u-he Hive 2 User guide

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USER GUIDE

version 2.01, 1. August 2019

HECKMANN AUDIO GMBH – BERLIN

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Introduction 4

Installation 4 ....................................................................

User Interface 5 ...............................................................

Basic Elements 5 .............................................................

Performance 6 .................................................................

Control Bar 7 ...................................................................

Synth Engine 8 ................................................................

Lower Bar 8 .....................................................................

Preset Browser 9

Overview 9 .......................................................................

Directory Panel 10 ...........................................................

Presets Panel 12 .............................................................

Preset Tagging 13 ............................................................

Search Functions 14 ........................................................

Panel Reference 18

Oscillator (OSC) 18 .........................................................

Sub-Oscillator (SUB) 20 ..................................................

Filter 20 ............................................................................

Envelopes (AMP / MOD) 22 ............................................

Low Frequency Oscillators (LFO) 23 ...............................

Function Generators 24 ...................................................

Shape Sequencer 26 .......................................................

Keyboard (KEYS) 29 .......................................................

Modulation Matrix 31 .......................................................

Wavetables 35

Arpeggiator & Sequencer 38

Clock 38 ...........................................................................

Arpeggiator 39 .................................................................

Sequencer 40 ..................................................................

X/Y Pads 42

Macro Assignment 42 ......................................................

Custom Assignment 43 ....................................................

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Effects (FX) 44

Enable / Rearrange 44 ....................................................

Distortion 45 ....................................................................

Reverb 46 ........................................................................

Equalizer 47 .....................................................................

Chorus 47 ........................................................................

Phaser 48 ........................................................................

Compressor 49 ................................................................

Delay 49 ..........................................................................

FX Preset 50 ....................................................................

Scope 51

Configuration 52

About MIDI CC 52 ...........................................................

MIDI Learn 53 ..................................................................

MIDI Table 54 ..................................................................

Preferences Page 55 .......................................................

Inside the Hive 57

Mod Matrix Lists 57 .........................................................

MIDI Specialities 60 .........................................................

NKS 61

Tips & Tricks 62

Setting Volumes 62 ..........................................................

432 Hz Tuning 62 ............................................................

Using Constant 62 ...........................................................

Pulse Width Modulation 63 ..............................................

Wavetable Tricks 63 ........................................................

Filter Tricks 63 .................................................................

Envelope Tricks 64 ..........................................................

LFO Tricks 64 ..................................................................

Shape Sequencer Tricks 64 ............................................

Function Generator Tricks 65 ..........................................

Modulation Matrix Tricks 66 .............................................

XY Pad Tricks 67 .............................................................

Arp & Sequencer Tricks 67 ..............................................

Reverb Tricks 68 ..............................................................

Delay Tricks 68................................................................

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Introduction

Installation

Go to the Hive page at www.u-he.com, download the installer for your system and unzip the com- pressed file. Open the “Hive” folder and start the installer application. The only demo restriction is a mild crackling sound at irregular intervals after about two minutes of use, which will disappear after you have entered a serial number. By default, recent versions of Hive use the following directories:

Win presets (local) C:\Users\*YOU*\Documents\u-he\Hive.data\Presets\Hive\" presets (user) C:\Users\*YOU*\Documents\u-he\Hive.data\UserPresets\Hive\" preferences C:\Users\*YOU*\Documents\u-he\Hive.data\Support\ (*.txt files)" microtuning C:\Users\*YOU*\Documents\u-he\Hive.data\Tunefiles\"

skins C:\Users\*YOU*\Documents\u-he\Hive.data\Support\Themes" other resources C:\Users\*YOU*\Documents\u-he\Hive.data\

Mac presets (local) Macintosh HD/Library/Audio/Presets/u-he/Hive/" presets (user) ~/Library/Audio/Presets/u-he/Hive/" preferences ~/Library/Application Support/u-he/com.u-he.Hive... (*.* files)" microtuning Macintosh HD/Library/Application Support/u-he/Tunefiles/" skins Macintosh HD/Library/Application Support/u-he/Themes/" other resources Macintosh HD/Library/Application Support/u-he/Hive/

Online resources

For downloads, news articles and support, go to the u-he website" For lively discussions about u-he products, go to the u-he forum at KVR" For friendship and informal news updates, go to the u-he facebook page" For u-he presets (commercial and free), go to the u-he preset library" For u-he video tutorials and more, go to the u-he youtube channel

The u-he team 2019

Urs Heckmann (code, vision)" Sascha Eversmeier (code, bad puns)" Howard Scarr (presets, manuals, necessary grump)" Rob Clifton-Harvey (interwebz, support)" Sebastian Greger (GUI design, 3D stuff)" Jan Storm (framework, more code)" William Rodewald (student life-support code)" Viktor Weimer (support, presets, “the voice”)" Thomas Binek (QA, bug-hunting, presets)" Jayney Klimek (office management)" Alf Klimek (tagging, repairs, studio)" Henna Gramentz (worldly supervision)" Dario Lupo (marketing, web design)" Frank Hoffmann (more framework, browser)" Alexandre Bique (Linux ports)" Oddvar Manlig (everything else!)

Thanks to Yuta Yoshimatsu (Plugmon) for ‘Izmo’ and to Brian Rzycki for maintaining PatchLib.

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For our terms of use and more, please refer to the ReadMe text that came with the installer.#

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User Interface

Here’s an overview of the panels, followed by some important details about Hive’s controls.

The symmetrical arrangement encourages users to layer two relatively simple voices: A powerful approach to synth design with a grand tradition (for instance the Yamaha CS80 or Korg 800 DV).

Basic Elements

Dark grey arrows in this diagram represent stereo signals, while the blue arrows are modulation paths which are immediately available without requiring the modulation matrix.

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ENGINE

FILTER 1

AMP ENVELOPE 1 MOD ENVELOPE 1 LFO 1

AMP ENVELOPE 2 MOD ENVELOPE 2 LFO 2

FILTER 2

CONTROL BAR

LOWER BAR

FUNCTION GENERATORS, SHAPE SEQUENCER

KEYBOARD etc., MODULATION MATRIX, X/Y MATRIX

OSCILLATOR 2OSCILLATOR 1

WAVETABLES

ARP/SEQUENCER

X/Y CONTROL

EFFECTS

SCOPE

OSCILLATOR 1

SUB-OSC 1

OSCILLATOR 2

SUB-OSC 2

FILTER 1

FILTER 2

AMP 1

AMP 2

Vibrato LFO

LFO 1

EFFECTS

Amp Envelope 1

LFO 2

Amp Envelope 2

Mod Envelope 1

Mod Envelope 2

stereo audio

modulation

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TOC INTRO

Knobs / Sliders

Hive controls react to left-click & drag as well as the mouse wheel, while a right-click opens a context menu. Double-click to reset a parameter to its default. You can FINE TUNE values by holding a SHIFT key before either clicking on the control or rolling your mouse wheel.

Parameter Locking

To ensure that a parameter value doesn’t change when you switch presets, most of the controls can be locked. To do this, right-click the control and select Lock in the context menu. Note that locked parameters can still be adjusted manually!

Drag & Drop Modulation

The modulation matrix can be populated remotely by dragging these ‘crosshairs’ or a source in the lower bar (wheels, pressure, velocity etc.) onto any modulation target. Assignments can be removed again by right-clicking on either the source or the target and selecting remove modulation from the context menu.

You might be surprised at some of the possible targets: For instance most of the selectors in the OSC panels do something: If the Waveform is either Pulse or Wavetable, its graphic is a valid target. It’s a good idea to try them all and look in the matrix to see what appears.

While the assigned modulation source is still highlighted, orange depth controls and range indicators will appear at most targets. Click and drag the dot to remotely adjust the modulation Depth in the matrix. Double-click the dot to reset, right-click to remove.

Panel Presets

Next to each panel’s label is a triangle you can click to copy, save or load panel set tings. Those for ARP/SEQ and FX are not triangles, but fields containing the preset name. To locate panel presets, select reveal in Finder (Mac) / open in Explorer (Win).

Solo Buttons

To the right of each title in the oscillator and filter panels is a button labelled ’S’ (Solo). Just like on an audio mixer, activating Solo isolates a module so that you can check its contribution to the overall sound.

GUI Size

Hive’s window can be instantly resized between 70% and 200%: Right-click in the background and choose a size from the context menu. You can set a Default Size in the Preferences panel.

Control Link

The large button between Filter 1 and the hexagon links many controls on the right of the hexagon to those on the left. Linked controls are marked with a blue (L). Note that all movement is relative: The control on the right will not necessarily adopt the same absolute value as its ‘master’ on the left.

Performance

Hive recognizes pitch bend, modulation wheel and pressure (including poly aftertouch). Many of the factory presets also respond to Control A or Control B messages, Hive’s general-purpose MIDI controls set to Breath and Expression by default. See MIDI Specialities…

And don’t forget to play with the XY pads!!

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TOC INTRO

Control Bar

Hive’s top panel hosts a number of global parameters plus a few utility functions:

Voice Mode

The poly option is polyphonic, mono is monophonic with retrigger, legato is monophonic without retrigger. In duo mode, oscillator 1 only responds to the lowest played note while oscillator 2 only responds to the highest played note.

Voic es

This sets the maximum number (2-16) of voices that can be played simultaneously.

Transpose

Semitone (+/- 24) pitch offset for the preset.

Fine Tune

Cents (+/-100) pitch offset for the preset. 100 cents = 1 semitone.

Data Display

The central text display has several duties, most of which have to do with presets…

Preset selection: The data display normally shows the name of the current preset: Click on the arrows on either side to step through them. Clicking in the middle lets you select any preset in the current directory. While a parameter is being adjusted the display shows its name and value, as in the above image. After a few seconds of inactivity, the name of the preset reappears.

Initialize preset: Whenever you want to program a new sound from scratch, simply right-click on the data display and select init.

Status Indicators: At the bottom of the data display you will see a row of indicators. The MIDI activity indicator flashes whenever MIDI data is being received. The TUN symbol turns blue if microtuning is active. The horizontal bar on the right indicates the approximate CPU usage.

Undo / Redo

Click on the curved arrows to UNDO or REDO an action. You can even undo a change of preset so that you don’t lose edits made to the previous one. If an UNDO or REDO step is available, the arrow will be highlighted white.

Presets

Opens and closes Hive’s browser. See the Preset Browser chapter.

Save

Stores the loaded preset in either the User folder or the currently open folder, depending on the status of the Save Presets To preference. If you are running the VST2 version you will also see the option .nksf in the list. See the NKS chapter.

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TOC INTRO

Right-clicking on the [SAVE] button lets you select the preset format you will be using. Standard is .h2p, which has the great advantage of being cross-platform compatible. The .h2p extended format is similar but also allows per-line comments (the preset files are therefore a bit larger).

Clicking on the final Tag this patch entry opens a window where you can specify one or more Categories, Features and Characters for the currently loaded preset. See Preset Tagging.

Output

This is Hive’s main volume control, accompanied by a signal level indicator.

Most of the factory presets have Output set to 100. Higher values can be used to boost very quiet signals up to ‘normal’ levels.

u-he Badge

Click on the badge to open a popup menu containing links to this guide, to our website, to our support forum at KVR, and our address in various social networks.

Configuration cogwheel

Clicking on the cogwheel symbol top-right opens the configuration pages where you can set up remote control (via MIDI CC) as well as various global preferences. For details, read the Configuration chapter.

Synth Engine

The selector above the hexagon lets you choose one of 3 fundamentally different synth characters. Your choice here simultaneously affects various parts of Hive.

CLEAN Wide oscillator detune, linear envelope attack, exponential decay and release, ...............

linear (i.e. non-distorting) state-variable filter.

NORMAL Exponential oscillator detune, s-curve envelope attack, short decay, oversampled ..........

self-oscillating ladder filter with non-linear resonance.

DIRTY Evenly-spaced oscillator detune, exponential envelope stages, oversampled self-.................

oscillating diode ring filter. Very “non-linear” and unpredictable.

Lower Bar

Below all the main panels is a narrow bar containing the following:

View selectors for the bottom panel: KEYS, MATRIX A, MATRIX B or XY pad custom assignment.

Drag & drop sources: Pitch Wheel, Mod Wheel, Pressure, Velocity, Key Follow, Gate, Control A,

Control B, Alternate, Random, Constant. These work just like the crosshairs in the main panels. See Drag & Drop Modulation above.#

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TOC PRESETS

Preset Browser

Overview

To open Hive’s preset browser, click on the PRESETS button in the upper bar.

Folders appear on the left, presets appear in the centre and information about the currently active preset appear on the right. If you can’t see any presets at all, click on Local. If you can’t see the PRESET INFO panel, click on the button in the top right and select Show Preset Info.

The Local root directory contains a representative selection of presets copied from the subfolders. After selecting a preset here you can step through the others using your computer’s cursor keys.

Bottom right is an effects bypass switch so you can compare presets with and without effects. The lower panel mirrors the XY pad controls so you can also test those while browsing.

If you want the preset browser to open automatically every time you load a new instance of Hive, right-click on the [PRESETS] button while the browser is active and select set current as default. To revert to showing the synth panels by default, do the same after closing the browser.

Default preset

Whenever Hive is started it checks whether the Local root contains a preset called default. If this file exists, it is loaded instead of the demo preset. Note that default will not appear in the browser.

If you want Hive to start with a simple template instead of the default preset, right-click on the data display and select init (initialize). Check that the ‘Local’ root directory is currently open then [SAVE] your preset under the name default. If a fresh instance of Hive doesn’t automatically load your new preset it probably landed in ‘User’ instead of ‘Local’. If so, go into the Preferences and change the

Save Presets To option to selected folder instead of user folder, then repeat the above.

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DIRECTORY TAGS

RESTORE

initialize

Aethersphere Air Kalimba - auto Angry Attack Alienator Big Sky 1 Bionic Bass Blisswave Boom 5ths Brassy Joe Chambertron Church of Digital Cinematic Drama Beat City Streets Keys 2 Classic Layers 1 - soft Cloud M9 Concert Bass Drums Contrail Crazy Rebel CS-Harmonics Dance Around The Fire Dark Shot Detuned Punk Digital Wood Dominator Dub Siren 2 Dust Blaster Electro is Back Emergency Siren Every Day Music Fold Beat Funkay Bass 1 Gentle Choir Get Out Ghostly Rolls Groove Box

Hourglass HyperHive 1 Imaginary Lead Jack Strummer A Karplus Klav Kick & Perc Killstreak Late Night Bells Liquid Dance Minor Shaper Mirror Pianolog Moving Birds Noise Cake Orca Bass Plastic Vox Keys Psy Phartz Ray of Hope - lead Retro Stab 1 Rolling Hills Singing Hive Squelch 1 Stroppy Beat Sub Stopper Table EPiano 1 Talk To Me Mr. Hive Toy Rocket Dreams Toyspace Auto Tubular Event Vostringer Warm 808 Sub Washroom Steps Wavetable Vintage Sync Funk Whipmod Yesa Zoyng Stomper

PRESET INFO

Aahtomaton

DESCRIPTION

USAGE

Directory Panel

If you don’t see this panel on the left of Hive’s Presets browser, click on the DIRECTORY tab.

Local

Hive’s factory presets are sorted into folders 1 through 12. We recommend that you do not add or remove presets here, but save all your creations and other soundsets in ‘User’ (see below).

MIDI Programs

‘Local’ also contains a special folder called ‘MIDI Programs’ which is normally empty. When the first instance of Hive starts, up to 128 presets from that folder are loaded into memory, to be selected via MIDI Program Change messages. For more details, see MIDI Specialities towards the end of this document.

Note: Hive version 1.x included an extra folder called TREASURE TROVE containing presets kindly submitted by Hive fans shortly before the official release. Several of these have now been polished in-house and included in the version 2 factory presets, while the others are available as a separate download from Patchlib (u-he.com/community/patchlib/).

User

The best address for your own creations as well as soundsets from other sources. You can either select User immediately before saving the preset, or set a global preference which ensures that it will always be saved to this folder – see the Save Presets To preference.

Tip: It’s worth finding out where the User folder actually resides on your computer. Right-click on User and select reveal in Finder (Mac) or open in Explorer (Win).

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Presets Panel

The central, unlabelled area of the browser is where you click to load presets…

Presets context menu

Right-click to open a menu containing functions that can be applied to individual presets.

mark as favourite: Choose one of eight ‘favourite’ marks. The selected entry in the menu will be replaced with unmark as favourite.

mark as junk: Instead of deleting any unloved presets, you can mark them as ‘junk’ so that they disappear from the browser…

show junk: Activate this option to display junked files (see above) instead, but mark them with a STOP symbol.

select all, deselect: See Multiple Selection below.

rename: You can change the names of presets using this function.

Note that only the most recently selected preset can be renamed i.e. you can’t rename multiple files at once.

copy to User folder / duplicate: The entry here depends on the status of the Save Presets To preference as well as on the location of the source preset(s) i.e. whether they are in the Local or the User folder. Selected presets are copied with a number appended to the name, which increments (just like the ‘Auto Versioning’ option) so that no preset can be overwritten by mistake.

reveal in Finder / open in Explorer: Opens a system window for the selected preset. After adding, removing or renaming preset files outside of Hive’s own browser, remember to refresh the directory.

convert to native / h2p / h2p extended / nksf: Converts selected preset(s) into the format previously specified via right-click on the [SAVE] button.

move to Trash / Recycle Bin: Moves selected presets to the system trash.

Restore

You can audition as many presets as you like in the browser without losing track of the one that was loaded immediately before you opened the browser: Clicking on [RESTORE] navigates to that preset and loads it again.

Scan / ready

In the top right of the presets panel is a dark rectangle normally labelled ‘ready’. Whenever you use the refresh function (see the Directory context menu on the previous page), this turns into a progress indicator showing the preset database being refreshed. The process should only take a few seconds, even for a large preset library.

Multiple selection, drag & drop

A block of adjacent presets can be selected via shift+click, and individual presets can be added to the selection via command-click (Mac) / alt+click (Win). Presets can be moved to a different folder via drag & drop. Use SHIFT etc. on your computer keyboard to highlight the files you want to move, click and drag them from the files area and drop them onto a target folder. To deselect, either click on an unselected preset or choose deselect from the context menu.

Note: unmark as favourite (see mark as favourite above) will not appear in the presets context menu for multiple files unless you right-click on an existing favourite.#

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mark as favourite

select all

deselect

show junk

rename… duplicate * reveal in Finder * convert to h2p

move to Trash

mark as junk

mark as favourite

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TOC PRESETS

Preset Tagging

Tags are elements of metadata, information added to presets so you can find them more easily.

The Tagging Window

Right-click on the [SAVE] button and select Tag this preset:

Category describes a preset by analogy to instrument types or typical usage, and each one has an

appropriate set of subcategories. Features are technical classifications, and Character tags are pairs of opposites from which you can choose only one.

Tagging via PRESET INFO

In the PRESET INFO panel, right-click on the Category, Features or Character and select or unselect tags from the menu…

Note: This method only works for individual presets. If you right-click on an existing tag, the first option in the menu becomes remove tag.

The function create Search from Tags finds all presets with exactly the same set of Category, Features and Character tags.

Tagging via smart folder

You can tag presets by dropping (“drag & drop”) any number of presets onto one of the Tag s smart folders. To remove all tags, drag them onto the Tags/Untagged smart folder.

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Pads

Leads

Keys

Drums

Seq+Arp

Other

Bass Acoustic

Analogue

Digital

E-Bass

FX Bass

Plucks

Rhythmic

Vocal

Sub

Dist+LoFi

Wavetable

Dry

Soft Attack

Chord

Mono

BPM

Slow Release

Percussive

Glide

Natural

Phat

Soft

Constant

Bright

Clean

Aggressive

Moving

Dirty

Thin

Dark

Synthetic

Poly

Duo

Modulated

Synth

Sync

CharacterFeaturesCategory

IMPORTANT

Tags are updated automatically – clicking on the [SAVE] button isn’t required! The main advantage is that presets don’t have to be saved every time you edit a tag. The main caveat is that you should only edit tags after saving your preset.

For instance, if you decide to edit tags while creating a 2nd version of an existing preset, please remember that you are actually changing the tags in the original preset!

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TOC PRESETS

Search Functions

Search by Tags

Click on the TAGS tab to open this view. The buttons here let you set up search criteria according to existing tags with just a few mouse clicks:

Below the Search field are four sets of buttons (CATEGORIES, FEATURES, CHARACTER and FAVOURITES). The first three correspond to the tags in the tagging window (see the previous page), while the bottom row lets you find any presets you have tagged as Favourites.

Clicking on the [^] icon to the right of each heading hides the options for that set of tags.

Categories and Subcategories

Especially for Category tags, following a step-by-step tutorial (see the next page) is much easier than studying a full technical description, so here are just a few pointers:

Each Category has its own set of subcategories which appear below the main categories. Click on [Leads] and see them appear. Not selecting a subcategory here means “show me presets tagged with any subcategory”. Selecting the top-left subcategory (which has the same name as the category) means “show me presets tagged without any subcategory”. You should not find any of these in the factory presets!

You can select multiple categories without specifying subcategories if you hold command (Mac) or alt (Windows) while clicking on the category button. Try that with the [Keys] button.

Completed category+subcategory tags appear below the subcategories as buttons with ‘off’ switches [X] so that you can add other main categories by simply clicking on them.

So far we have actually been expanding the search, which is not very useful…

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Panel Reference

This chapter describes all of Hive’s main synthesis panels i.e. everything except the hexagon.

Oscillator (OSC)

Hive’s oscillators feature Unison (‘hyperwave’), stereo panning and a freely tuneable sub-oscillator:

Waveform

To change the waveform, click on the field above the graphic and choose from the menu:

The Sine, Sawtooth, Triangle and Square options are classic waveforms that shouldn’t require further explanation. Half and Narrow are pulse waves with differing widths.

Pulse sounds like Square at first, but you can control Pulse Width in the modulation matrix by dragging & dropping a modulation source onto the Waveform graphic. (Tip: Use Constant as the source if you want to set the pulse width to any fixed value). See Hidden Parameters.

White and Pink are two standard variants of noise: White is bright, Pink is darker.

Wavetable is Hive’s most powerful oscillator mode. You can load special .wav samples or .uhm

script files containing up to 256 individual waveforms (‘frames’).

Some basic parameters are available in the oscillator panel. The three triangles are for quickly selecting a wavetable file: The downward-pointing triangle opens the full menu while the others select the previous and next wavetable file in the directory. To adjust the frame Position within the current wavetable, click and drag vertically on the graphic display.

The graphic is the drag & drop target for Position modulation. For other wavetable parameters, click on the WAVETABLE buttons in the hexagon and read the Wavetables chapter.

If you are interested in creating your own wavetables, check out Hive Wavetables.pdf, which you will find in the same folder as this user guide.

Unison

Stacking multiple waves results in a richer sound, especially when detuned, at the cost of a higher CPU load. Note that Unison only works for the SUB Waveform if it is set to like Osc.

Octave / Semitone

Semitone tuning within a range of +/- 3 octaves. These settings apply to the entire oscillator i.e. the sub-oscillator’s Tune value is an offset relative to the Octave and Semitone settings.

Drag & drop a modulation source onto either selector for the hidden parameter oscillatorTune.#

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TOC PANEL REFERENCE

Phase

“Phase” is basically the horizontal position of a waveform. The switch here gives you a choice of three modes which govern oscillator phase at the start of each note:

Reset For consistent / robotic attack. The phase in Reset mode is normally 0°, but this ..................

can be modulated (see Real-time phase control below).

Random Phase is set to a random value whenever a note is played. Very organic. .............

Flow The phase of a new note picks up where the previous one left off, so any beating .....................

between oscillators is continuous.

Although the difference between Random and Flow can be rather subtle, Flow is closest to how oscillators in a classic analogue polyphonic synth behave. For technical reasons, Flow works as described for the main oscillators only, not for the sub-oscillators (see the next page).

Real-time phase control is a hidden parameter. If you drag & drop any modulation source onto the Phase selector, a Phase control assignment will appear in the modulation matrix.

Detune

If ‘Unison’ is set to 1 this knob is a simple fine tune control: Oscillator 1 is tuned up and oscillator 2 tuned down within a range of one semitone.

If Unison is set to 2 or more, the multiple waves are detuned in opposite directions. In this case the sub-oscillator isn't affected unless its Waveform is set to like Osc.

It might not be obvious, but you can still fine tune the overall pitch of unison oscillators: In the modulation matrix, set the source to Constant and the target to Tun e, then adjust the modulation amount while holding a SHIFT key.

Width

If Unison (see above) is set to 2 or more, this controls the stereo width of the signal around the current pan position. If Unison is set to 1, the Width control has no effect.

Pan

Controls the pan position of the oscillator, including sub-oscillator.

Volu me

The amount of main oscillator signal sent to the filters. The sub-oscillator has its own volume control. See also Setting Volumes in the Tips & Tricks chapter.

Vibrato

The amount of cyclic pitch modulation from the Vibrato LFO. Also applied to the sub-oscillator.

Tip: For typical vibrato via modulation wheel go into the modulation matrix, click on a panel preset button (downward-pointing triangle) and select 01 Vibrato via MW.#

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TOC PANEL REFERENCE

Sub-Oscillator (SUB)

Waveform

The sub-oscillator’s Waveform selector contains the same options as the main oscillator but without Wavetable. The extra option at the top of the list, like Osc, means that the sub-oscillator will inherit the Waveform and Unison settings from the main oscillator.

Tune

Sub-oscillator tuning relative to that of the main oscillator. Hold down a SHIFT key to fine tune. The default is -12, an octave below the main oscillator.

Volu me

The sub-oscillator’s own volume control. See also Setting Volumes.

Filter

Filter Type

To swap out the filter type, click on the field above the graphic and select from the menu:

Bypass Disables the filter circuit. The oscillator input switches as well as the Input (dB) ......................

and output Volume controls remain functional while the Cutoff, Resonance, Mod and LFO controls have no effect.

Lowpass Removes high frequencies. Hive offers two lowpass ‘strengths’: 24 dB/octave ..................

and 12 dB/octave.

Bandpass Removes low and high frequencies, allowing a narrow band to pass. ................

Highpass Removes low frequencies. .................

Bandreject Removes a narrow band while allowing lower and higher frequencies to pass. ..............

Peaking Like Bypass but with active resonance. Use this mode to accentuate a certain ....................

frequency e.g. for bass boost or mid-range ‘honk’.

Input Selectors

The [OSC1], [SUB1], [OSC2] and [SUB2] buttons select input signals for each filter. Filter 2 has an extra [F1] button, which is the filter 1 signal at full volume. If you want to use the filters 100% in series, turn filter 1 Volume down to zero and select the [F1] button only for filter 2.

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Cutoff

Everybody’s favourite synthesizer control, ‘Cutoff’ is the knob most likely to show signs of wear and tear on old hardware synths! There’s something very satisfying about manually sweeping the cutoff, especially with at least a bit of resonance…

Resonance

Resonance is a filter-internal feedback loop that emphasizes the cutoff frequency. In the Synth Engine modes Normal and (especially) Dirty, the amount of resonance you will hear depends on the signal input – see Input Gain above.

Input

In Normal or Dirty synth engine mode the filter’s input gain not only controls the input volume (in decibels), but also the amount of non-linear distortion – an important characteristic of real analogue filters. In Clean mode it simply attenuates or boosts the level. See Setting Volumes.

Mod Env and LFO

The Mod Env knob adjusts cutoff modulation from the selected envelope (MOD1 or MOD2).

Tip: Turn Cutoff way up and try negative Mod Env values. This can take some getting used to. Experiment with the MOD settings until you are familiar with the ‘upside-downishness’ of it all!

Similarly, the LFO knob adjusts cutoff modulation depth from either LFO1 or LFO2. The knob is also bipolar so you can make the filters move in opposite directions without using up a slot in the modulation matrix. Tip: Set the LFO mode to Gate and experiment with LFO Phase.

Key Follow

Cutoff modulation from MIDI note number. At 100% the cutoff point will track semitones played on your keyboard quite well.

Key Follow pivots around MIDI note 64, the E above middle C. All other notes are modulated up or down by Key Follow while the pivot note remains fixed.

Volu me

Filter output level. Does not affect the level of [F1] for filter 2. See also Setting volumes.#

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Envelopes (AMP / MOD)

Hive’s envelopes are arranged in pairs, symmetrically either side of the hexagon. The outer panels (AMP) control amplifier envelopes while the inner ones (MOD) control the filter / general purpose modulation (MOD) envelopes:

Trigger

The Gate option is for normal triggering via MIDI Note On.

One-shot triggering ignores gate length: The envelope always completes the Decay. Great for

percussion sounds, fly-by effects, certain pads e.g. ‘HS Bloom Pad’. It usually makes sense to set Sustain and Release to minimum in this mode, but you can use higher values to create an interesting ‘Hold’ effect: Try setting Sustain to about 50, then test extreme Decay values.

The LFO1 and LFO2 options retrigger the envelope from one of the LFOs. Unless you want a chaotically delayed trigger, avoid setting that LFO’s Restart parameter to random.

A D S R

The 4 sliders control Attack time, Decay time, Sustain level and Release time. Each envelope stage can be modulated in realtime – see Envelope Tricks.

Velocity

How strongly the envelope’s output is affected by MIDI velocity (e.g. how fast a key is struck).

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Low Frequency Oscillators (LFO)

Hive has two regular LFOs (low frequency oscillators):

Waveform

Click on the field above the graphic and choose a shape from the menu: The options are sine, triangle, saw up, saw down, sqr hi-lo (square wave starting high), sqr lo-hi (square wave starting low), rand hold (stepped random wave) and rand glide (smooth random wave).

Polarity [+]

Shifts the LFO wave ‘upwards’ so that it outputs positive values only. The absolute output level is halved so that the maximum value cannot be exceeded.

Phase

Where (in the waveform) the LFO will start whenever a note is played. This setting is irrelevant if ‘Restart’ (see below) is set to random. Tip: To restart a Sine wave at the highest point set the Phase to 25.00, and for the Triangle set it to 50.00.

Rate

Shifts the LFO speed relative to the selected Time Base (see below). The range is from -5 to +5: integer steps halve or double the speed.

Restart

Selects rules for how LFO phase is reset.

Sync LFOs of all voices are synchronized to the host, so they all adopt the same ....................

phase. Unlike Single mode (see below), the phases can still be modulated apart by a ‘polyphonic’ source such as Velocity, KeyFollow or Random.

Single All voices share the same LFO, which is restarted at the next MIDI note after all ..................

previous notes have been released.

Gate Notes restart the LFO for each voice independently at the specified Phase. .....................

Random Notes restart the LFO for each voice independently at a random phase, ignoring .............

the value of Phase.

Time Base

The basic ‘speed mode’. Time Base offers non-synchronized times measured in seconds (0.1, 1s or 10s) as well as a long list of values that are synchronized to song tempo, including dotted

times (50% longer) and triplets (3 in the space of 2).

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Function Generators

Inspired by our foray into the world of Eurorack modular synthesis, Hive 2 is equipped with a pair of Function Generators (FG):

Hive’s FGs combine simple envelope functionality with LFO, slew limiter (a.k.a. envelope follower) and gate control. Each of the three outputs has its own ‘crosshair’ you can drag & drop onto any valid modulation target, onto the Scope or even the modulation matrix source fields.

Triggered and/or modulated by the LFOs, the Shape Sequencer and each other, Hive’s Function Generators can create some truly mind-bending motion effects!

A / D

Attack and Decay times. Maximum times are 4 seconds each (8 seconds in total), and

the minimum times are short enough that a cycled FG can attain low audio rates.

Slope

The curvature of both Attack and Decay, from exponential (low) through linear (centre) to logarithmic (high). Tip: View the Env output in the Scope.

Input

A modulation source used to trigger the FG every time the signal moves upwards from a point close to zero. Playing a note will also retrigger the FG, regardless of the selected Input or the Mode…

Mode

Envelope

Attack-Decay envelope. A trigger during decay will start the attack from the current value. For a simple note-triggered envelope, set the Input to none and the Mode to Envelope or One Shot.

One Shot

Like Envelope except that the Input will not retrigger the FG until the previous decay is finished. One Shot can create a slower rhythm from a faster LFO – see Function Generator Tricks.

Cycle (Trig)

Looping envelope. A trigger from the selected Input during the decay will restart the attack from the current value. However, MIDI note gates will always restart the attack from zero.

Cycle (OnOff)

Looping envelope. The loop only continues while the input signal is above zero, after which the final value is held. Note: In this mode (only) the Input defaults to Constant, so if you need Still to go high when notes are released you should set the Input explicitly to Gate.#

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Practically a lag generator (a.k.a. slew limiter). The Attack and Decay knobs can be used to set different response rates for the rising and falling sections of the input signal. Typical applications are rounding off square LFOs or smoothing aftertouch (see Tips & Tricks). The modulation matrix’s own slew limiter does a similar job, but the FGs offer more control.

Follow (Gate)

The Gate variant takes the idea further: It only follows the Input while a note is being held i.e. while the MIDI Gate is open. As soon as you release a note i.e. close the Gate, the FG’s output will freeze at the current value. The release time of the amp envelope therefore plays a role here: with too short a Release you won’t hear the effect.

Gate Outputs

Apart from the normal Env (envelope) output, each function generator has two gate outputs:

Rise 1 while the function generator’s envelope signal is rising, otherwise 0 ...................

Still 1 while the envelope signal is not moving, otherwise 0 .....................

Fall 1 while the envelope signal is falling, otherwise 0 .....................

Move 1 while the signal is moving in either direction, otherwise 0 .................

This above image shows all four gate outputs for Input = none, Mode = Envelope.

These gates are practically extra pulse LFOs with variable pulse widths (by modulating Attack and/or Decay). You can use them to trigger the other function generator or to trigger sample & hold in the matrix, for instance.

With LFO-triggered One Shot envelopes, the gate outputs can function as clock dividers. See the first example in the Function Generator Tricks section.#

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Function 1 Rise

Function 1 Env

Function 1 Still

Function 2 Fall

Function 2 Env

Function 2 Move

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Shape Sequencer

The Shape Sequencer is where you can create complex modulations and/or rhythmic patterns. It offers a comfortable way to ‘gamify' rhythm creation. While it may look like a baby version of what other synths have to offer, Hive’s shape sequencer can do a lot more than first meets the eye…

Segment Editor

Click one of the numbered (1-8) segment selectors to opens its editor. A single click to the left or right of the expanded view selects the previous or next segment:

Segment Type

To choose a basic waveform for the current segment, use the buttons at the bottom or right-click anywhere in the editor and select from the context menu. The options are Saw, Triangle or Pulse.

Left Value, Right Value

Blue triangular handles appear to the left and right while your mouse pointer is in the editor area. Click and drag them up or down to adjust levels. Double-click in the segment selector to invert the waveform (the left and right levels are simply swapped).#

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Curvature

Clicking and dragging within the editor has a different meaning for each segment type. For the Saw it adjusts concavity / convexity, for the Pulse the pulse width and for Triangle it morphs between sine and sharp spike. A double-click in the editor resets the curvature to the default.

Ratchet

Roll your mouse wheel to smoothly ‘ratchet’ the segment 2, 3 or 4 times to generate triplets etc.. Remember that you can hold down a SHIFT key to ‘fine tune’ it!

The Grid

Below the segment selector is an 8 x 4 grid containing an on/off button for each step. The Grid lets you set up 4 different sequences from the pool of 8 segments. While the Shape Sequencer is running, any gaps between active steps (for instance in lane B here) are simply skipped.

Shape Modulators

The four lanes A, B, C and D have associated control panels which determine how the active cells are sequenced. With independent Time Base, Trigger and Order settings, the shape modulators can be triggered differently and run at a different speeds.

Time Base

The basic ‘speed mode’. Unlike its namesake in the LFOs, the Shape Sequencer’s Time Base offers exclusively straight host-synchronized options between 1/32 and 4/1.#

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Trigger

The default poly trigger option gives you a separate Shape modulator for each voice. The single trigger option is essentially ‘monophonic’ and ensures that the sequence remains synchronized between voices for as long as you play legato.

Order

Let’s have a look at the Order options of each of those modulators:

Loop➝ Repeat all selected shapes from left to right ......................

←pooL Repeat all selected shapes from right to left ......................

Random Repeat all selected shapes, randomly chosen ...................

One Shot Play all selected shapes once only, from left to right .................

As they only play a single shape, the last two modes are fundamentally different:

One By One Each note plays the next selected segment. With single Trigger it starts from ...........

the leftmost one and only increments during legato play. This behaviour is ideal for Hive’s sequencer, as it restarts per played note and remains in sync.

One Random Each note plays a random segment. Unlike One by One, single triggering from ........

Hive’s sequencer only plays one segment until you play another note. If you want random selection at each step, use Random order instead.

Modulation

The Shape Sequencer offers several modulation targets. Here’s an image of the sub-menu:

Rate modulation (hidden parameters) Dragging any modulation source onto a Shape’s Time Base selector will cre-

ate the connection in the modulation matrix and you can continuously control the speed. Just like in the standard LFOs this parameter goes from -5 to +5, and integer steps will double or halve the rate: If you set integer quantization in the mod matrix and set that matrix slot’s SH option to Gate, you can get velocity to play the sequence 2, 4, 8, 16 or 32 times as fast.

Segment modulation

The other targets let you dynamically modulate all segment parameters:

Left Value (A) vertical position of the left handle ..............

Right Value (B) vertical position of the right handle ...........

Curve (C) concavity / convexity, pulse width or sinusoid / spike .......................

Ratchet (D) multiplication factor, from 1 to 4 ...................

Modulating these targets separately per lane and switching the modulation on/off per cell would normally require 16 target parameters and 32 switches. We decided to simplify matters with the following compromises…

1) Modulation is applied to all 4 lanes at once, cutting the required targets down to only 4.

2) Each lane ALSO functions as a row of on/off switches for segment modulation, which cuts our extra 32 switch requirement down to zero. The bracketed letter (A, B, C or D) behind the name of each modulation target (see the above list) is its “switch lane”.

The second point can be difficult to grasp, and you might have to plan your use of the 4 lanes carefully. For instance if you know you will be modulating the Left Value of certain segments only, it’s best to avoid using lane A for anything other than the modulation switch.#

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Rate A Rate B Rate C Rate D Left Value (A) Right Value (B) Curve (C) Ratchet (D)

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An example of segment modulation:

Cells A1 and C1 will respond to Left Value (A) and Curve (C) modulation" Cells A2 and D2 will respond to Left Value (A) and Ratchet (D) modulation" Cell A3 will respond to Left Value (A) modulation only" Cells B4 and D4 will respond to Right Value (B) and Ratchet (D) modulation

Keyboard (KEYS)

The button on the left of the lower bar selects Hive’s keyboard and extra pitch settings:

Performance

The panel on the left contains some pitch-related parameters:

Glide

Glide (a.k.a. ’portamento’) slurs the pitch between consecutive notes. There are two different glide modes: in Rate mode (‘constant rate’) the glide takes longer for larger intervals, while in Time mode (‘constant time’) it is independent of the interval.

The Amount knob sets the glide time/rate for all oscillators and filters – and anything that uses key tracking.

Microtuning

Click in the lower half of the field to select a microtuning table. The Activate button switches microtuning on or off so you can compare the effect.

Hive supports standard TUN format microtuning tables, and you will find several in the list already. Many more microtuning tables are available online, most of them free.

To close the microtuning browser again, click on the [CLOSE] button at the upper right.#

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A + C

A + D A

A + D

B + D

1 2 3 4

lane

B + D

step

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The .tun files belong in the following folder on your hard drive:

Win C:\Users\*YOU*\Documents\u-he\Hive.data\Tunefiles\ ..........

Mac ~/Library/Application Support/u-he/Tunefiles/ .........

…or equivalent locations in accordance with your VST and Hive installation paths.

To go directly to that location from within the microtuning browser, right-click on any .tun file and select Reveal in Finder (Mac) / Open in Explorer (Win).

Vibrato LFO

A third LFO, hardwired to the oscillators. The Rate knob controls the speed and the Delay knob controls how slowly it fades in. See also Vibrato in the oscillator panel.

Pitch (Pitch Wheel)

Most MIDI keyboards have a ‘pitch bender’ control, often a centre-sprung wheel or stick that bends the overall pitch up and down. You can specify up (PB+) and down (PB-) ranges independently from 0 to 24 in semitone steps, and 36 (3 octaves) or 48 (4 octaves).

Mod (Modulation Wheel)

On-screen modulation wheel, reacts to MIDI CC#01. Note that the value you set here, either by pushing your real modulation wheel or moving this virtual version, is not saved with the preset.

Virtual Keyboard

You can play notes with different velocities on Hive’s virtual keyboard: Click close to the top for low velocities and further down for high velocities.

Double-clicking on a note will sustain it. This feature is handy for sound design if you don’t have a real keyboard at hand, or even for holding a drone while playing live. To release the latched note, single-click the same note again (or click on any other note).

Scale Quantizer

Although the bottom octave can be played just like the rest of the keyboard, it can also be used to quantize incoming MIDI notes to a user-defined scale. Simply click on the little dots to include or exclude notes. For instance, here’s a C minor 9th chord (C, D, Eb, G, Bb):

Note: The oscillators also have a modulation target called In Scale Transpose which applies the Scale Quantizer setting. Try modulating that target with a very slow LFO.#

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Modulation Matrix

The 12 x modulation matrix is for connecting modulation sources (MIDI controls, envelopes, LFOs etc.) to one or two modulation targets (over 100 options). Two pages of six units each can be selected via the MATRIX A and MATRIX B buttons in the lower bar:

In the above example, oscillator 1 Pulse Width and Filter 1 Input Gain are both being modulated by LFO1, the depth of which is controlled by the modulation wheel (or vice versa – see Via below).

Primary Source (unlabelled)

The top left selector specifies a primary modulation source.

Secondary Source (“via”, unlabelled)

An optional secondary modulation source (also referred to as “via”) determines how much of the signal from the primary source is actually passed on to the two targets…

Or vice-versa, as the two sources are interchangeable. Swapping LFO1 and Mod Wheel in the above example will have exactly the same result: Mod wheel signal via LFO is practically the same as LFO signal via mod wheel.#

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matrix slot on/off

modulation depth 1

modulation depth 2

target selector 1

primary source

secondary source (via)

target selector 2

panel menu

curve quantizerectify

sample & hold source

slew limit

slot modifiers 1

slot modifiers 2

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Targets (unlabelled)

The simplest way to select a target is usually via drag & drop - see below. Alternatively you can right-click on a target selector, which opens a menu containing all possible target parameters. Note that inactive effect parameters will not appear in the modulation target menu – the image here shows how the menu will appear if all effects are active.

Each synthesis panel except the matrix itself has its own submenu – hover over an entry to see the individual targets. Note: FX parameters will only appear if the effect is currently active.

The assign recent submenu contains a short list of the most re- cently edited parameters so you can quickly assign several sources to the same target, for instance.

Immediately above the list of modulation targets is the option to remove (“unassign”) the current assignment if there is one, otherwise it will say “not assigned”, like in this image.

Drag & Drop from a Target Selector

Hive has so many possible modulation targets that we added an easier way to get to them…

In the modulation matrix, click and hold on one of the target selectors, drag the crosshair onto a target parameter then release the mouse button. You can check whether any object is a valid target by dragging the crosshair over it: You might be surprised at some of the possibilities, especially in the FX panel or even in the matrix itself…

Not only the majority of the knobs, but also some of the selectors are valid modulation targets. Drop the crosshair onto an oscillator’s Octave or Semi selector to assign pitch modulation, onto Phase for phase modulation, onto the waveform for pulse width modulation if the Pulse waveform is selected, or for wavetable Position if Wavetable is selected. To modulate Delay time, drop the crosshair onto either the Left or Right selector in the Delay panel.

Remember that you can populate the mod matrix remotely via drag & drop from any modulator panel or from the row of modulation sources in the lower bar.#

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not assigned

Amp Envelope 1 Mod Envelope 1 LFO 1 Function 1 Oscillator 1 Filter 1

Amp Envelope 2 Mod Envelope 2 LFO 2 Function 2 Oscillator 2 Filter 2

Arp+Seq Clock Voice Vibrato LFO Shape Sequencer

Lock

Distortion Chorus Phaser EQ Delay Reverb Compressor

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Slot Modifiers

Below each target selector is a row of buttons which can be used to modify the shape of the modulation signal, individually for each slot. They are processed in order from left to right: Curve, Quantize, Rectify, Sample & Hold, Slew.

This is how they might appear when all of the modifiers are active:

Curve

These options let you map the source onto an s-curve – it’s like a waveshaper for modulation signals. A bipolar ramp, for instance from a rising sawtooth LFO or from the pitch bend control, would be transformed into one of these curves:

Unipolar modulation sources (envelopes, modulation wheel etc.) only use the upper half of the curve. For instance, if you want the modulation wheel to have a very subtle effect when only pushed a little, but still deliver the full effect when pushed all the way, choose very expanded (as the first part of the curve above zero is very shallow).

Rectify

Half-wave or full-wave rectification (in positive as well as negative versions), or make unipolar. The symbols depict how a bipolar ramp wave would appear after rectification.

none no rectification ...........................

half wave + removes negative values .............

half wave - removes positive values ..............

full wave + folds negative values up into the positive ..............

full wave - folds positive values down into the negative ...............

unipolarize shifts the signal to positive-only (and halves the amplitude of bipolar sources) ..............

To transform the pitch wheel so that pulling also delivers positive values, choose full wave +.#

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linearcompressedvery compressed expanded very expanded

none half wave + half wave - full wave + full wave - unipolarize

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Quantize (Q)

After applying a curve, the modulation signal can be forced to adopt certain discrete values. The integer setting makes the modulation typically “steppy”, while the steps of 12 setting transforms bipolar sources into maximum 5 values (unipolar = maximum 3) including zero.

All other options quantize the output to certain scales:

overtone series harmonic overtones .................

minor / major scale natural minor, regular major ...........

minor / major chord chord tones (root, third fifth) ..........

minor / major series third intervals (repeats after two octaves) ..........

fifths and octaves well, it’s fifths and octaves only! .............

Note: The quantization is applied after modulation depth, so lower depth means fewer steps, not narrower steps! For instance if you quantize an LFO to steps of 12, there will be no modulation at all unless you turn the depth up to at least 25.

Sample & Hold (SH)

Whenever the signal you select here crosses zero in the positive direction, the main modulation source will be sampled and held i.e. stepped.

There are fewer sources in this list than in the primary and secondary (via) modulation sources: Those that make little sense (the envelopes, Velocity, Alternate, Constant) were removed.

Note that the SH is reset whenever a new voice is allocated. This means that (in the current version at least) a sample of the modulation source will not be “memorized” for successive notes.

Tip: Gate is a particularly useful SH source, as it converts the signal from the main modulation source (for instance mod wheel or slow triangle wave LFO) into discrete steps at the start of each note.

Slew Limit (SL)

Similar to the dedicated Glide processor for pitches, the Slew Limiter in the matrix can be used to soften transients in the modulation source. There is no continuous control here, only a selector offering off, fast, smooth or slow. To develop a feel for these options, try modulating oscillator pitch from a square wave LFO with Slew Limit set to slow. Note: For technical reasons, the modulation sources Alternate and Random will not be slewed.

Note that the Function Generators can also be used as slew limiters.#

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none

ShapeSeq A ShapeSeq B ShapeSeq C ShapeSeq D Func1 Env Func1 Rise Func1 Still Func2 Env Func2 Fall Func2 Move

Control A Control B Gate Mod Wheel Pitch Wheel Pressure

LFO1 LFO2 Vibrato LFO

Random

Lock

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Wavetables

The [WAVETABLE 1] and [WAVETABLE 2] buttons at the top of the hexagon open the Wavetable control pages. If you haven’t selected a wavetable in the oscillator panel, you will be asked to do just that. With an active wavetable the hexagon should look something like this…

Hive wavetables can contain up to 256 single-cycle waves. Find a particular waveform by adjusting Position, then modulate Position to create tonal movement.

Two Kinds of Wavetable

Hive can load wavetables in either of two formats, .uhm or .wav. The former is a powerful script format which creates wavetables on-the-fly by interpreting a list of text commands and formulae.

For wavetables to be recognized they must be in the same directory as the referencing preset, or here (see File Selectors / Reveal… below), where the factory wavetables also reside:

Win C:\Users\*YOU*\Documents\u-he\Hive.data\Wavetables\ Mac MacHD/Library/Application Support/u-he/Hive/Wavetables/

Wavetable files in subdirectories of these paths will also be recognized and loaded.

For details of the .uhm script language and a few notes about .wav requirements, please refer to the extra document Hive Wavetables.pdf included in the Hive installer. To locate this file, click on the u-he badge and select user guide – you will find this extra document in the same folder.#

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IMPORTANT: If you ever see the message “File wasn’t loaded: [wavetable name]” immediately below the selectors, the wavetable’s path (as stored in the preset) is invalid. Be careful not to move, rename or delete wavetables or their enclosing folders if they are already in use. If you ever lose factory wavetables you can always restore them by re-installing Hive.

In either format (.wav or .uhm), Hive’s wavetables can hold up to 256 individual waveforms.

File Selectors (unlabelled)

To load a specific wavetable, click on either of the two selectors near the top of the hexagon. The difference between them is that the arrows of the upper selector step through folders while those of the lower selector step through files. The menu also includes the following functions:

refresh wavetables updates the list, just like refresh does for the browser content.

reveal in Finder / open in Explorer opens a system window for the currently selected folder.

Important: After adding, removing or renaming wavetable files or folders outside of Hive’s own browser, please remember to refresh wavetables.

unload current replaces the selected wavetable with the default sine wave, minimizing preset load times as well as memory and CPU usage…

NOTE: Once specified, wavetables will be loaded and processed even if you replaced them with

regular waveforms before saving the preset. To minimize load times and save CPU, make a habit of unloading any unused wavetables before saving your preset!

Info Text

Some wavetables include explanatory text while others only display the number of frames used. Try opening an .uhm file in your favourite text editor and see how they are defined!

Position

The Position knob scans through the wavetable. Alternatively, click and drag (vertically) on the wavetable graphic in the oscillator panel.

Auto Mode (unlabeled)

You can modulate wavetable Position without requiring an LFO or envelope etc.. The One Shot option scans through the wavetable just once, Loop > is a looped scan in one direction only, and Loop >< is a looped scan in both directions.

Temp o

This knob adjusts the speed of one shot or loop modulation from “quite slow” to “very fast”. Au- tomatic scanning normally starts at the set Position and ends at the final wave, but this actually depends on the status of the Reverse and Cyclic buttons…

Reverse

Reverses the order of frames, which is particularly useful with one shot Auto Mode. Try this: Load init (right-click on the data display), select Wavetable as OSC1 Wave, load DX Piano.uhm, from the FM folder and select One Shot. Play. Now activate Reverse…

Cyclic

Used in combination with Auto Mode, this option adds a copy of the first frame to the end of the table. Particularly useful for smoothing Auto Mode loop —>, Cyclic mode also lets loops cross wavetable boundaries. To test it, set a medium Position then switch Cyclic on and off.#

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Tables < Position

Hive’s wavetables become two-dimensional – some would even say three-dimensional – if the Tables parameter (which specifies the number of frames in the y-axis) is set to 2 or more. The lower Position knob then crossfades between frames in the y-axis. Here’s an example:

Things can get rather interesting if you set Tables to a value that doesn’t divide the number of frames in the wavetable so evenly. Tip: Experiment with the Interpolator set to switch…

Interpolator

A choice of 4 different algorithms for interpolating between frames. This option only applies to the main Position parameter – the interpolation through Multi Position is always crossfade.

switch no interpolation at all, sudden jumps between frames ........................

crossfade smoothly interpolates waveform magnitudes ................

spectral like crossfade, but also interpolates the phases of each partial. CPU-hungry! ....................

zero phase like spectral, but also forces the phase of each partial to zero first .............

The appearance of waveforms can differ significantly, depending on the chosen interpolation. The spectral and zero phase modes shift the relative phases of partials differently, while the switch option will only show the basic, non-interpolated waveforms.

How about a quick test? Load Harmonics / Spike Series.uhm, set the Position to 5.00 and watch the waveform change as you select different interpolation modes.

As blending different phases requires extra computation, spectral is actually the highest quality mode, and therefore the most CPU-intensive. Tip: The CPU-friendly crossfade is usually fine.#

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Position

1000

100

Multi Position

(no eﬀect)

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

1 2 3 4 5 6 7 8

9 10 11 12 13 14 15 16

1 2 3 4

5 6 7 8

9 10 11 12

13 14 15 16

Tables = 1

100

Multi Position

Position

0 100

100

Multi Position

Position

100

Tables = 2

Tables = 3

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Arpeggiator & Sequencer

The ARP/SEQ button at the top of the hexagon opens a window containing everything you need to set up complex arpeggios and sequences…

Clock

The arpeggiator and sequencer share a common host-synchronized clock:

Time Base

Basic note division (1/32, 1/16, 1/8 or 1/4) for the arp and sequencer. As the clock is always synchronized to host tempo, no absolute times (in seconds) are available here.

Sync

‘Strict Host Synchronization’ causes arpeggios and sequences to align with beats in the host so they are not restarted with each note.

Multiply

Speed (50% to 200%). For triplets, set 75% or 150%, for dotted times set 66.67% or 133.33%.

Swing

Swing factor. 50% = 2:1 (triplet swing), 100% = 3:1 (dotted swing).

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Arpeggiator

Hive’s arpeggiator has the usual octaves and direction parameters, but also a few extras that make it surprisingly powerful, e.g. the ability to drive the sequencer.

On/Off (round button)

Activate / deactivate the arpeggiator.

Octaves

(1 to 4) transposes the arpeggio in octaves according to the Order (see Order below).

ClockDiv (clock division)

Driving the sequencer from the arpeggiator by activating both at the same time lets you transpose sequences via MIDI notes / chords. This is especially interesting if you run the arpeggiator slower than the sequencer: ClockDiv specifies how many times slower, from 2x to 8x.

Note: If you are using the arpeggiator on its own i.e. without the sequencer, setting ClockDiv to anything other than 1x will effectively remove any Swing (see the previous page).

Direction

Arpeggio playback mode:

played as the notes were played .................

up from lowest to highest note ..........................

down from highest to lowest note ....................

up+dn 1 from lowest to highest, then back down again .............

up+dn 2 same as up+dn 1, but the highest and lowest notes are repeated .............

random chaotic, unpredictable ...............

Order

Specifies when the arpeggio will jump to the next octave:

serial plays all notes first, then jumps octaves up ....................

round like serial, but also jumps down again if Octaves (see above) is set to 3 or 4 ...................

leap jumps octaves at each successive note ......................

repeat repeats the note in all octaves before playing the next note .................

Depending on the number of notes as well as the Octave and Restart settings (see below), some of the Direction and Order options will sound identical.#

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Restart

The number of notes the arpeggiator will play before jumping back to the start. The idea behind Restart is to ensure that arpeggios stay in time (e.g. 4/4) however many notes are played.

Available values are none, 4 to 10, 12, 14, 16, 24, 32. Experiment with ‘8’ or ‘16’ first. Be aware that if you choose a very low value here, the arpeggio is likely to restart before all held notes have been played, in which case some of the notes will simply go missing.

The results of arpeggiation also depend on the selected voice mode, with overlapping release phases (poly), retrigger (mono), or single trigger (legato and duo).

Sequencer

Below the Clock and Arpeggiator panels is Hive’s 16-step sequencer / modulator / gater. Here’s a screenshot of the sequence used in the preset Heavy Gravy:

OFF | MOD | ► | REC

In MOD (Modulator) mode the Gate, Transpose and Velocity data (see below) are ignored. The envelopes are not triggered. However, the Mod values and SeqGate (see Attack, Decay, Gate % below) can still be used.

Select the ► (Run) button if you want the sequencer to trigger envelopes. Like the arpeggiator, the sequence will run whenever notes are played and will stop when all notes are released.

REC (step record) mode lets you fill the data area with transposition, velocity and CC values, including whatever the arpeggiator is delivering.

Important: The first note you record defines zero transposition. To prevent notes from overshooting the limits (+/-24), play a fairly central ‘root’ first, then the complete sequence (which will also overwrite that first note). Finally, shift the entire sequence one step to the left – see Shift below.#

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Mod CC

Specifies a MIDI controller (Control A or B, ModWheel, PitchWheel or Pressure) for recording and/or playing back Mod data (see Mod below).

Dynamic Vel

When activate, the sequencer’s “Vel” values are multiplied with incoming MIDI note velocities.

Steps

The number of notes (2 to 16) the sequencer will play before it restarts. Tip: MIDI-learn a knob or slider on your hardware controller and try performing with this parameter!

Shift

In hindsight, a heavily edited sequence often starts on the wrong beat, an effect which is easily fixed here… this pair of buttons rotates the active part of the sequence to the left or right. Note: The Shift buttons are only visible if the sequencer is in either MOD or Run mode.

Gate

Click on the dots to cycle between Note, Tie and Rest. Click and swipe to the left or right to change multiple steps.

Note plays a note with the length defined by the Gate % value (see below). ..............

Tie like Note but with the length set to 100%. ..................

Rest the step is not played. ...............

Trsp (transpose)

Per-step transposition within a 4-octave range (-24 to +24).

Vel (velocity)

Per-step velocity values which will override normal MIDI note velocity unless the Dyn Vel switch (see above) is activated.

Mod

Use this row to modulate anything you like in sync with the sequence. These values are sent to two parallel sources: the modulation source SeqMod and the chosen Mod CC (see above). We recommend using SeqMod if you want to avoid the smoothing which may or may not be applied to all the Mod CC options – this depends on the MIDI Control Slew preference! You can always slew SeqMod in the matrix.

Attack *

How slowly the modulation source SeqGate fades in for each step.

Decay *

How slowly the modulation source SeqGate fades out for each step.

Gate % *

Sequencer gate time i.e. how long the notes are held relative to the clock’s TimeBase.

* Although Attack, Decay and Gate % can be modulated, they do not appear in the matrix target menu. In the current version you can only assign them via drag & drop.#

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X/Y Pads

Clicking on the [XY] button at the top of the hexagon opens a panel containing four 2-dimensional performance controls. You can set the focus to a particular control by clicking on it, by rolling your mouse wheel within the square, or by selecting from the vertical row on the right.

The buttons on the left offer 3 views: All in a single pad, as 4 separate pads or as 8 knobs.

At the bottom of the hexagon in the pad views are labels for each individual X and Y control, while in the 8-knob view they appear next to each knob. Double-click on a label to edit the text (maximum 20 characters). The macro itself will not be affected – that’s what the [EDIT] buttons are for!

Macro Assignment

Whenever a preset is loaded that doesn’t include XY control, Hive will automatically create it for you. These “macros” affect up to 4 parameters simultaneously, and each pad offers a different set: Oscillators or Control A/B values (XY1), filters (XY2), envelopes or LFOs (XY3) and effects (XY4).#

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Right-click anywhere on the pad to open the macro menu:

Select auto-assign all unused to assign any unassigned X and Y controls. Caution: The unassign all function removes all XY assignments from the preset, and this cannot be undone.

Each X and Y control has a sub-menu containing preset macros. These are the same for X and Y but different for each pad (1-4). Select unassign to remove the existing assignment.

The Control A/B Offset options (available for XY pad 1 only) let you send CC data from the pad via the modulation matrix to multiple Hive parameters. Being an offset, this is added to any Control A or B data received from elsewhere e.g. from Hive’s sequencer or from an external CC source.

Custom Assignment

For more flexibility, each X/Y pair has its own modulation matrix panel where you can specify up to 4 target parameters and modulation depths. These panels are opened either by clicking on an [XY] button in the lower bar or on an [EDIT] button below the XY pad:

On the left is a small XY pad so you can immediately use your settings. As mentioned above, each X and Y dimension has its own label – double-click and enter some text (maximum 20 characters).

Like the general purpose modulation matrix, the XY matrix also has slot modifiers Curve, Quantize, Rectify, Sample & Hold and Slew. For details, see the section about the modulation matrix.#

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auto-assign all unused

unassign all

assign X1

assign Y1

assign X2

assign Y2

assign X3

assign Y3

assign X4

assign Y4

unassign

Osc Detune / Width

Wavetable Position

Control A Offset

Control B Offset

Osc 1/2 Mix

Osc 1/2 Pan

Osc Width

unassign

Filter Cutoff

Filter Resonance

Filter Env/Cutoff

unassign

Env Decay

Env Release

Env Attack

LFO Rate

Filter LFO Depth

unassign

Reverb / Delay

Chorus / Phaser

Delay

Reverb

Chorus

Phaser

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Effects (FX)

The FX button at the top of the hexagon opens a window containing everything you need to set up a complex chain of audio effects:

Important: The symbol to the right of the [FX] label is a global on/off switch for all active effects. Disable it and you won’t hear any effects at all, even after changing presets!

Enable / Rearrange

The central column contains 7 buttons, one for each effect. Click to switch the effect on or off. Click and drag up or down to change the order of effects.

Tip: Experiment with unusual orders, for instance reverb then phaser followed by distortion!#

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Distortion

Hive’s distortion unit is powerful but relatively simple, requiring only a mode selector and 3 knobs…

Mode (unlabeled)

Soft Clip Smoothly compresses peaks in the signal. ...................

Hard Clip Simply chops off the top and bottom of the waveform. .................

Foldback Similar to soft clip except that increasing the gain doesn’t slam more of the ..................

signal peaks against the limits, but reflects (folds) them back.

Corrode A combined sample rate and sample resolution control (a.k.a. bit crusher). The ....................

Amount and Ton e controls (see below) are replaced by Rate and Crush.

Amount

Input gain control. This effectively sets a threshold above which distortion occurs (and therefore the perceived amount of distortion). In Corrode mode (see above), this knob sets the amount of sample rate reduction (the label changes to Rate).

Tone

Bipolar frequency tilt for more bass or treble distortion. In Corrode mode (see above), this knob reduces the sample resolution (the label changes to Crush).

Mix

Dry/Wet balance control. Turning Mix down from the usual maximum preserves more of the original character without affecting the distortion characteristics.

Rate (in Corrode mode)

Replaces the Amount knob. Reducing / decimating the sample rate degrades audio quality: Low values introduce high-pitched grit. At high Rate values, aliasing takes over i.e. you will hear more rough metallic tones than you will hear original signal.

Crush (in Corrode mode)

Replaces the Tone knob. Bit crush / resolution reduction. Waves become increasingly steppy until they become clicks or even silence, depending on the input signal.#

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Reverb

Hive’s plate reverb unit is surprisingly flexible. It is capable of anything from small resonators (e.g. guitar body or metal tubes) to huge cathedrals…

Pre

A single delay before the reverb starts. Especially useful for retaining the presence of the original signal while using lots of reverb. Or as a slap-back delay!

Size

Room dimensions, from sardine can to infinity and beyond. Balance this with Decay…

Decay

Controls reflectivity of the room, essentially the opposite of Damp (see below). Affects how long it takes for the reverb tail to fade out.

Damp

Causes higher frequencies to fade out more quickly than low frequencies, imitating the ‘warming’ effect of carpets, curtains etc. in a room, or the audience in a concert hall.

Tone

Strong ‘tilt’ equalizer. Use in combination with Damp to colour the reverb.

Width

Stereo spread of the reverb signal.

Mix

Balance between the original (dry) and reverb signals. At maximum, the dry part of the signal is faded out completely, which lets you use Hive’s reverb for strong ‘guitar body’ type resonances: Set Pre to minimum, and fine tune the Size around 5.00.#

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Equalizer

Insert the EQ effect wherever you want to cut or boost parts of the spectrum.

Bass | Mid | High

Hive’s 3-band EQ effect comprises low and high shelving filters surrounding a fixed-width mid frequency band. Each band has a cutoff frequency (Freq.) control, and the corresponding Gain controls let you set anything between -15dB and +15dB.

Tip: Where you place the EQ in the effects chain can be decisive. For instance, position the EQ after the Distortion unless the plan is to control distortion characteristics with it.

Chorus

Chorus has a long tradition as synthesizer effect – after spring reverb, it was the second effect to be built into a commercial synth.

Hive’s Chorus unit offers three different models that share a common set of controls:

Type (unlabelled)

Classic, Dramatic and Ensemble are all based on well-known hardware effects of yesteryear. The latter is especially rich: it can turn a raw oscillator into a classic ‘string machine’ sound.

Rate

The modulation speed. Use low values for slow stereo effects.

Depth

The modulation amount. Set to zero (with Classic or Dramatic) for static coloration.

Wet

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Balance between the original and treated signal. Lower values here can be used to add warmth without making the sound too ‘washy’.

Wow (hidden parameter)

‘Wow’ emulates the low frequency wavering of old magnetic tape delay units. To adjust the amount of Wow, use Constant as source in the modulation matrix (and of course select Delay / Wow as your target).

Tip: In the Matrix is a panel preset called ’09 UnWow the Delay’. This sets Wow to zero and lets you straighten the delay time, which was set slightly longer to avoid overly robotic delays. As this depends on the delay length, you may have to adjust the upper modulation amount.

Phaser

Traditional sweeping effect, stereo, with adjustable resonance (feedback)…

Rate

Modulation speed of the Phaser’s own LFO.

Feedback

The amount of resonance. Note: high resonance can create strong bass humps.

Flanged

This button switches from the default Stoned mode to the alternative Flanged. As it uses more delays, Flanged is more resonant and is particularly suitable for bright sounds. Stoned mode is arguably much more ‘psychedelic’. Both models are based on classic hardware stomp-boxes.

Stereo

A bipolar stereo width control. Note that with the ‘Stoned’ type, maximum stereo width is at +/-

25.00 (this is especially obvious if you turn Feedback way up).

Phase

LFO phase offset, from 0 to 360°.

Wet

Amount of phase-shifted signal, from 0% (completely dry) to 50% Wet.

Depth (hidden parameter)

The amount of modulation from the Phaser’s own LFO. Normally maximum.

Center (hidden parameter)

Phase offset. For static colouration effects, load the matrix panel preset 11 Phaser Flattener.#

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Compressor

Although dynamic processing is useful in any audio system, compressors are not often found built into synthesizers. The number of controls in Hive’s compressor has been reduced to a minimum…

Amount

An inverted threshold and compression ratio control in one. At higher values, it can get loud…

Out

Turn this down to compensate for the boost in volume caused by strong compression, or turn it up to boost very quiet signals (set the Amount to zero).

Attack: How fast the compressor reacts to peaks in the signal. Experiment with Attack and Amount for maximum ‘punch’ in percussion sounds, or for the smoothest pads.

Release: Compression ‘relaxation’ time. This setting isn’t quite as important as attack because the actual release time is semi-automatic.

GR (Gain Reduction)

How much the signal level is being reduced whenever the compressor kicks in. For maximum effect, make sure there is plenty of movement here.

Mix (hidden parameter)

Dry/Wet mix control for parallel (a.k.a. New York) compression. See hidden parameters.

Delay

Hive’s delay unit looks simple enough, but is very ‘musical’…

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L and R

Independent delay times for the left and right channels, always synchronized to host tempo. ’T’ in the menu means triplet time (3 in in the space of 2) and ‘D’ means dotted (half as long again).

Tip1: For typical extreme stereo, set the right channel to twice as long as the left e.g. 1/4 and 1/2. Generally set Ping-Pong mode if the left channel’s delay is shorter, otherwise Pong-Ping.

Tip2: For a fuzzy slap-back effect, set the delay times to 1/32 and 1/16T, turn Feedb down to zero and Diffu up to maximum. You can make the delay times even shorter by negatively modulating the hidden parameter Delay / Time Scale. See hidden parameters.

Mode (unlabeled)

Stereo independent delays without any cross-feed from one channel to the other .......................

Ping-Pong feeds the left channel into the right, then vice versa ...............

Pong-Ping feeds the right channel into the left, then vice versa ...............

LP and HP

Cutoff controls for lowpass and highpass filters within the feedback path. Lower the value of LP for typical damping, increase HP to reduce bass and mid frequencies.

Width

Stereo width of the delay signal.

Feedb

Feedback / regeneration amount. The output signals are fed back into the input for repeating echoes. 100.00 will give you an almost infinite loop if LP is set to maximum and HP is set to minimum... so try that!

Diffu (diffusion)

The diffusion parameter makes the delay more ‘fuzzy’. When Diffu is set to maximum, individual echoes sound almost as if they had been treated with a short reverb.

Mix

Balance between dry signal and treated signal.

TimeScale (hidden parameter)

Modulate this parameter to shift all delay times away from strict synchronization. Simply drag & drop a modulator onto the L or the R selector, then adjust the amount in the modulation matrix.

FX Preset

At the bottom of the hexagon is a panel preset button in the form of a selector which you can use to copy/paste, save or load all FX settings at once. Unlike the small panel preset buttons in other Hive panels, this one displays the panel preset’s file name.#

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Scope

Animated graphics in software synthesizers not only look cool, but can also help you program your sounds by showing you what’s happening in real time. Hive’s Scope is especially useful for displaying how the parts of complex modulation interact (e.g. the Function Generators with an LFO).

As audio output is common to all presets, this is the default view. To zoom horizontally, adjust the blue handles and the connecting line. As usual, hold SHIFT to adjust with a finer resolution. If it is maximized, the audio view will “scan” just like a heart rate monitor and “breathe” (smoothly adjust the automatic normalization) whenever there is a significant change in volume.

You can drag & drop a modulation source anywhere in the central area to view it in realtime. The audio view will switch to a mono sum to make room for the new source, and will disappear if you want to view 2 or more modulation signals at the same time. The maximum is 4 signals.

If you drag & drop any modulation source onto one of the 4 fields at the bottom of the hexagon, or right-click there and select from the menu, you can specify the vertical order. To remove a signal from the Scope, click on its box and select none.

The Freeze button at the bottom right of the hexagon displays a snapshot of the current

data. Click again to “thaw”.

Right-click anywhere in the display area to set eco (CPU-friendly), fast or glow view mode.#

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Configuration

The cogwheel button at the top right opens the global configuration pages where you can adjust the window size and brightness or connect Hive parameters to MIDI continuous controllers.

The 4 buttons are MIDI Learn [L], MIDI Table [≡], Preferences [tools] and Close [X]:

About MIDI CC

Before connecting knobs and sliders on your master keyboard to Hive parameters (see the next page), it’s best to know what a MIDI CC is…

CC, which officially stands for Control Change and no longer Continuous Controller, is a multi- purpose message format used for editing as well as performing presets. However, CC isn’t the only kind of MIDI performance data available; there are also messages for note on/off (including velocity), pitch bend and two kinds of aftertouch.

The MIDI Manufacturers Association (MMA) was kind enough to leave most of the CC numbers undefined, but two of them have specific meanings which are also recognized by Hive:

CC#01 = modulation wheel" CC#64 = sustain pedal

Hive version 1.0 also offered modulation sources called Breath (CC#02) and Expression (CC#11). These have been replaced by the user-definable Control A and Control B. See the Preferences.

You don’t need e.g. breath controller hardware or an expression pedal to make use of CC messages. Most of the MMA-specified names are purely convention: You can use anything that can send CC, for instance a knob on your MIDI keyboard or a controller lane in your MIDI sequencer.

Later revisions to the MIDI spec even included a bunch of overly specialized CC definitions such as Celeste Detune Depth (presumably at the bidding of a home organ manufacturer or two). We can safely ignore all those names!#

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MIDI Learn

The MIDI Learn page is where you can connect MIDI CC (see above) to Hive parameters. CC data can be generated by e.g. knobs on your hardware controller, or by a track in your host sequencer. Click on the configuration button and select the ‘L’ MIDI icon (looks like a 5-pin DIN socket):

The window is a translucent overlay, with all MIDI-learnable elements appearing as selectable outlines. Already connected controls are filled (like three of the filter knobs in this image), and the outline of the currently active control is highlighted (like FILTER 1 Mod Env in this image).

Try it: Click on the FILTER 1 Cutoff knob and send it some MIDI CC data (wiggle a knob or slider on your MIDI controller). To remove the new CC connection, double-click on the same knob.

Note: Some of Hive’s controls won’t be immediately available. For instance you might have to toggle between the ARP/SEQ and FX panels, or between the KEYS and MATRIX pages. You don’t have to exit – you can still switch them over from within the MIDI Learn page.

All assigned controls will appear in the MIDI Table page…#

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MIDI Table

Click on the configuration button (cogwheel) and select the MIDI icon labeled ‘≣’:

Parameter

The field on the left selects one of Hive’s many parameters, which are sorted into sub-menus. Click on the ‘ADD’ button at the bottom and experiment with this field for a while, then delete the assignment by clicking on the small [X] to the right of the line you just created.

An experimental feature: Select Last Clicked Control from the bottom of the Parameter menu, enter any controller number then exit the configuration pages. Any MIDI controllable knob or switch in Hive will now respond to that controller – you just have to click on it first! The final option, Last Clicked Control Fine, is similar but with a significantly reduced range.

Channel / Controller

The next two fields are for MIDI channel and CC number. Hive is channel-sensitive so you can map up to 16 channels for a total of about 2000 control assignments. Should be enough!

Mode

Specifies the range / resolution of values. The last 2 options are for adjusting oscillator pitch

normal full range, continuous .............................

integer full range, whole numbers only .............................

fine 0.01 steps between the two integers closest to the current value ....................................

octaves max. 5 discrete values ...........................

semitone +/- 6 semitones, continuous ........................

Type

Specifies the type of hardware (Note: by far the most common is Continuous 7-bit).

Encoder 127 unipolar encoder ..........

Encoder 64 bipolar encoder ............

Continuous 7-bit 7-bit MIDI CC (normal resolution, common) .. Continuous 14-bit 14-bit MIDI CC (high resolution, rare)

Remove

To remove individual assignments, click on the [x] to the right of each line. To remove all assignments, click on the [Delete All] button at the bottom of the window.

Per Instance Control

Local versions of the Control A/B Default settings. See 2 pages down…#

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TOC CONFIG

Preferences Page

Click on the ‘tools’ icon to open this page…

CONTROLS

Mouse Wheel Raster

If your mouse wheel is rastered (you can feel it clicking slightly as you roll the wheel), set this option to ‘on’ so that each little click increments the value in sensible steps.

APPEARANCE

Default Size

The GUI size for each new instance. You can temporarily change the GUI size without opening the Preferences page by right-clicking anywhere in the background.

Default Skin

Sets the selected skin as the global default. Try “Izmo” by Plugmon (included), which has a very different layout.

Gamma

How dark/bright Hive will appears. Note that it can take a moment for the UI to update to the new setting.

Text Antialiasing

Switches the smoothing of labels and values on or off. This option is normally left on: only in special cases will switching it off improve readability.

PRESETS

Auto Versioning

If switched on, an index is appended to the preset name and automatically incremented each time you save it. For instance, saving ‘Space’ three times in a row would give you three files: ‘Space’, ‘Space 2’ and ‘Space 3’.

Save Presets To

The user folder option prevents Hive from saving presets into the Local folder. Instead, they will land in the User folder (or a subfolder if selected).

Scan On Startup

Whether the preset library should be scanned and the database recreated when the first instance of Hive is started, e.g. when you reopen a project.#

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OTHERS

Base Latency

If you are certain that your audio system – hardware as well as software – uses buffers that are a multiple of 16 samples in size (please refer to the appropriate documentation), you can safely disable Hive’s base latency. Otherwise leave it set to the default 16 samples to prevent crackles.

A new Base Latency setting will only take effect when the host allows e.g. on playback or after switching the sample rate. Reloading Hive also works. See MORE ABOUT BUFFERS below.

Control A/B Default

Apart from the modulation wheel, the list of modulation sources in the previous version included two extra fixed MIDI controls: Breath (CC#02) and Xpress (CC#11). While retaining backwards compatibility, we have replaced those with the user-definable Control A and Control B sources.

MIDI Control Slew

Determines the strength of parameter smoothing for the following performance controls: pitch bend, modulation wheel, Control A, Control B and Pressure. With MIDI Control Slew set to ‘off’, Hive is more responsive to modulation wheel data (for instance), but can sound rather grainy. The default setting (‘Fast’) is a good compromise between speed and smoothness.

The ‘Slow’ option is adaptive: Whenever the incoming control data jumps suddenly between values that are further apart, the slew is not applied.#

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MORE ABOUT BUFFERS

Internally, Hive processes audio in chunks of n x 16 samples. This ‘block processing’ method significantly reduces the CPU load and memory usage of all our plug-ins.

If the number of samples to be processed is say 41, Hive processes the first 32 and keeps the remaining 9 in a small buffer (16 samples is enough). Those 9 samples are then processed at the start of the next call… and so on.

The extra buffer is only necessary if the host or audio driver processes ‘unusual’ buffer sizes. In the many host applications that process buffers of e.g. 64, 128, 256 or 512 samples (all multiples of 16), try switching it off so that Hive can process latency-free.

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Inside the Hive

Mod Matrix Lists

Modulation Sources

Here is a list of all modulation sources available in the modulation matrix. Note that it does not include the X/Y pad controls, as these have their own dedicated matrix.

Internal sources

Amp 1/2

amplifier envelopes

LFO 1/2

low frequency oscillators

Mod 1/2

modulation envelopes

Seq Gate

sequencer gate (adjust sequencer Attack and Decay)

Seq Mod

sequencer Mod data

Vibrato LFO

global low frequency oscillator (not only for vibrato!)

ShapeSeq A-D

the four parts of the shape sequencer

Func1 Env

function 1 envelope signal

Func1 Rise

function 1 gate opens during the attack phase(s)

Func1 Still

function 1 gate opens while motionless

Func2 Env

function 2 gate opens during the attack phase(s)

Func2 Fall

function 2 gate opens during the decay phase(s)

Func2 Moves

function 2 gate opens during attack and decay phases

MIDI sources

Control A

user-definable CC - default is Breath (CC#02)

Control B

user-definable CC - default is Expression (CC#11)

Gate

+100 while a note is played, otherwise zero (see numeric sources)

KeyFollow

value derived from MIDI note number, pivots around ‘E3’ (note 64)

ModWheel

modulation wheel (CC#01)

PitchWheel

pitch bender

Pressure

aftertouch (channel pressure or poly pressure)

Velocity

MIDI note-on velocity

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Modulation Targets

Here is a list of all modulation destinations available in the modulation matrix. To the left is what you see in the target selector’s context menu, to the right is what you see in each sub-menu.

Targets in bold typeface are hidden parameters (see the next page). These are only available in the modulation matrix and do not have controls in the panels.

Numeric sources (%)

Alternate

alternating extreme (+100, -100, +100, -100 etc.) per note

Random

random value anywhere between -100 and +100 per note

Constant

+100

Synthesis targets

Amp Envelope 1/2

Attack, Decay, Sustain, Release, Velocity

Mod Envelope 1/2

Attack, Decay, Sustain, Release, Velocity

LFO 1/2

Phase, Rate

Function 1/2

Attack, Decay, Slope

Oscillator 1/2

Detune, Tun e (continuous), Vibrato, Phase (angle), PulseWidth (pulse only), Volume (main oscillator), Pan, Width, Sub Tune, " Sub Volume, WT Position, WT Tempo, WT Multi Pos," In Scale Transpose

Filter 1/2

Input Gain, Cutoff, Resonance, KeyTrack, Mod Env Depth, " Mod LFO Depth, Volume

Mod Matrix

Depths. Drag&drop only i.e. not visible in the menu

Global targets

Arp+Seq Clock

Multiply, Swing, Attack *, Decay * and Gate % *

Voice

Glide, FineTuneCents

Vibrato LFO

Delay, Rate

Shape Sequencer

Rate A-D, Left Value (A), Right Value (B), Curve (C), Ratchet (D)

* For various reasons the targets Attack, Decay and Gate % are only available via drag & drop.

They do not appear in the menu.

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Hidden Parameters

To avoid cluttering Hive’s UI with too many controls we decided to make certain parameters only available within the modulation matrix. If you simply want to offset values (e.g. the basic pulse width of an oscillator or the delay time), use Constant as modulation source.

Oscillator Tune (continuous)

Oscillator Phase

Oscillator Pulse Width

Shape Sequencer Rates

Delay Time Scale

Delay Wow

Phaser Depth

Phaser Center

Compressor Mix

One useful side-effect of hidden parameters is that we can add as many modulation targets for the experts as we like without making Hive any harder to use for beginners.#

Effect targets

Distortion

Amount, Tone, Mix, Rate, Crush

Chorus

Rate, Depth, Wet

Phaser

Rate, Feedback, Stereo, Phase, Wet, Depth, Center

Bass Gain, Bass Freq, Mid Gain, Mid Freq, High Gain, High Freq

Delay

Time Scale, Width, Dry/Wet Mix, Feedback, HighPass, LowPass, " Wow, Diffuse

Reverb

Pre-Delay, Damp, Decay, Size, Tone, Width, DryWetMix

Compressor

Amount, Attack, Release, Mix, Output

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MIDI Specialities

MIDI Programs

All presets (up to 128) present in this folder will be loaded into memory when the first instance of Hive starts. ‘MIDI Programs’ can then be switched via ‘Program Change’ messages. As MIDI Programs are accessed in alphabetical order it makes sense to prefix each name with an index ‘000 rest-of-name’ to ‘127 rest-of-name’.

IMPORTANT: Unlike regular presets, MIDI Programs can’t be added, removed or renamed on the fly. Changes will only take effect after the host software is restarted!

The MIDI Programs folder can contain up to 127 sub-folders of 128 presets, switched via MIDI ‘Bank Select’ messages (CC#0) preceding the Program Change message. The MIDI Programs folder itself is bank 0, sub-folders are addressed in alphabetical order starting with bank 1.

When Hive receives a program change, it will display the bank and program numbers to the left of the preset name e.g. “0:0” for the first preset in the first bank. In certain hosts, however, the first bank / preset is designated “1” instead of the correct “0”.

To avoid another possible source of confusion, make sure that there are no junked presets in the MIDI Programs folder. All files there are addressed, even if they are hidden.

Poly Pressure (polyphonic aftertouch)

Hive recognizes polyphonic aftertouch data – each voice is modulated independently.

Multi-Channel MIDI

All u-he synthesizers support a growing class of highly expressive, sensor-based instruments (e.g. Haken Continuum, Eigenharp, Roli Seaboard, Linnstrument) that are capable of sending each note over its own MIDI channel. For Hive to respond correctly, your host must be capable of routing multiple MIDI channels to a single plug-in instance: This is not yet standard.

While Hive is receiving multi-channel MIDI data, each voice will respond independently to the following control messages: Pitch bend, Pressure (aftertouch), Modulation (CC #01) as well as Control A and Control B as defined in the global Preferences or the MIDI Table page.

The voice modes Poly, Mono and Legato become practically identical. In each case, Hive be- haves like several (up to 16) mono synths set to the same sound. Note that the duo voice mode isn’t channel-aware i.e. all MIDI channels are merged.#

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NKS

As of version 2, Hive supports Native Instruments NKS format so that it can be integrated into the Komplete Kontrol software or Maschine environments. Hive’s factory presets are optionally also installed as tagged .nksf files. Note: The XY pad settings are automatically transferred to the first NKS Parameter Page in the Control Area.

Saving in NKS format

While the native, h2p and h2p extended options cause Hive to save presets into the currently se- lected preset directory, .nksf files go directly into the preset location used for Komplete Kontrol or Maschine, so they do not appear in Hive’s preset browser. To make them visible in Komplete Kontrol, open its preferences and rescan the preset locations.

Batch conversion

First, right-click the [save] button and set the target format to nks. Via command-click (Mac) or altclick (Win), select all presets in the current folder you want to convert, then right-click any of the selected presets and choose convert to nks. Note: The original files are not affected.

What to do if Hive doesn't show up in Komplete Kontrol / Maschine.

First of all, make sure your NKS software is up to date: Komplete Kontrol V1.5+ or Maschine V2.4 are the minimum requirements for u-he. In Windows, Komplete Kontrol must know the Vstplugins folder containing Hive: Open Komplete Kontrol preferences, go to Locations and add your Vstplugins directory if necessary, hit Rescan and check whether Hive appears. Maybe the NKS preset folder is empty? If so, please reinstall Hive with the correct VST path and the NKS-option checked. Here are the preset folder locations:

Mac: Macintosh HD/Library/Application Support/u-he/Hive/NKS/Hive/" Win: ...\Vstplugins\Hive.data\NKS\Hive\

Perhaps the XML-File is missing from this location:

Mac: Macintosh HD/Library/Application Support/Native Instruments/Service Center/u-he-Hive.xml" Win: C:\Program Files\Common Files\Native Instruments\Service Center\u-he-Hive.xml

A re-install with the NKS-option checked should also remedy this issue.

What to do if Komplete Kontrol / Maschine is unable to load Hive

Either Hive wasn't installed as VST2, or it wasn’t installed with the correct path. The default VST path is fixed in MacOSX, but in Windows it can be freely assigned during installation:

Mac: Macintosh HD/Library/Audio/Plug-Ins/VST/u-he/" Win: <User VST Folder> / (path for the VST plug-in set during installation)

If Hive’s VST plug-in cannot be found in one of these locations, run the installer again making sure that you set the correct path and have activated ‘VST’ as installation option.#

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Saving as .nksf is only possible in the VST2 version

Mac owners can use – temporarily if necessary – any host application that supports VST2

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Tips & Tricks

This chapter lists a few less obvious tricks you can apply to your own creations - enjoy!

Setting Volumes

•

There are several points within the signal path where levels are affected: Oscillator volume, filter input and output volumes, amp envelope velocity, compressor amount, compressor output, main output. Which of these you choose to adjust the overall level can and will affect the sound!

For more information on this subject, search for “gain staging” in the Internet.

432 Hz Tuning

•

Instead of the standard 440Hz, tuning A4 to 432Hz has become inexplicably popular recently. To retune Hive to 432Hz, set FINE TUNE to precisely -31.76 (using SHIFT), right-click on that knob and lock it. Of course this assumes that you haven’t already used Fine Tune in your presets.

Using Constant

•

To fine tune an oscillator while Unison is set to 2 or more, grab Constant from the lower bar and drop it onto the oscillator’s Octave or Semi selector. As you don’t get an orange dot to adjust the modulation depth directly, go into the modulation matrix and adjust it there.

•

With lots of positive modulation, the cutoff can be too high even if the knob is turned down to minimum (30.00). All is not lost, however – you can take it much further down in the modulation matrix. With ‘Constant’ as source and Cutoff as target, set a negative amount. For an example see matrix slot 02 in 09 Loops - untuned / HS Analogue Noise Hits.

•

Does the delay sound too wobbly or not wobbly enough? Go into the matrix, select the panel preset 09 UnWow the Delay and adjust the lower of the two modulation amount knobs. The upper knob lets you adjust the overall delay time (‘Time Scale’) – another hidden parameter itching to be used for more experimental sounds.

•

For waveform variations, you can use Constant to adjust the pulse width of a pulse wave. Or even set a Phase offset between the main oscillator and its sub-oscillator. Try this:

1. Load init by right-clicking on the data display.

2. Set the SUB1 waveform to Sawtooth and Tune to 0.00, then switch SUB1 on for filter 1. The result is a pair of saws with a 90° phase offset – have a look at the waveform in the Scope (Tip: switch to the Clean engine, turn Input (dB) up to maximum, turn the global Volume down and zoom into the wave).

3. In the matrix, select the 10 Phase Control panel preset and adjust the upper modulation amount while listening carefully. At around -25 or +75 you should hear a perfect octave, with various timbres between those values.

4. Moving the amount knob sounds like PWM (see the next page) – so try modulating oscillator Phase with a slow LFO instead of or in addition to the Constant.

•

Constant can also unison-detune oscillators well beyond the maximum range of the Detune knob. Applying multiple times adds more detuning. See 07 Chords / HS Klustah 1 - pure, which uses 14 slots just for the detuning. Note: There’s a mod matrix panel preset for detuning oscillator 1 called 06 More Detune.#

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Pulse Width Modulation

•

A chorus-like effect at the oscillator level, PWM is ideal for ‘string ensemble’ sounds as well as for simple but rich-sounding leads and basses. The first method is regular PWM using a Pulse oscillator and an LFO:

1. Load init by right-clicking on the data display.

2. Set OSC1 Wave to Pulse (the PWM-capable version of Square).

3. In the first Matrix slot (01), select LFO1 as the Source.

4. Click and drag the crosshair from one of the Target selectors in matrix slot 01 and drop it onto oscillator 1’s Wave selector: the Target selector should now read ‘Osc1:PulseWidth’.

5. Turn the modulation amount up to about 50, play a low note and listen. Adjust LFO1 Rate.

6. Does the PWM effect “seesaw”, i.e. is it not round enough? Change the LFO wave to Sine and listen again. Try various LFO Rates.

7. Start again, but instead of step 3 load the 04 PWM via LFO1 matrix panel preset.

•

Here’s an alternative method that uses a pair of saw waves with one of them inverted:

1. Load init by right-clicking on the data display and set SUB1 Wave to like Osc.

2. Tune the SUB’s Tune knob to about 0.20, but leave its Volume at minimum.

3. In the Matrix, select Constant as the source then drag from a Target up to the SUB1 Volume knob. Set the amount to -100 (negative 100) for an inverted sawtooth at maximum volume.

Wavetable Tricks

•

Experiment with the 2D capabilities, not only with the wavetable preset 3 Overtones.uhm. For instance FM Fold Rhythm.uhm, which normally includes several gaps of silence, changes its overall character if you set Tab les to e.g. 4.

•

Would you like an instant sitar-ish synth or a typical FM e-piano? Then try this: Load init (rightclick on the data display), select Wavetable as OSC1 Wave, load DX Piano.uhm, select Auto Mode one shot. Play that sound, then activate Reverse and play the e-piano.

•

As the most important wavetable parameter is Position, you should always try adjusting it while auditioning wavetables. You don’t even have to open wavetable panels in the hexagon, as the Position is also available in each oscillator panel – drag the waveform display up and down.

•

Some factory wavetables contain sudden “jumps” from one frame to the next, either tonally or in level. You can make good use of these by setting Position close to a jump and modulating it within a very narrow range: Great for odd rhythms or special-sounding attacks… sometimes the smaller modulation amounts deliver the more dramatic results.

Filter Tricks

•

Only one lowpass filter is necessary for a classic analogue sound, so you can use Filter1 to boost the bass of the raw oscillator signal before it reaches Filter2: Set Filter1 type to Peaking, add resonance (about 30 should be enough), leave KeyTrack at minimum and adjust the Cutoff until you hear the right kind of bass bump on low notes. Finally, turn Filter1 volume down to zero and select FILT1 as the only input for Filter2.

•

With parallel filter routing you can emulate the “leakage” effect typical of certain multimode filter designs: Add a tiny amount (1.00 should be plenty) of the unfiltered oscillator signal.

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Envelope Tricks

•

Clicks: At minimum, the attack, decay and release phases are very fast, so notes played with Hive can click as much as (or even a little more than) any real analogue synthesizer. Mild clicking can give notes more “thwack”, but if you want to remove it completely, set the amp envelope Attack to at least 1 and the Release to at least 8.

If you set the oscillator Phase mode to ‘Reset’, all clicks will sound exactly the same unless oscillator phase is modulated. You have complete control!

•

For a snappy decay, negatively modulate Decay from the same envelope. For a short “pre-attack”, set the Attack to about 25 and modulate it -100% from the same envelope. Positive modulation has the opposite effect i.e. it gives you a convex curve.

•

Experiment more often with the MOD envelope in ‘One Shot‘ trigger mode instead of the standard ‘Gate’. Higher ‘Sustain’ levels can lead to surprising results!

•

For access to some extra LFO shapes in sync with the regular LFOs, set the trigger modes of any otherwise unused envelopes to LFO 1 or LFO 2.

•

In addition to positive “Mod Env” depth modulation, it is fairly common to modulate cutoff directly from velocity. Alternatively, modulate the Sustain level of that same envelope.

•

Try modulating the vibrato amount with an envelope. You can easily create an initial ‘growl’ or wobble that quickly fades out.

•

Try using two envelopes instead of one (although this can get a bit complicated). For a 2-stage decay, modulate the Sustain of one envelope from the other with a much slower Attack or Decay. For a typical ‘cinematic swell’, modulate the filter Input gain or Volume from the other (also with a much slower Attack or Decay).

•

Countless variations are begging to be investigated. Listen to what happens if you modulate each stage of the main envelope, or when a pair of envelopes modulate each other!

LFO Tricks

•

Try modulating a single target from both LFOs, with various Sync ratios and phases. For instance two square waves modulating oscillator 1 pitch. Or you can use two sawtooth LFOs with opposite polarity to create staircase patterns.

•

The LFO waveforms can be skewed via recursive modulation of the Phase or Rate. E.g. set the source to LFO and the target to LFO1 Phase. You can even change the pulse width of a square wave using this method!

Shape Sequencer Tricks

•

Activating “prime numbers” of cells in each lane will ensure that sequences don’t repeat for a long time, even if all the shape modulators have the same TimeBase: For instance, try looping 3, 4, 5 and 7 cells together. This will only repeat after 420 beats, and if for instance you double the TimeBase of that ‘7’ shape modulator, only after 840 beats! A little math goes a long way…

•

If you are using the shape sequencer together with Hive’s arpeggiator / sequencer, try setting the clock slower than the shape modulators (or the shape modulators faster than the clock) so that more than one segment can be triggered per note.

•

Try making a long envelope using all 8 segments, then choose the most suitable segments for other tasks (using the other 3 lanes) afterwards.#

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Function Generator Tricks

•

With LFO-triggered One Shot envelopes, the gate outputs can function as clock dividers. Here’s an example (Input = square LFO, the slower gates are created by adjusting A and D):

•

Here’s a random-rhythm trick which seems to be quite famous in the modular synth world: Set FG1 Input to LFO1 and its Mode to One Shot. Leave FG1 Attack at 0 and adjust Decay so that

FG1 only triggers at about half the speed of the LFO (view the LFO1 and the FG1 Env signals in the Scope). Next, use FG1 Env to modulate e.g. filter Cutoff. Finally, modulate FG1 Decay with an unsynchronized LFO2 (set TimeBase to 1s and adjust the Rate).

If LFO1 and LFO2 Restart are both set to gate, the resulting pattern will be the same for each note you play. Of course you can modulate the LFO rates to make the effect completely chaotic. Also try setting LFO1 Restart to either sync or single for a chord strumming effect.

•

Func1 Still or Func2 Fall can be used to delay something e.g. when an oscillator will become audible (modulate its Volume). Use Attack/Decay to adjust the time before the gate opens.

•

To avoid wrist strain while adding vibrato or opening the filter via aftertouch, try routing Pressure through an FG set to one of the Follow modes. Turn the FG Decay to maximum and the Attack to taste. A short “stab” of pressure is enough to keep the vibrato or cutoff up for a while.#

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Function 1 Envelope

LFO 1

SCOPE

Function 1 Rising

Function 1 Still

LFO 1 Func1 Rise

Func1 Env Func1 Still

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•

The various LFO waveforms cross zero (in the positive direction) at different phases, which can cause the FG to trigger too late i.e. after you have played the note. To ensure that the FG trigger and MIDI Note On coincide, adjust the LFO Phase as follows.

Modulation Matrix Tricks

•

You can quantize an LFO so that its speed can only be halved or doubled by any rate modulation. Or in this example, 2, 4 or8 times the speed: Starting with init, select the LFO1 waveform saw down, set its Restart mode to sync and Time Base to 1/4. Drag Velocity from the lower bar and drop it onto the Rate knob. In matrix unit 01, choose the expanded curve (this ensures that fairly low velocities don’t already double the LFO rate) and integer quantization. Turn the modulation depth knob up to 60.00. In Filter 1 reduce the Cutoff and turn LFO1 cutoff modulation up. Now try playing notes with very different velocities.

•

You can double the rate of a triangle wave LFO by setting the rectification to full wave +.

•

To transpose a random selection of your played notes up an octave, try this experiment: Starting from init, set a source in the mod matrix to Random, the target to Oscillator 1 Tune (drag & drop to its Octave or Semitone selector) and the depth to about 30 for now. Next, right-click on the target selector, choose the Quantize mode steps of 12 and the Rectify mode half wave +. Play the same note repeatedly to test how often the higher octave appears. Turn the depth up to 75 for more, or even higher for the occasional note 2 octaves up.

•

Try setting the same target parameter in both slots, but with a different set of slot modifiers. The matrix preset ’12 Funny Release’ is a good example: The amounts are equal but in the opposite directions: They would normally cancel each other out, but the Slew Limiter of the upper slot is set to slow so that the pitch bounces upwards on release.

•

Here’s a related trick, a different-sounding glide which will only work when the Voice Mode is set to legato: Modulate oscillator Tune by KeyFollow twice, with the modulation depths set to -100 and +100, then choose slow SL (slew) for the slot with the positive modulation.

•

For stronger pitch modulation with quite a different curve, try overtone series quantization with smooth slew limiting (SL). If you are using an LFO as mod source, make it unipolar.#

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Bipolar Sine, Phase = 0 Unipolar Sine, Phase = 75 Bipolar Triangle, Phase = 25

Unipolar Triangle, Phase = 0 Bipolar Saw Up, Phase = 50 Unipolar Saw Up, Phase = 0

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•

The depth knobs in the matrix are also valid modulation targets, which practically gives you an extra “Via” modifier per slot. As this feature has only been implemented since version 1.2, few of the factory presets use it. This is mostly uncharted territory just waiting to be explored!

Here’s an example for all you gold-caped keyboard wizards out there. This trick applies vibrato from any mixture of modulation wheel or aftertouch, perfectly balanced:

How it works: Applying maximum pressure reduces the amount of modulation from the wheel to zero and vice versa: The sum of both modulation depths for the vibrato is always 60% here. You only need -30 negative modulation to remove +60… just one of Hive’s many quirks!

XY Pad Tricks

•

Unipolar parameters set to zero will only respond to movement in the “positive” areas of the XY pad. Try this: Turn that parameter up and move the assigned XY control equally far into the negative before saving your preset. That way you can use the full width/height of the pad.

•

Although the automatic XY assignment is usually good enough, you can often achieve a better “feel” if you tweak the ranges to perfection.

Arp & Sequencer Tricks

•

Here’s a very quick method of turning a simple 3-note chord into a ‘rolling’ sequence with consistent velocities: Activate the arpeggiator, press [REC], play chords and release whenever you are happy with what you are hearing.

Switch to Run mode [►] and deactivate the arpeggiator. Play a note and listen to your creation. Depending on the number of notes in the chord, it can skip at the end: Click on [Shift] left or right until the sequence starts on the “correct” note.

•

Vary sequence length: MIDI-learn the ‘Steps’ selector, then with a 16-step sequence running, quickly change the number of steps from 16 down to 2 or 3. Watch how the sequence runs backwards (!) until it can comply with the new setting. Keep performing…

•

As well as using Seq Mod to offset an oscillator’s pitch away from the others, you can even add a third melody in parallel using the velocity data. Tricky to set up, but it works!#

INTRO PRESETS OSC SUB FILTER AMP/MOD LFO FUNCTION SHAPE-SEQ KEYS MATRIX WAVETABLES ARP/SEQ XY FX SCOPE CONFIG INSIDE NKS [TRICKS] 67

ModWheel

Osc1: Vibrato

MM2: Depth #1

Pressure

Osc1: Vibrato

MM1: Depth #1

+60

01 02

-30

+60

-30

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TOC TIPS & TRICKS

Reverb Tricks

•

Try setting a very small reverb size e.g. 4.0 with very little damping, a long decay and high mix value – you should start to hear comb filter type resonant effects. With practice you can achieve typical wind-instrument formants or small resonators (banjo, acoustic guitar, metal canister etc.)!

•

In addition to the above, pre-delay will give you a coloured slap-back delay effect.

•

Extreme values are a useful source of inspiration. For ‘infinite space’, set the Size and Decay both to maximum, Damp and Tone to the default values (double-click).

Delay Tricks

•

For early reflection effects set the Left and Right delays to 1/32 and 1/16T and turn diffusion up to maximum. Starting from zero, slowly adjust the feedback until it sounds like a cheap reverb effect. Then adjust the LP and HP values to thin out the reverb tail until you reach the desired ambient effect. If the current song tempo is very slow, you might have to speed up the delay by negatively modulating its Time Scale with the source ‘Constant’…

•

Adjusting the delay’s Time Scale can also add swing to rhythmic presets – see e.g. matrix slot 03 in the ‘HS Rotation Shuffle’ presets, and compare the sound with and without FX.

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u-he Hive 2 User guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Table of Contents

Introduction

Installation

User Interface

Basic Elements

Performance

Control Bar

Synth Engine

Lower Bar

Preset Browser

Overview

Directory Panel

Presets Panel

Preset Tagging

Search Functions

Panel Reference

Oscillator (OSC)

Sub-Oscillator (SUB)

Filter

Envelopes (AMP / MOD)

Low Frequency Oscillators (LFO)

Function Generators

Shape Sequencer

Keyboard (KEYS)

Modulation Matrix

Wavetables

Arpeggiator & Sequencer

Clock

Arpeggiator

Sequencer

X/Y Pads

Macro Assignment

Custom Assignment

Effects (FX)

Enable / Rearrange

Distortion

Reverb

Equalizer

Chorus

Phaser

Compressor

Delay

FX Preset

Scope

Configuration

About MIDI CC

MIDI Learn

MIDI Table

Preferences Page

Inside the Hive

Mod Matrix Lists

MIDI Specialities

Tips & Tricks

Setting Volumes

432 Hz Tuning

Using Constant

Pulse Width Modulation

Wavetable Tricks

Filter Tricks

Envelope Tricks

LFO Tricks

Shape Sequencer Tricks

Function Generator Tricks

Modulation Matrix Tricks

XY Pad Tricks

Arp & Sequencer Tricks

Reverb Tricks

Delay Tricks