillators pulse waves and the amplifier. Its influence is added to the
"WIDTH" setting in the oscillators section.

OSC 1

Switches the above regulated LFO output to oscillator 1 pulse width.

OSC 2

Switches the above regulated LFO output to oscillator 2 pulse width.

AMP

Switches the above regulated LFO output to the amplifier (volume).

The OSCILLATORS section

PITCH 1

Sets the pitch of oscillator 1 in five octave steps (QUA mode). In LIN mode
the frequency can be adjusted continuously.

The waveforms:

Other than in the original both waveforms can be switched on at the same
time. This is again for problem free VST automation. Both waves activated
results in pulse wave (the same as squ pushed only). However, both buttons

released results in a SINE wave. This is designed for yamaha type FM.

SAW

Switches on the saw wave of oscillator 1

SQU

Switches on the pulse wave of oscillator 1

SINE

The SINE wave will be activated when both buttons are released.

WIDTH

Manual regulation of the pulse width of both pulse waves. Modulations for each
pulse wave are added individually.

PITCH 2

Sets the pitch of oscillator 2 in semitones. The range is five octaves and three
semitones. If sync is on, the sync spectrum can be controlled with this knob.

SAW

Switches on the saw wave of oscillator 2

SQU

Switches on the pulse wave of oscillator 2

SINE

The SINE wave will be activated when both buttons are released.

X-MD

Cross modulation. This is sort of a simple frequency modulation between
oscillator 1 and oscillator 2. The result is a disharmonic spectrum. The sound
is determinate by the selected waves, the relation of the oscillators frequencies
to each other and the modulation amount, regulatable with "X-Md" trimpot . In
most cases, the pitch knob of oscillator 2 is used to regulate this. If the
frequency of oscillator is modulated (by LFO or filter envelope - described
later), the sound will change dynamically. If you want to hear only the FM
output, you can switch off oscillator 2. Switch the black osc2 control from
„QUA“ (quantized) to „LIN“ (linear) for continous tone search.

For yamaha type FM, release the wave buttons (both) for the SINE waves to
become active. For a little bit more presence, the wave of oscillator 2 can be
switched to SQU (Pulse). For even more clearness, the activation of ring
modulation (ADDITIONAL FUNCTIONS section, "RING") is recommended.

In the ADDITIONAL FUNCTIONS section, there is a special function to give
some additional movement to crossmod sounds: When you switch on the
"ENV" button, the modulation depth is influenced by the amp envelope. (The
same can be done with ring modulation - see later).

SYNC

Hard sync. Oscillator 2 is synchronized by oscillator 1. Everytime the oscillator
1 wave amplitude crosses zero, the oscillator 2 wave amplitude is set to zero
too. The sonic result is the well known and famous sync sound with rich
harmonics. As it is with cross modulation, changes of the oscillator 2 pitch
results in changes in the spectrum. The whole thing gets interesting too if
oscillator 2 is modulated.

QUA / LIN (black rectangles)

Click them to change from quantized (QUA; Osc1: octaves, Osc2: semi tones)
frequency control to continuous / linear (LIN) frequency control. This will have
an affect on both the main buttons and the trimpots.

FQ1 / FQ2

Fine adjustment of the frequencies of oscillator 1 and 2. The response is
dependent on the black rectangles setting (QUA / LIN - see above).

XMD

Sets the amount of switched on x-modulation (cross modulation) AND
switched on ring modulation (additional buttons section).

The FILTER section

A specially designed 12/24db low pass filter with an accompanying parallel
multimode filter tries to do its best to emulate the famous SEM sound. The
SEM filters became famous with the beige SEM-Modules and the SEM based
Four- and Eightvoice. The OB-X was the last Ob. synth that was equipped with
this discrete design (but without multi mode). Later models, beginning with the
OB-Xa, got the standard Curtis Chips. One of the special things of the SEM
filters is that in high resonance settings, the sound remains as fat as in zero
resonance settings. This is a wonderful thing for pads and sweeps. The old
SEM filters had no self oscillation, so you won't find it here too. The classic
SEM design (continous blending from 12bB lowpass to highpass which results
in notch filtering in the 50/50 setting - with separate choosable bandpass
position) has been enhanced with switchable 12/24 dB LP mode (24 dB switch
in the additional buttons section) and a continuously (!) adjustable multi-mode
pole (only high pass in the SEM) that lets you blend from high pass over band
pass to notch. Not enough with this the LP-multimode mix can be modulated
by the main LFO and the filter envelope. This all gives you tremendous subtle
control over tone as you have never experienced before.

CUTOFF

Regulates the filter cutoff frequency.

RESON.

Regulates the filter resonance. If self oscillation is activated (see above, small
lamp shines) the filter will produce a sine wave at the highest setting.

ENV AMT

Regulates the amount of the filter envelope influence on the cutoff frequency.
This is added to the cutoff setting.

OSC1

Switches oscillator 1 to the filter.

OSC2 HALF

Switches half of the volume of oscillator 1 to the filter.

OSC2 FULL

Switches the full volume of oscillator 1 to the filter.

If both knobs are activated, there's a slight volume push.
You can fine-tune the amount using vst automation (drag the dedicated line).

NOISE HALF

Switches half of the volume of the white noise generator to the filter.

NOISE FULL

Switches the full volume of the white noise generator to the filter.

If both knobs are activated, there's a slight volume push.
You can fine-tune the amount using vst automation (drag the dedicated line).

KEY

Keyboard tracking. It makes the filter cutoff follow the key position, which
means that every note has the same amount of harmonics. When the
rersonance is in a high setting, you can hear the filters' beginning feedback
pitch follow the keyboard. Try the preset named "Noise Whistle" to hear this.
The keyboard tracking amount can be adjusted with the „KEY“ trimpot. Fully
turned right the filter pich follows the keyboard chromatically.

MIX trimpot

This trimpot lets you blend from 12/24 dB low pass (left or zero position) to the
multimode filter (high pass - band pass - notch, dependent on the TYPE
setting). With the multimode filter set to high pass the 12 o'clock position of the
MIX trimpot results in classic SEM notch filtering (one small band missing). In
this notch mode resonance can be added without loss of contour (which is not
possible in the multimode filters' notch position).

TYP trimpot

Lets you continuously blend the multimode filter from high pass (left or 7
o'clock postion) over band pass (12 o'clock position) to notch (right position).
The blending curve is logarithmic so that the pure bandpass mode can be
located more easily. This continous blending option gives you the possibility to
change modes on the fly without hard sound steps and also lets you adjust
tone and high/low frequency amount very detailed. You can e.g. take a bit
away the lows of the lopass mode blending a bit towards the bandpass mode
for a slimmer sound. The modes in extreme positions:

HP (high pass): Filters away the low frequency and leaves the high
frequencies. Used for slim and thin sounding stuff to fit the arrangement/mix.

BP (band pass):Only lets pass a narrow frequency band. The resulting sound
is well known from the guitar „wah-wah“ pedals. It sounds somehow similar to
lowpass filtering but with reduced lows.

NO (notch): This is the opposite to the bandpass filtering. It cuts off a narrow
band. It's quite a subtle effect. The resonance has to be set to zero to hear it
(if not the hole is filled by the peak). See above for SEM notch mode w/ res.

KEY

Lets you adjust the amout of keyboard tracking. The keyboard tracking has to
be switched on for this (KEY button - see above). Keyboard tracking lets the
filter cutoff frequency follow the keyboard (dependent on the played note). In
max position this is chromatical (same as played notes), in zero position the
cutoff does not follow any more. Keyboard tracking is being used to give all
notes the same (or weighted) amount of brightness or partials, often present in
natural instruments, or for tonal fm sounds.

LFO (-MIX)

Lets the main LFO modulate the filter mix setting. The effect is dependent on
the MIX trimpot position. The audible result is less stiff than a simple cutoff
modulation. Great for never heard stuff.

ENV (-MIX)

Lets the filter envelope modulate the filter mix setting. The effect is dependent
on the MIX trimpot position. The audible result is less stiff than a simple cutoff
modulation. It can be combined with standard cutoff modulation. This option
can produce very flattering and subtle sweeps.

The ENVELOPES section

Nothing spectacular here, just an ADSR envelope for the filter on top and an
ADSR envelope for the amp at the bottom. But nevertheless there is one thing
to mention: The filter envelope can be used to modulate the oscillators pitch
and the pulse width. The knobs for this are at the bottom left side named OM
and PM (described later). This function was not present in the original.

ADSR of course means :

A Attack
D Decay
S Sustain
R Release

To hear the envelopes reaction set all ADSR controls to zero, switch on all
tuning buttons in the tuner section (OSC, FILT, ENV), switch off the oscillators
and switch on noise instead, set resonance to almoust max position (but only
almoust to prohibit distortions), cutoff to zero and env amount to max, and play
repeated notes. You will hear very short clicks (better audible with some reverb
added). Increase then the amp envelope decay knob to max (the click will get
punchier since there's more room for it) and then increase the cutoff (which
brings punchy tonal bumps).

Arpeggio mode

In arpeggio mode it can become necessary to adjust the amp envelope:

1. If the arpeggiator is on in polyphonic mode (unisono button not on), you
have to regulate down the amp sustain to zero to separate the voices from
each other.

2. If you hold the arpeggio with the damper pedal, it can become necessary to
adjust the amp sustain to make the arpeggio sound the same as in non-holde
mode (if wanted).

The ADDITIONAL FUNCTIONS section (below filter)

In former days, you could save your settings here in 32 (4 x 8) memory
locations. There was a casette interface to backup the memory. Today, 29
years later, in the virtual world, we don't need this section anymore. This
allows us to equip these free buttons with the control for various additional
functions.

The abbrevations below the buttons are designed to remember what the
specific button is for. We could not write a book below every button, so you
have to know what the abbrevations refer to. You simply have to learn this (not
a big deal):

Lega ON

Switches on legato mode when playing unisono patches. In legato mode the
pitch always jumps back to the remaining hold note and the notes are only
retriggered if all keys are released. In non legato mode the pitch doesn't jump
back and the notes are retriggered every time (more convenient for skilled
piano players and essential for unisono bass sounds).

The legato mode was the standard unisono mode in many old analog synths.
However the pitch normally only jumped back from one side (in the OB-X from
down to up) while in the OP-X PRO it jumps back from both sides to a hold
note - very practical. The legato mode was a common way of solo playing ­holding one key as a center point and filddle around in with the other fingers.

DMP

Damps / reduces the filter cutoff by a fixed amount. This can be necessary if
key tracking is switched on and the cutoff can't be lowered enough for very
high notes. But it also can be used for fast high/low cutoff setting comparisons
and immediate sequencer line mods.

24dB

Switches the low pass filter effectiveness from 12bB (standard SEM mode) to
24 dB. The 24dB setting can be better for percussive sounds that need more
effective filtering. It generally sounds a bit more present but also a bit colder.
Not recommended for warm pads.

Lfo Phase:

OSC

Inverts the phase of the LFO modulation to the oscillators. This is helpful when
the LFO is synchronized to a sequencer. If you want the LFO rise on 2 and 4
instead of 1 and 3, just push this button.

PW-FILT

The same for pulse width and filter. The LFO phase to these two destination is
inverted. Very important function again when synchronized to song tempo.

Filterenv Modulation:

OSC2

Makes the filter envelope modulate oscillator 2 only (if env modulation is
activated). This is important for modulated sync- and crossmod sounds.

\

Inverts the effect oft the filter envelope modulation to the oscillators (if env
modulation is activated).

PW1

Makes the filter envelope modulate pulse width 1 only (if env modulation is
activated).

\

Inverts the effect of the filter envelope modulation to the pulse width (if env
modulation is activated).

RING

Switches on ring modulation. Ring modulation means, that the output of one
oscillator is multiplied by the output of the other (not the pitch as it is with x­mod). This sounds a bit different to the cross modulation. Please note that
both oscillators have to be switched on to hear a result. The amount of ring
modulation is set in the oscillators section with the „X-MD“ trimpot (which also
regulates the X-Mod amount). The ring modulation often can be used to
brighten up sounds a bit, especially sine fm sounds.

ENV

A very special feature that can be interesting in arpeggiator mode: When
pushing this button, the output of the modulating oscillator for cross- or
ringmodulation is taken after the amp, which means that the amp envelope
has an influence on the sonic result. The influence can be heard when the
decay and release times are short.

Wheel LFO

The extra modulation wheel LFO can be switched off here. In this case, the
wheel (or lever) is routed to the main LFO instead.

VEL

This button switches velocity sensivity on. The velocity will have an effect on
the filter envelope. Combined with the filterenv modulation, not only the cutoff
can be velocity controlled, but also pitch and pulse width (dependent on the
OM and PM settings). The velocity range and response can be regulated in
the additional knobs row with „Floor“ and „Ceil“.

Porta DET

Portamento detune. In released "Porta DET" mode, the portamento times of
each voice are equal for snappy "squeek". In pushed mode, the times vary
from voice to voice which was typical in the original. The sonic result in solo
sound is a special sort of "depth" while gliding. If you really need to you can
alter the voices' individual portamento detunings with the dedicated trimpot row
in the Levers section (POR). Have a look at the „Levers“ and „Tuning Tutorial“
section in this manual for more details.

Portamento detune is absolutely essential to capture the magic of many old
polyphonic analog synths. OP-X PRO even goes a step further than the
hardware by letting you choose the „state of service“. Have a look at the tuning
tutorial to learn more about the fine tuning of this feature.

Sync to Songtempo:

LFO

Synchronizes the LFO to the song tempo of the sequencer. In this mode, the
RATE knob will react in three big steps only, dependent on the tempo. Note,
that the phases of the individual LFO sections can be inverted (OSC / PF).

III

Switches on triolic synchronization mode (multiples of three notes per beat).

ARP

Synchronizes the Arpeggiator to the song tempo of the sequencer. In this
mode, the Speed knob will react in three big steps only, dependent on the
song tempo.

ARP ON

See next page

ARP ON

This button switches the arpeggiator on. A second click (led shines red)
causes the arpeggiator to switch to hold sequence mode.

Normal arpeggio (led orange):

The notes are played back in the same order and place as they were played
in. The range is one octave. The speed can be varied with the „Speed“ knob
above the keyboard. You can also synchronize the arpeggiator to the song
tempo with the „ARP“ button below „Sync to song tempo“. The arpeggio can
be hold with the damper pedal. You have to adjust sustain and release for this
mode if the hold line should sound exactly the same.

Step sequencer mode (led red):

When you play a new note, it will be saved in one of the memory locations of a
six step sequencer. Every new note is saved in the next memory location.
When all six locations are full, it will be saved to location 1 again. Right above
the keyboard you can find two dedicated knobs: The Speed knob regulates the
playback speed. The Steps button varies the amount of steps repeatedly
played. In the minimal setting, this number is 2, in the max 7. In the 7-mode
the first step of the 6-step sequencer is being repeated.

The arpeggiator can be used in unison and polyphonic mode. If you are in
polyphonic mode, you have to turn the amp envelope sustain to zero to
separate each voice from the others. Done so, you can play with the filter
envelope, the amps attack and decay and also with the voice pans.

So you have in fact the following modes to choose from:

1. ARP ON orange, steps other than max (turn a bit anti-clockwise):

- normal input order arpeggio (one octave up);

- note that the steps knob has no effect in this state

- hold with damper pedal (adjust amp sustain if necessary)

A quite practical feature is that the polyphony will be fixed once the hold pedal
is active. This allows to stay in the current metre without paying attention to the
number of notes played at the same time. To change the fixed number simply
release the hold pedal and start with a new number which can be fixed then
again with the hold pedal. Adjust the amp sustain knob to match the release of
the two states if needed.

2. ARP ON red:

- step sequencer, 2 - 6 steps, 6 steps with one step repeated (max)

- release with damper pedal (returns to hold mode)

- steps knob sets the amount of played steps (2 - 6, 6 + 1 rep)

The ADDITIONAL KNOBS row (above Keyboard)

You won't find the knobs above the keyboard in the original. These are all
addidional functions or functions which were only accessible after opening the
case of the device. From left to right:

LFO

Regulates the speed of the separate modwheel sine-LFO. It's routed to the
modulation lever (or wheel in modern terms). This LFO can be switched to the
panning modulation instead with the „Wheel LFO“ button in the additional
buttond section if you need a separate lfo for it. Then the main lfo will be
routed to the lever modulation instead.

Aftertouch:

A Vib.

Regulates the aftertouch (key pressure) influence on the oscillator vibrato. This
is driven by the LFO switched to the modulation wheel.

A Filt.

Regulates the aftertouch (key pressure) influence on the filter cutoff. Great for
expression.

Envmod:
OM

Regulates the amount of the filter envelope modulation to the oscillators. Have
a look at the ADDITIONAL FUNCTIONS section description for further options
(OSC, \ ). This is a prophet synth speciality.

PM

Regulates the amount of the filter envelope modulation to the pulse width.
Have a look at the ADDITIONAL FUNCTIONS section description for further
options (PW, \ ). This is a prophet synth speciality too.

TUNE

Master tune. The default setting is center (mid). The pitch can be adjusted up
to one half tone down (turn left) or up (turn right) to adapt the overall pitch to
acoustic instruments with deviating tuning.

DEC / REL

Trimpot controls for the decays (DEC) and releases (REL) of the filter
envelope. These trimpots let you tune the slightly different decay and release
settings of the filter envelopes in detuned mode (ENV button in tuner section
released) for each voice channel (1 to 6 from left to right). This setting will only
have an effect in detuned mode (ENV released). The envelopes in real old
hardware synths never did close for each voice with the exact same speed
which gave sweeps a special life and richness. This could be annoying for
brass (and other) sounds however, so the envelopes detuning can be switched
off with one button in the OP-X for these sounds (with the „ENV“ button in the
MANUAL section). The manual tuning of the filter envelopes is definitively
something for specialists or folks that want to copy their hardware device 1:1.
Especially in downsweeping stacked unisono sounds these settings have a
huge effect on the overall sound - a good example for it is the famous „Tom
Sawyer“ sound from Rush. Without these slightly different envelope times this
famous sweep will sound stiff and unreal because all old analog synths had
these slight offsets. For a detailed tutorial for envelope tuning have a look at
the „Tuning Trimpots“ section of this manual.

Voice mute

These buttons let you individually mute single voices. If polyphony is switched
to more than six voices.

This feature is mainly used for the following two tasks:

1. Create less fat unisono sounds or real mono patches: By lowering the
number of involved voices the sound gets less fat but more transparent.
Leaving only one voice active will allow to imitate mono-synths (e.g. Odyssey
or Minimoog). Works only when unisono is switched on of course.

2. For tuning individual voices by listening to them alone and comparing them
to other ones (also switch unisono mode for this). Read more about it in the
comprehensive tuning tutorial section of the manual.

Vel. Amt: Velocity Amount:

With the two knobs below „Vel. Amt“ the velocity amount to the filter envelope
can be controlled in detail. These knobs only have an effect if the VEL button
above is activated and velocity is available. In running arpeggio mode velocity
is not available.

Floor

Sets the lowest point of velocity - it's the filter envelope (=cutoff) setting if
velocity is zero.

Ceil.

(Ceiling) This sets the maximal influence position of the velocity towards the
filter envelope.

Steps / Speed

Steps sets the number of played back steps in sequencer mode (ARP ON:
red), from 2 to 6 and 6 + step 1 repeated. Speed regulates the speed. More
infos in the ADD FUNCTIONS: ARP ON section.

P-Md

This knob replaces the X-Md knob of the OP-X which has moved into the
oscillators section. This knob allows you to modulate the voice pans of each
voice with the sine wave of the main LFO. Although all pans are modulated by
the same LFO, the effect is independend for each voice and is determined by
its individual pan setting. The pan will be modulated from the present pan
setting to the opposite pan side to the same maximal amount as the original
side - like a mirror, going through the 12 o'clock setting. So if the voice pan is
set to 12 o'clock itself the pan modulation will have no effect. If the pan is in
the minimal or maximal setting the modulation will have the maximal effect.
The direction is always determined by the „start“ position, so the modulation
directions can be opposite for each voice. This gives you tremendous
possibilities that go beyound the already great „fixed“ individual panning option.

Examples:

1. All pans set to full left: this will result in a classic panning tremolo effect

2. Alternately left / right setting (the best not full) for each voice: this will result
in a lively and slightly moving stereo impression; this will even improve if some
pans are set to 12 o'clock or if each pan is slightly different.

Turning the P-Md knob from zero (manual and fixed panning) to right there will
be a point of „kicking in“ of the effect. From this point on the modulation depth
is increased. For „normal“ and manual pan setting this knob must be set to
zero. Set tis knob back to full zero for normal (manual) panning.

The voice pans:

This was a very popular feature in old analog synths. In contrast to many old
synths, the controls can be accessed on the surface and also can be stored
with the preset. The panpots also can be automated. In the original device,
these pots sat on a board in the inside of the case. For non modulated manual

setting the P-Md knob on the left has to be set to zero (section see above).

1 Pan setting for voice 1

2 Pan setting for voice 2

3 Pan setting for voice 3

4 Pan setting for voice 4

5 Pan setting for voice 5

6 Pan setting for voice 6

Some possible ways of using the pans:

1. Wide stereo in polyphonic mode:

Set the pans repeatedly fully left and fully right (1 left, 2 right, 3 left...)

2. Wide stereo in polyphonic mode with analog flavour:

Set the pans repeatedly fully left and fully right (1 left, 2 right, 3 left...) and alter
the settings a bit from voice to voice

3. Analog mono:

Set the pans to center, but not exactly - vary the settings a bit from voice to
voice - the sound will become more natural like this

4. Broad unisono:

Set the pans repeatedly fully left and fully right (1 left, 2 right, 3 left...) - the
unisono patch will become smooth, big and broad

5. Panning arpeggio:

Set the pans increasingly from fully left (voice 1) to fully right (voice 6). The
arpeggio will move now from far left to far right in the stereo field.

The LEVERS section

The levers section contains several global controls, including keyboard and
lever animation, pitch and modulation levers with dedicated controls plus the
octave setting.

LEVERS

A speciality of old oberheim synths was that they had two vertically working
levers instead of the popular wheels invented by moog. The modulation lever
is on the left side. In the original it only worked downwise. In the OP-X, it can
be moved up- and downwise. Upwise, the modulation is inverted (hearable
only in a realtive time context). The pitch lever is on the right side. It reacts
vice versa than a popular wheel. Downwise movement highers pitch, upwise
movement lowers pich.

POR

Portamento tuning trimpots

The OP-X does handle the portamento for each voice separatly (like in the real
hardware). So the portamento times can be different for each voice. In old
analog hardware synths the prtamento times almoust always were differing
slightly which resulted in a rich and „smeary“ portamento sound especially in
stacked unison mode. While this effect is subtle when using short portamento
times (but nevertheless makes a huge difference) it gets very obvious when
the portamento time is increased. Some voices will „land“ earlier while others
follow a bit later. This was very typical for old OB synths and it's present too in
the OP-X since the internal structure is almoust the same.

In detuned mode (with activated Porta. DET button in the additional buttons
row) the voices' individual slightly different portamento times can be tuned with
these trimpots. This is something for absolute specialists and probably won't
be used most of the time by most users since the standard detuning setting is
perfectly usable. But it's there if you need it - one never knows. If you want to
copy your favourite portamento glide from an old record up to the last acribic
detail you can do this here. Have a look at the „Tuning Trimpots“ section in this
manual for a short tuning tutorial.

Os2

Oscillator 2 only. When switched on, the pitchwheel (or whatever it is called)
does change the pitch of oscillator 2 only. This is great for controlling sync
sounds. Try the preset "SyncSolo Pitchwheel" to explore this.

+12

This button serves for setting the pitchwheel interval between uwo semitones
(released) and one octave (blue).

Oct.

Switches the keyboard octave (three octave range). Be careful handling it in
vst automation mode because of the "radio button" switch mode. This anyway
is a parameter that is set once and won't be changed while playing in normal
case. Better use your masterkeyboard's transpose function for realtime key
range changements.

Keyboard and lever animation controls:

The keyboard and levers of the OP-X PRO react to the computer mouse. They
also react to midi data. The response to midi data can be switched off for
keyboard and levers separatly. The controls:

Top: Switches off the keyboard's response to midi data.
Bottom: Switches off the levers' response to midi data.

While keyboard animation looks nice for demo purpose it's not really needed
for actual playing. Active keyboard animation can cause a tad bit higher cpu
load because the gui has to „work“ too. So it's recommended to switch if off if

you don't actually need it.

The midi data response of the keyboard can cause interference noises
(especially in unisono sounds). Switch off the keyboard midi response
(top button) in that case.

Tuning Trimpots

This section will make you familiar with the handling of the added tuning
trimpots in the OP-X PRO.

In the real original device these tuning trimpots could be found on the voice
boards in the inside of the device. They had to be tuned from time to time by a
service technician or the experienced musician. The goal of this procedure
was to make all voices sound identical. From the todays point of view the slight
imperfectness and differences in sound between the voices, caused by device
tolerances and aging processes, gave those old analog synths the organic,
rich and lively character that got lost a bit in the newer synths with digitally
controlled voltages.

These fixed slight differences were furthermore overlapped by the warming up
drift which got normally stable after some minutes.

For some sounds these slight detunings were great, especially for pads and
slow sweeps, but also for stacked solo sounds which sound way more rich and
smooth if not only the oscillators but also the filters, the envelopes and the
portamento times are spread a bit - you can try this out in the OP-X PRO to
hear the difference. For other sounds however this detunings were annoying,
especially for fm (which needs absolutely equal tuning for chromatic playing)
and snappy brass sounds which need precise settings. So in the past there
was no other way than changing the synth for those different tonal characters
since a full tuning was a very time intensive process.

In the OP-X PRO you have all this too, but with total immediate control, one
fingertip tuning and saving option. So every preset can sound like a different
synth in fact, with variable age or service state.

The consequence of this is that OP-X PRO does really feel and sound like real
hardware and can also be tuned like the old glorious analog synths.

The detuning options are split up into four independent sections that can be
individually tuned or detuned: oscillators (common for osc1 and osc2), filters
(cutoff), filter envelopes (decay and release times) and portamento times.

For each of these sections two states can be chosen: tuned or detuned. This
can be chosen in the MANUAL section (OSC/FILT/ENV) and the additional
buttons section (Porta. DET). In the detuned mode the tuning is represented
by the settings of the dedicated trimpots (one per voice channel), in tuned
mode these have no effect any more. It's important to know that the standard
12 o'clock setting of the trimpots means not tuned at all - it only represents the
standard detuning implemented by Sonicprojects.

In the OP-X PRO you have now the possibility to alter these detunings to your
liking. If you e.g. feel that the filter of one voice opens a bit to high for your
taste you can tweak it down a bit. The detuning settings will be saved with the
current patch and have no global effect. Every patch can have its own
individual detuning.

The buttons to switch the sections from tuned to detuned mode:

Oscillators, filters and filter envelopes:

In released mode the sections are in detuned mode, in pushed mode (led
shining) the sections are tuned and will override the trimpot settings

Portamento times:

This button does react vice versa: in pushed mode the portamento times are
detuned (trimpots setting), in released mode the times are tuned and will
override the trimpot settings.

In pushed (=detuned) mode you will get that famous smeary portamento
sound from the old days which gives a special depth.

Tuning Tutorial

The following section will get you acquaint with the tuning procedure for each
of the four sections. In fact a full tuning is not necessary in the OP-X PRO
since you can tune the sections by a fingertip with the above described
buttons. But it will help you to understand the functionality of the trimpots so
that you can make use of them when you need to.

Filter trimpots:
Most important and probably used sometimes for immediate tweaking or
experimental sequencer lines. In monophonic mode (only one voice active) the
trimpots also can be used for very detailed cutoff control.

Env trimpots:
Probably not used most of the time, but very useful if one voice sweeps down
a bit too slow for your taste in a dedicated patch.

Portamento trimpots:
Only for real cracks that want to copy their hardware devices 1:1.

Oscillators tuning

There are no trimpots to tune the oscillators. The reason for this is that the
detuning can be controlled continously by the spread knob which is also active
in polyphonic mode.

So there are four choices actually:

1. OSC tune button released, spread set to zero. In this state the OP-X sounds
like a hardware device after switching on before the autotune process. Can be
great for very dirty sounds.

2. OSC tune button pushed, spread set to zero. This is the fully tuned mode,
good for polyphonic sounds that should be purely tempered.

3. OSC tune button pushed, spread set to a variable amount. In this setting the
spread knob gives you continuous control from fully tuned (zero) to detuned.
You can make polyphonic sounds slightly unpure like this and fatten up
stacked unisono sounds.

4. Last but not least you can even mix spread and button detune with not
always predictable result.

A further thought went to the relative detunings between oscillator 1 and 2 for
each voice. The „normal“ way to handle this is the OSC2 Detune (OSc2 Det.)
knob in the CONTROL section.

The detuning of oscillator 2 will produce beats with increasing frequency from
zero to max position that will fatten up the sound and make it lively.

While in software synths the zero setting really allows absolutely equal tuning
this was almoust impossible in real hardware synths. There were always slow
beats remaining even in the „equally tuned“ position, caused by temperature
drifts and the fact that no voice did have the exact same zero point.

If you want to have this back in the software OP-X PRO you have to turn the
white trimpot below the osc2 det knob to max position. In this setting there will
be left very slow beats even if the osc2 det knob is set to zero. The frequency
of these beats also are a bit different from voice to voice, just like in the real
hardware device. It has to be mentioned that in absolutely equally tuned mode
(trimpot and osc2 det det to zero) there nevertheless will be different relative
phase settings between osc1 and 2 for each voice which are accidental and
will have an influence on sound. For asolutely even phase equal tuning you
have to push the „SYNC“ button in the oscillators section additionally.

Filters tuning

Slightly different cutoff settings for each voice can result in a more lively and
rich sound for both pads and stacked unisono sounds. In released FILT tune
button mode, the filter settings of the OP-X PRO vary slightly from voice to
voice. This standard detuning corresponds to the 12 o'clock setting of the FILT
trimpots. So 12 o'clock setting does not mean tuned.

To hear the filter settings of each voice set the resonance to a high level and
reduce the cutoff to about 13 o'clock. You will hear the filter resonance „sing“
now, and stepping through the voices (playing repeated notes) will result in a
little „melody“. With self oscillation switched on you will hear it the best. Which
voice is presently playing you can see looking at the voice leds. The trimpots
correspond to voices one to six from left to right. Tweak the trimpots on the fly
to change the „melody“ or stop repeating notes and hold one note and then
tweak the dedicated trimpot.

If you want to know how much the detuned mode differs from the tuned one
for each voice you just have to push and release again the FILT tune button
while holding a note. Switching there and back from detuned to tuned mode
you can alter the voice's trimpot until the tuning in tuned and detuned mode is
equal. Then you can see the offset difference.

This can be done even more comfortably without stepping through the voices
and stopping when you activate the unisono mode (which will play all voices at
the same time) and then mute all voices exept the one you want to tune.

If you want to act as a service technician of the old analog days then take the
challenge to tune all filters from voice one to six like this. Once tuned you can
set up your own individual filters detuning. Don't forget to save it with the
current ptach since this won't have a global effect.

If you want to exactly copy the sound of your old six voice hardware synth (e.g.
XPander or six voice OB-X / OB-Xa / OB-8) then you simply have to match the
settings from voice to voice from the hardware device to the OP-X PRO. So
you will have to set your hardware synth to the same resonance and cutoff
setting as the OP-X before tweaking the trimpots of the OP-X. You can save
then the patch as a root patch for a dedicated synth sound. It's all up to your
phantasy in fact.

After successful tuning the trimpots will look like this:

Envelopes tuning

Slightly different decay and release times in the filter envelopes of each voice
can give long downsweeps a more organic and lively character. Unisono
downsweeps with detuned times are broader, fatter and richer as it would be
with absolutely equal times. These slight detunings were very typical for old
polyphonic analog synths and can be heard going on in in many famous
sounds.

However there are sounds where these differences are unwished or even
disturbing - e.g. brass. So the detunings can be switched off by the touch of a
button (ENV in the MANUAL section).

The OP-X PRO furthermore lets you alter the implemented standard detuning
to your liking - should this be to copy a particular sound in every detail or to
copy the behaviour of an existing real analog synth. The standard detuning
corresponds to the 12 o'clock setting of the ENV trimpots. So 12 o'clock
setting means not tuned. The trimpots setting will only have an effect when the
ENV tune button is released.

The meaning of the abbreviations:
DEC: Decay - tunes the decay time of the voice's filter envelope
REL: Release - tunes the release time of the voice's filter envelope

If you want to tune the envelopes you do it the best always comparing one
envelope to a reference one. First release the ENV tune button in the
MANUAL section to get in detuned mode. Switch to unisono mode then and
mute all voices exept your chosen reference voice and the one you want to
compare to it. Set the resonance to a high level, set cutoff to zero and env
amount to max. In the envelopes section set the filter envelope attack and
sustain to zero, the amp envelope attack to zero too and the sustain and decay
to max. If you want to tune the release times you also have to set the amp
release to max. Then you can e.g. take decay 1 as a reference point and
compare a chosen voice to it. Then tweak the decay or release trimpot of the
voice you want to tune. You will clearly hear when the two voices close with the
same speed.

After full tuning procedure your trimpots will look like this:

Portamento tuning

Although it was not an intention actually the portamento times of old voltage
controlled analog synths always did differ a bit from voice to voice. This results
in kind of a „smeary“ glide sound in stacked unisono patches which is very
charming and was very typical. Using extremely long portamento times this
also had an effect in polyphonic sweeps over several octaves - some voices
did „land“ earlier and others „went home“ later - also very typical.

You can activate this effect with the „Porta. DET“ button in the additional
buttons row. In released mode the portamento times of all voices are equally
tuned. If the button is pushed the portamento times differ a bit from voice to
voice - just as it is the case in the real world. This standard detuning setting is
represented by the 12 o'clock setting of the POR tune trimpots - so 12 o'clock
means not tuned.

The trimpots allow you to alter these times to your liking - may it be to copy
your favourite sound or an existing hardware synth in all its individual
behaviour.

In most cases however the standard setting will be perfectly usable since it's
tempered to copy some well known sounds.

If you nevertheless really want to tune the portamento times by yourself you do
this the best again in unisono mode always comparing two voices to each
other (one as reference point). If the two times are equal the glide won't
“smear” any more.

To choose the right reference point it might help to know how the trimpots
would look if they were equally tuned to the tuned mode:

So it's recommended to take voice 5 as reference point since this one is as
well as not detuned. This will leave enough action headroom for tweaking the
trimpots.

LOAD AND SAVE SOUNDS

OP-X PRO comes with a huge collection of additional soundbanks in steinberg
fxb format. This is the standard format and can be read by almoust all existing
vst hosts. The banks collection is included in the download package. Put it to a
place that suits you best.

The banks folder contains an text info file where the contents of the banks are
briefly described. The names of the bank always begin with the prefix
“opxpro_” followed by the name of the bank.

The banks are not being loaded by the plugin itself. This has to be done with
your vst host. Almoust all vst hosts support loading of fxb banks. So you have
to browse and load the banks from your vst host.

How this is done depends on your vst host. Generally look for “load or import
(fxb) bank”. This function in most cases can be accesed either by an icon or
menu in the plugin window itself or can be found in the vst hosts' “plugin”
menu. Some examples:

Cubase/Nuendo:
File -> Load bank (on top of the plugin window); v4: import fxb bank

Herman Seib VSTHost:
Plugin -> Load bank

Orion Platinum:
Click on folder icon on the right of the presets chooser

Ableton Live:
Click on chooser below title bar

Create custom patches:

1. Tweak an existing preset or set up a new sound from scratch

2. Save the preset as fxp to a place you like and give it a name

Load the fxps:
You can load the fxps (presets) into any location of an existing bank by file ->
load preset or plugin -> load program. There's an empty bank in the banks
collection called “opxpro_empty” that can serve as empty root bank.

Create your own banks:

1. Load the opx_empty bank

2. Load your saved presets (see above) into this bank

3. Save the bank to a place you like and give it a suitable file name

TIPS AND TRICKS

Some collected experience based tips and tricks that we'd like to share to help
you to make the best possible use of the synth:

Fine tuning of button parameters

While the button based parameters are only two state on the gui, they are in
fact continuous inside the engine. This allows to fine tune them using vst
automation or midi cc and you can also save this setting with the preset. This
e.g. allows continuous mixing of the oscillators and noise to the filter instead of
just off/half/full. If you e.g. only want to have a tad bit of noise just activate vts
automation reading in your sequencer and raise the „NOISE HALF“ or „NOISE
FULL“ line a tad bit. Alternatively you can do this too with continous midi cc
remote control. The knob state on the gui will change when the fifty percent
amount is surpassed. This of course also allows continous automation or cc
control of a two-state parameter. Other applications: set a different interval for
pitch bending (tweak the +12 parameter) or set independent lfo modulation
amounts for oscillators and filters (turn the freq depth fully clock wise and
tweak the button parameters individually). Nice trick, isn't it?

Using ring modulation for more presence and dirt

Apart from the „normal“ application the ring modulation feature can be used to
give a sound just a tad bit more presence and dirt. Just set the x-mod amout
trimpot to its minimum level (or a very small amount) and activate ring
modulation. Carefully increase the amount for a little bit more effect (but still
just a tad bit). Apart from the multiple detuning features this is another tool for
subtle manipulation of the tone.

Explore the additional banks

Be aware that the factory soundset of OP-X PRO is just a small excerpt of all
available sounds and possibilities. It is highly recommended to take the time to
check out the additional banks which are delivered with the synth. Check the
previous chapter to learn how to load them. The OP-X PRO is able to produce
an incredible wide palette of sounds, probably more than you would suppose.
It can sound like a Jupiter 8, Prophet 5, Synthex, SH-2000 - just check the
dedicated banks (opxpro_jupiter8, opxpro_prophet5 etc.). It can sound big and
powerfull, but also smooth and even innocent. Check the opxpro_famous bank
if you are out for all those famous 80ies sounds. Also check out the factory
bank of the smaller brother OP-X (opxpro_opxfactory20) which contains a nice
and usable collection of classic sounds (a lot of „pissed off“ obie sounds here).
Don't miss the newest additions like opxpro_matrixreload (which is one of our
favourites), opxpro_percfmanalog or opxpro_mixedanalog.

Also check the user area of OP-X PRO then and when - we regularly release
new sounds and banks for free download here. The banks released before the

1.2 update are already included in the shipped library:

http://www.sonicprojects.ch/opxpro/userarea.html

Using the filter trimpots for animated sequencer lines

Apart for subtle manipulation of polyphonic and stacked unisono sound, the
filter trimpots can be „abused“ to fine adjust the cutoff settings of each of the
six steps individually while using the sequencer mode (arp on pushed to red).
Lower the main cutoff, raise resonance, release the „FILT“ button in the tuner
section and play around with the trimpots. You will be able to produce nice
animated sequencer lines with this trick.

Using the detuning features to fine tune sounds

The multiple detuning features are one of the most powerful tools of OP-X
PRO if you learn to use them. You won't find those in this form in another
synth. They allow the synth to sound lively, organic, natural and smooth - just
like a real analog polysynth. So it's highly recommended to take some time to
really get to know and understand those features. Once understood you will
begin to use them intuitively on the fly, and you will ask yourself how you could
live without them before.

We've set up a dedicated website that tries to describe the strenghts and use
of the separate voice design (SVD) with a lot of illustrating audio clips:

http://www.sonicprojects.ch/obx/separatevoicedesign.html

Remember the detuning features cover four parameter groups:

- oscillator frequencies

- filter cutoffs

- filter envelope times

- portamento times

A short summary (details on the website above) of possible situations where
sounds benefit from the separate voice design with its slighly different (and
tunable) settings for each of the six voices:

Sweeps:
Slighly different rising and falling times of the filter envelopes for each voice
make the sound more lively and organic.

Pads::
Slighly different cutoff settings and a tad bit detuned (using spread) oscillators
make the sound more analog, lively and characterful

Solos:
High resonant stacked solo sounds sound much more gentle and less stiff with
spreaded cutoffs. Otherwise they can sum up and sound stiff.

Portamento:
Detuned portamento times give that famous „smear“ known from old analog
unisono sounds and real analog feel in polyphonic use.

VST automation

Every single parameter of the OP-X PRO can be vst automated as you know
it from other vstis. How this is done depends on your vst sequencer. Example
Cubase: Push the write button on top of the vst plugin window (R), start the
sequencer and tweak the controls you want to automate. To read the written
data, go back to the zero position, push the read button on top (R) and start
the sequencer. The automated controls will move now according to the written
data which itself also can be edited.

While knob automation always works fine, some sequencers have problems
with button automation (not only with the op-x). They only react to changes
and don't write down the buttons' beginning state. You can tweak the wiritten
curves manually to fix the problem. Have a look at the „Levers“ section in this
manual for important detais about lever automation.

MIDI CC Implementation

The OP-X PRO lets you remote control most parameters via Midi Continuous
Controller Data (Midi CC). This is normally handled by a knobs and button
equipped midi keyboard. For first trials, the MIDI CC Implementation follows
the popular standard Pro53 implementation, which is available as preset in
almoust every midi keyboard. OP-X PRO now supports full midi cc feedback
for endless encoders with parameter settings dump on program change. This
allows for remote control without value jumps. The plugin's midi output has to
be routed back to the controller device for this application.

Information for former OP-X PRO 1.1 users: The controllers for the octave
switches and triolic sync to song tempo have been reassigned to more
important real time functions. Octaves can be more comfortably switched with
the transpose function of your master keyboard. The controller for volume has
been transposed to a deeper number. It's only standard seven in the receptor
version because some hosts tend to reset this controller. The original number
however still works too. The CC implementation has been completed. Almoust
all parameters exept the tuning trimpots are now remote controllable.

The full Midi CC Charts:

sorted by cc number *different order control present

001 Modulation Lever Pro53: compatible
005 Portamento Pro53: compatible
007 Volume Receptor version (see intro)
011 Volume Standard version (see intro)
016 Wheel LFO Rate
017 Aftertouch Vib
018 Aftertouch Filt
020 LFO Freq Depth Pro53: PolyMod Source Filt Env
021 LFO PW Depth Pro53: PolyMod Source Osc B
022 OscTune Pro53: PolyMod Dest Freq A
023 FiltTune Pro53: PolyMod Destb PWidth A

024 EnvTune Pro53: PolyMod Dest Filter
025 Port Detune Pro53: LFO Midi Sync
026 LFO Rate Pro53: compatible
027 LFO Sine Pro53: compatible *
028 LFO Square Pro53: compatible *
029 LFO S/H Pro53: compatible *
030 Damp Pro53: LFO Envelope Trigger
031 LFO Sync
032 Arp Sync
033 PM
034 OM Pro53: WheelMod LFO-Noise Mix
035 LFO to Osc1 Pro53: compatible
036 LFO to Osc2 Pro53: compatible
037 LFO to PW1 Pro53: compatible
038 LFO to PW2 Pro53: compatible
039 LFO to Filter Pro53: compatible
040 Pitch Osc1 Pro53: compatible
041 Saw Osc1 Pro53: compatible
042 Pulse Osc1 Pro53: compatible
043 Pulse Width Pro53: compatible (OSC A)
044 Sync Pro53: compatible
045 Osc1 On Pro53: compatible (not continuous)
046 Osc2 Full Pro53: compatible (not continuous)
047 Noise Full Pro53: compatible (not continuous)
048 Arp Speed Pro53: Mixer External Imput
049 Arp Steps
050 Pitch Osc2 Pro53: compatible
051 Osc2 Detune Pro53: compatible
052 Saw Osc2 Pro53: compatible
053 Osc2 only Pro53: Oscillator B Triangle
054 Pulse Osc2 Pro53: compatible
055 X-Mod Depth Pro53: Oscillator B Pulse Width
056 X-Mod Pro53: Oscillator B Low Freq
057 Ring Pro53: Oscillator B Key Follow
058 LFO to Amp
059 Unisono Pro53: compatible
060 Velo Floor
061 Velo Ceil.
062 ARP Hold
063 P-Mod
068 Lega ON
070 Cutoff Pro53: compatible
071 Resonance Pro53: compatible
072 Env Amt Pro53: compatible
073 Key Track Pro53: compatible (not continuous)
074 Osc2 Half Pro53: Filter HPF Mode
075 A Filter Pro53: compatible
076 D Filter Pro53: compatible
077 S Filter Pro53: compatible
078 R Filter Pro53: compatible
079 Noise Half Pro53: Filter Envelope Invert
080 A Amp Pro53: compatible

081 D Amp Pro53: compatible
082 S Amp Pro53: compatible
083 R Amp Pro53: compatible
084 +12 Pro53: Amplifier Hold
085 Arp On Pro53: Release on/off
086 Velocity Pro53: compatible
087 Spread Pro53: Analog
088 Master Tune Pro53: compatible
089 ENV
090 O2o
091 OM neg.
092 P1o
093 PM neg.
094 LFO Osc Phase
095 PW-FILT Phase
096 W-LFO 1/2
097 24 dB
105 Filter Mix Pro53: Delay Effect Time
106 Filter Type Pro53: Delay Effect Spread
107 LFO to Filter Mix Pro53: Delay Effect Depth
108 ENV to Filter Mix
109 Key Track Amt
111 Pan1 Pro53: Delay Effect Low Cut
112 Pan2 Pro53: Delay Effect High Cut
113 Pan3 Pro53: Delay Effect Invert (not continuous)
114 Pan4
115 Pan5 Pro53: Delay Effect On (not continuous)
116 Pan6 Pro53: Delay Effect Wet
118 Volume Pro53: Delay Effect Midi Sync (not continuous)

sorted by function groups:

manual

007 Volume Receptor version (see intro)
011 Volume Standard version (see intro)
118 Volume Pro53: Delay Effect Midi Sync (not continuous)

022 OscTune Pro53: PolyMod Dest Freq A
023 FiltTune Pro53: PolyMod Destb PWidth A
024 EnvTune Pro53: PolyMod Dest Filter

087 Spread Pro53: Analog

control

005 Portamento Pro53: compatible
059 Unisono Pro53: compatible
051 Osc2 Detune Pro53: compatible

modulation

026 LFO Rate Pro53: compatible
020 LFO Freq Depth Pro53: PolyMod Source Filt Env
021 LFO PW Depth Pro53: PolyMod Source Osc B

027 LFO Sine Pro53: compatible *
028 LFO Square Pro53: compatible *
029 LFO S/H Pro53: compatible *

035 LFO to Osc1 Pro53: compatible
036 LFO to Osc2 Pro53: compatible
039 LFO to Filter Pro53: compatible

037 LFO to PW1 Pro53: compatible
038 LFO to PW2 Pro53: compatible
058 LFO to Amp

oscillators

040 Pitch Osc1 Pro53: compatible
043 Pulse Width Pro53: compatible (OSC A)
050 Pitch Osc2 Pro53: compatible

041 Saw Osc1 Pro53: compatible
042 Pulse Osc1 Pro53: compatible

056 X-Mod Pro53: Oscillator B Low Freq
055 X-Mod Depth Pro53: Oscillator B Pulse Width
044 Sync Pro53: compatible

052 Saw Osc2 Pro53: compatible
054 Pulse Osc2 Pro53: compatible

filter

070 Cutoff Pro53: compatible
071 Resonance Pro53: compatible
072 Env Amt Pro53: compatible

045 Osc1 On Pro53: compatible (not continuous)
074 Osc2 Half Pro53: Filter HPF Mode
046 Osc2 Full Pro53: compatible (not continuous)

079 Noise Half Pro53: Filter Envelope Invert
047 Noise Full Pro53: compatible (not continuous)

073 Key Track Pro53: compatible (not continuous)

105 Filter Mix Pro53: Delay Effect Time
106 Filter Type Pro53: Delay Effect Spread
109 Key Track Amt
107 LFO to Filter Mix Pro53: Delay Effect Depth
108 ENV to Filter Mix

envelopes

075 A Filter Pro53: compatible
076 D Filter Pro53: compatible
077 S Filter Pro53: compatible
078 R Filter Pro53: compatible

080 A Amp Pro53: compatible
081 D Amp Pro53: compatible
082 S Amp Pro53: compatible
083 R Amp Pro53: compatible

additinal functions

068 Lega ON
030 Damp Pro53: LFO Envelope Trigger
097 24 dB
094 LFO Osc Phase
095 PW-FILT Phase

090 O2o
091 OM neg.
092 P1o
093 PM neg.

057 Ring Pro53: Oscillator B Key Follow
089 ENV
096 W-LFO 1/2
086 Velocity Pro53: compatible
025 Port Detune Pro53: LFO Midi Sync

031 LFO Sync
032 Arp Sync

III Arp LFO: not remote controllable

085 ARP On Pro53: Release on/off
062 ARP Hold

additinal knobs

016 Wheel LFO Rate
017 Aftertouch Vib
018 Aftertouch Filt

034 OM Pro53: WheelMod LFO-Noise Mix
033 PM

088 Master Tune Pro53: compatible

060 Velo Floor
061 Velo Ceil.
049 Arp Steps
048 Arp Speed Pro53: Mixer External Imput

063 P-Mod

111 Pan1 Pro53: Delay Effect Low Cut
112 Pan2 Pro53: Delay Effect High Cut
113 Pan3 Pro53: Delay Effect Invert (not continuous)
114 Pan4
115 Pan5 Pro53: Delay Effect On (not continuous)
116 Pan6 Pro53: Delay Effect Wet

levers

001 Modulation Lever Pro53: compatible

053 Osc2 only Pro53: Oscillator B Triangle
084 +12 Pro53: Amplifier Hold

Octave: not remote controllable; use your master keyboards' transpose
function for this

Impressum:

Programming and graphic design:
B. Maechler

Programming, puplic relations and sound design:
P. Wiesler

Mail:

[e-mail]

Web:

www.sonicprojects.ch

Chassis design and 3d models:
Reiben Flounders

Web:

www.affinity3d.com

Sounbase contributors:
G. Poropat, M. Sauvageau, M. Saulino, B. Whitney

Special thanks go to:
Reuben Flounders, Mariano Saulino, Jeff McClintock, Rod McQuarrie,
Robin Adams, J.M. Maechler, Matthew Basset and everyone else who
has contibuted to the OP-X PRO development in any way

We'd also like to thank our customers for their enthusiasm and support

Chapters

Introduction............................................................................................................ 2

Installation............................................................................................................. 3

License and copyright............................................................................................ 3

The voice LEDs..................................................................................................... 4

MANUAL section................................................................................................... 4

VOLUME........................................................................................................... 4

TUNER.............................................................................................................. 4

OSC.................................................................................................................. 4

FILT................................................................................................................... 4

ENV................................................................................................................... 5

SPREAD........................................................................................................... 5

FILT Trimpots.................................................................................................... 5

CONTROL section................................................................................................. 6

PORTAMENTO................................................................................................. 6

UNISON............................................................................................................ 6

OSC 2 DETUNE................................................................................................ 6

Trimpot.............................................................................................................. 6

MODULATION section.......................................................................................... 7

RATE................................................................................................................. 7

SINE.................................................................................................................. 7

SQUARE........................................................................................................... 7

S/H.................................................................................................................... 7

FREQUENCY DEPTH....................................................................................... 8

OSC 1............................................................................................................... 8

OSC 2............................................................................................................... 8

FILTER.............................................................................................................. 8

PULSE WIDTH DEPTH.................................................................................... 8

OSC 1............................................................................................................... 8

OSC 2............................................................................................................... 8

AMP.................................................................................................................. 8

OSCILLATORS section......................................................................................... 9

PITCH 1............................................................................................................ 9

SAW.................................................................................................................. 9

SQU.................................................................................................................. 9

SINE.................................................................................................................. 9

WIDTH.............................................................................................................. 9

PITCH 2............................................................................................................ 9

SAW.................................................................................................................. 9

SQU.................................................................................................................. 9

SINE.................................................................................................................. 9

X-MD............................................................................................................... 10

SYNC.............................................................................................................. 10

QUA / LIN (black rectangles)........................................................................... 10

FQ1................................................................................................................. 10

FQ2................................................................................................................. 10

XMD................................................................................................................ 10

FILTER section.................................................................................................... 11

CUTOFF.......................................................................................................... 11

RESON........................................................................................................... 11

ENV AMT........................................................................................................ 11

OSC1.............................................................................................................. 11

OSC2 HALF.................................................................................................... 11

OSC2 FULL..................................................................................................... 12

NOISE HALF................................................................................................... 12

NOISE FULL................................................................................................... 12

KEY................................................................................................................. 12

MIX trimpot...................................................................................................... 12

TYP trimpot..................................................................................................... 12

KEY................................................................................................................. 13

LFO................................................................................................................. 13

ENV................................................................................................................. 13

ENVELOPES section.......................................................................................... 14

ADSR.............................................................................................................. 14

ADDITIONAL FUNCTIONS section (below filter)................................................ 15

Lega ON.......................................................................................................... 15

DMP................................................................................................................ 15

24dB................................................................................................................ 15

OSC................................................................................................................ 16

PW-FILT.......................................................................................................... 16

OSC2.............................................................................................................. 16

\....................................................................................................................... 16

PW1................................................................................................................ 16

\....................................................................................................................... 16

RING............................................................................................................... 16

ENV................................................................................................................. 16

Wheel LFO...................................................................................................... 17

VEL................................................................................................................. 17

Porta DET....................................................................................................... 17

LFO................................................................................................................. 17

III..................................................................................................................... 17

ARP................................................................................................................. 17

ARP ON.......................................................................................................... 18

The ADDITIONAL KNOBS row........................................................................... 19

LFO................................................................................................................. 19

A Vib................................................................................................................ 19

A Filt................................................................................................................ 19

OM.................................................................................................................. 19

PM................................................................................................................... 19

TUNE.............................................................................................................. 19

DEC / REL....................................................................................................... 20

Floor................................................................................................................ 21

Ceil.................................................................................................................. 21

Steps............................................................................................................... 21

Speed.............................................................................................................. 21

P-Md................................................................................................................ 21

The voice pans................................................................................................ 22

LEVERS section.................................................................................................. 23

Levers............................................................................................................. 23

POR Trimpots................................................................................................. 23

Os2.................................................................................................................. 24

+12.................................................................................................................. 24

Oct................................................................................................................... 24

Keyboard and lever animation........................................................................ 24

Tuning Tutorial.................................................................................................... 26

Oscillators tuning............................................................................................. 27

Filters tuning.................................................................................................... 28

Envelopes tuning............................................................................................. 29

Portamento tuning........................................................................................... 30

LOAD AND SAVE SOUNDS............................................................................... 31

Load fxb banks................................................................................................ 31

Load sounds.................................................................................................... 31

Create custom banks...................................................................................... 31

TIPS AND TRICKS.............................................................................................. 32

Fine tuning of button parameters.................................................................... 32

Using ring modulation...................................................................................... 32

Explore the additional banks........................................................................... 32

Using the filter trimpots for sequencer lines.................................................... 33

Using the detuning features............................................................................ 33

VST automation................................................................................................... 34

MIDI CC Implementation..................................................................................... 34

sorted by cc number........................................................................................ 34

sorted by function groups................................................................................ 36

manual........................................................................................................ 36

control......................................................................................................... 36

modulation.................................................................................................. 37

oscillators.................................................................................................... 37

filter............................................................................................................. 37

envelopes.................................................................................................... 38

additional functions..................................................................................... 38

additional knobs.......................................................................................... 39

levers.......................................................................................................... 39

Impressum........................................................................................................... 40

Index.................................................................................................................... 44

Index

\ 16
+12 24
24dB 15
A Filt. 19
A Vib. 19
ADDITIONAL FUNCTIONS 15
ADDITIONAL KNOBS 19
ADSR 14
Aftertouch 19
AMP 8
ARP 17
Arpeggiator 18, 21
ARP ON 18
Attack 14
automation 34
band pass 13
beats 6
Ceil. 21
CONTROL 6
create bank 31
CUTOFF 11
DEC 20
Decay 14
DEPTH 8
DMP 15
ENV 5, 13, 16
ENV AMT 11
ENVELOPES 14
Envelopes tuning 29
Envmod 19
FILT 4, 5, 8
filter 2, 4ff., 8, 10ff., 14ff., 37
FILTER 11
Filterenv Modulation 16
Filters tuning 28
Floor 21
FQ1 10
FREQ 8
glide 6
high pass 13
hold 18
III 17
Installation 3
installer 3
interference noises 24

KEY 12, 13
Keyboard tracking 12
LEDs 4
Lega 15
LEVERS 23
LFO 7, 13, 17, 19
Lfo Phase 16
LIN 10
LOAD AND SAVE SOUNDS 31
load bank 31
load presets 31
load sounds 31
low pass 12
MANUAL 4
Master tune 19
MIDI CC 34
Midi CC Charts 34
Midi Continuous Controller 34
MIX 12
MODULATION 7
modulation lever 23
multimode filter 12
NOISE FULL 12
NOISE HALF 12
notch 13
Oct. 24
OM 19
Os2 24
OSC 4, 16
OSC 1 8
OSC 2 8
OSC 2 DETUNE 6
OSC2 FULL 12
OSC2 HALF 11
OSCILLATORS 9
Oscillators tuning 27
P-Md 21
phase 6
PITCH 2 9
pitch lever 23
PM 19
POR 23
Porta DET 17
Portamento 23
PORTAMENTO 6

Portamento tuning 30
pulse width 8f., 14, 16f., 19
Pulse Width 35, 37
PULSE WIDTH 8
PW-FILT 16
QUA 10
RATE 7
REL 20
Release 14
remote control 34
RESON. 11
resonance 11
RING 16
S/H 7
SAW 9
self oscillation 11
SEM 2, 13
Separate Voice Design 2, 33
SINE 7, 9
Speed 18, 21
SPREAD 5
SQU 7, 9
SQUARE 7
Steps 18, 21
Sustain 14

SVD 2
SYNC 10
Sync to Songtempo 17
TUNE 19
TUNER 4
tuning 2, 4ff., 19
Tuning Trimpots 25
Tuning Tutorial 26
TYP 12
uninstaller 3
UNISON 6
VEL 17, 21
Vel. Amt 21
velocity 17
velocity amount 21
voice LEDs 4
Voice mute 20
voice pans 21, 22
voices 2, 4ff., 14
VOLUME 4
VST automation 34
Wheel LFO 17
wheels 23
WIDTH 9
X-MD 10