Nord Modular - E-Tribe Nord Modular - E-Tribe
A User Guide
Description
This patch is a concise simulation of the bass synthesizer that is currently marketed by Korg known as the Electribe EA-1. This patch provides one-half of what Korg packages together in the product.
The E-Tribe A is a simple two oscillator synthesizer designed to produce a wide range of harmonically interesting lead and bass sounds. The basic patch is configured to be used monophonically. However, given its relatively low usage of DSP resources it can also be used effectively as a polyphonic instrument.
Feature-wise the synthesizer consists of two oscillators each with a variety of waveforms. These then drive a low pass filter with adjustable sharpness of 12, 18, or 24db. The signal path then feeds the standard envelope controlled amplifier. A final stage of effects processing provides adjustable distortion and two effect sends to drive an external delay and reverb unit as a way of example.
Portamento is provided and is triggered through legato play. Adjustments are available for determining the effect that velocity has on both amplitude and filter dynamics.
Two envelope generators are provided, which is more then the standard Korg unit. The first is a simple attack-decay/release (two time constants) which is used to drive the filter cutoff frequency as well as providing optional pulse width modulation of oscillator 1. A second is a full ADSR envelope for volume control but, aside from its release setting, is basically hidden unless the user decides to program sounds using the Nord Modular's edit features.
Various interactions between the two oscillators create rich harmonic starting material beyond the normal waveforms. Both oscillators offer switchable waveforms SAW, SINE, TRIANGLE, and PULSE. OSC2 PULSE is fixed at 50% duty cycle while OSC1 has an adjustment for pulse width as well as pulse width modulation. The output of each oscillator drives a balance control that lets the user selected the amount of each oscillator that feeds the filter.
The two oscillators are both driven by the same frequency control so they will track notes played. OSC2 features both an offset control and a fine control that lets the two oscillators be detuned. The offset control lets the oscillators be set to fixed intervals and also plays an important role when combined with the cross modulation capabilities.
Three cross modulations can be selected. The first is SYNC where OSC2 is hard sync'ed to OSC1. By altering the frequency interval between the two classic sync waveforms can be achieved.
The second is ring modulation. OSC1 modulates OSC2 amplitude and creates resulting AM spectrum. The modulation is not balanced by design so the center frequency component of OSC2 will be present. This can be adjusted if desired within the patch through the editor but has the side effect of making OSC2 inaudible when it is not in the AM mode.
The final is linear FM of OSC2 by OSC1. A modulation depth control allows setting of the modulation index.
Plus Version
I have a standard way of providing remote control and editing of all my Nord patches and have applied the same to the Electribe-A in the "Plus" version patch. These features consume a little bit of DSP and some module count but add some useful features.
The biggest addition is that the critical timbre parameters all now have relative adjustments. This feature is heavily used in Yamaha gear is useful for modifying a patch in a simple and predictable manner. The standard that I follow (see MIDI Chart) defines eight parameters all of which have no effect when set to the value of 64. Above 64 there is an increase in that parameter over the default patched value, below 64 it is decreased. Parameters included with relative adjustments are: Attack, Decay, Release (for the hidden AMP Envelope); Decay for the Filter envelope; filter envelope amount; filter cutoff and resonance; and an overall "timbre variation" adjustment that is wired through a morph controller to allow you to set the degree and nature of varying the timbre.
The Plus version still manages to come in under 50% DSP which was the goal for this emulation so that two voices could be done with one Micromodular or one slot of the full Modular.
Description of Parameters (front panel controls shown in parentheses)
These are arranged in module order from top to bottom, left to right. Parameters in Italics are not generally intended for user adjustment.
DYNAMICS
Vel. Sen. - determines how Expression control affects volume. In the off position (full counter clockwise) Expression has no effect and volume is not attenuated. Full clockwise and Expression has full effect. Use this setting to allow some degree of control over dynamics with Expression but not enough so that Express can turn it full off.
All other module parameters should not be adjusted
FILTER ACCENT
Vel. Sen. - determines how Velocity control affects filter envelope amount. In the off position (full counter clockwise) Velocity has no effect and the EG affects the filter normally. Full clockwise and Velocity has full effect, causing the amplitude of the filter EG depth to track Velocity exactly. This setting can be used to determine how much accented notes affect filter cutoff.
L. Gain - Sets Velocity curve below keyboard breakpoint
Brk. Pt. - Which note defines upper and lower.
R. Gain - Sets Velocity curve above keyboard breakpoint
AMP ACCENT
Vel. Sen. - determines how Velocity control affects AMP envelope amount. In the off position (full counter clockwise) Velocity has no effect and the AMP envelope operates normally. Full clockwise and Velocity has full effect, causing the amplitude of the AMP envelope depth to track Velocity exactly. This setting can be used to determine how much accented notes affect volume.
L. Gain - Sets Velocity curve below keyboard breakpoint
Brk. Pt. - Which note defines upper and lower.
R. Gain - Sets Velocity curve above keyboard breakpoint
EXPRESSION
Level - MIDI controlled Expression input
MORPH
Morph1 (Timbre Adjust). - morphing control using Defined Timbre relative adjustment
Morph2 (ModWheel). - morphing control using ModWheel. Intended for controlling "motion" aspects of a patch
Morph3 (FootController). - morphing control using Foot Controller. Intended for controlling timbral character of patch
Morph4 (AfterTouch). - morphing control using After Touch. Used to control effects aspects of patch
TUNE
Level - Pitch offset in semitones
PORTAMENTO (GLIDE)
Level - Portamento rate
ACCENT
Fade - This is a bipolar control. In the middle setting (MIDI Value = 64) the velocity received affects the patch, as determined by Filter Accent and AMP Accent and Filter Cutoff Accent, with maximum dynamic range. Increasing the value diminishes the dynamic range while gradually moving the mid-value up towards full velocity. Lowering the value also diminishes the dynamic range until at a value of zero there is no velocity effect and the effective velocity sent for further processing is mid-value (64).
OSC1
Coarse Frequency - determines the tuning of both OSC1 and OSC2
Fine Frequency - sets fine frequency for both OSC1 and OSC2
KBT - should be off as pitch from keyboard is routed through Glide.
Wave Select (OSC1 WAVE) - OFF, SINE, TRIANGLE, SAW, PULSE
Pitch MA1 - should be full on as this is the pitch control from the glide circuit. Adjust to less then full if normal key-tracking is not desired.
Pitch MA2 - should be full on as this is the input from the instrument TUNE control.
PWM - should be full on as it is driven by external pulse width controls.
Pulse Width (OSC1 PW)
Level - determines starting pulse width of OSC1 PULSE output
PWM
Lin - Should not be adjusted
Inv1 - Should not be adjusted
Mix1 - Amount of EG applied to modulate pulse width of OSC1
Inv2 - Should not be adjusted
Mix2 - Should not be adjusted
OSC2
Detune (OSC2 PITCH OFFSET) - Coarse adjust of ration between OSC1 and OSC2 frequency
Fine (DETUNE) - fine adjustment of frequency ratio between OSC1 and OSC2
Wave Select (OSC2 WAVE) - OFF, SINE, TRIANGLE, SAW, PULSE
FMA (FM DEPTH) - FM depth control
OSC BALANCE
Balance MA - How much balance modulation from EG
Balance (OSC BAL) - OSC1 to OSC2 mix. Full counterclockwise is OSC1 only, Full clockwise is OSC2 only
OSC MOD
Switch1 (SYN) - Enable OSC2 to be synced by OSC1
Switch2(AM) - Enable OSC2 to be amplitude modulated by OSC1
Switch3(FM) - Enable OSC2 to be frequency modulated by OSC1
Switch4(OFF) - No modulation
FILTER
Frequency (CUTOFF) - filter cutoff frequency
Res (RES) - Filter resonance
KBT - filter keyboard tracking. Normally off.
Type Select - OFF, LP, BP, HP, BR
db/oct - 12db/OCT, 24db/OCT
Freq MA1 - envelope depth scaling controlled via MIDI.
Freq MA2 - should be full on as this is the input from velocity depth
EG DEPTH
Lin - Should not be adjusted
Inv1 - Should not be adjusted
Mix1 - Amount of EG applied to filter. 12 O'clock position is off. Full counterclockwise is full negative modulation, full clockwise is full positive modulation
Inv2 - Should not be adjusted
Mix2 - Should not be adjusted
EG
Attack - EG Attack Rate
Hold - EG Hold Time (normally 0.5msec)
Decay - EG Decay Rate
Decay Mod - EG Decay Rate relative adjust input
AMP EG
Attack - AMP EG Attack Rate
Decay - AMP EG Decay Rate
Sustain - AMP EG Sustain Level
Release - AMP EG Release Rate
Attack Mod - AMP EG Attack Rate relative adjust input
Decay Mod - AMP EG Decay Rate relative adjust input
Sustain Mod - AMP EG Sustain Level force on via MIDI (Gate Mode)
Release Mod - AMP EG Release Rate relative adjust input
DISTORTION
Overdrive MA - Amount of modulation provided by EG for distortion
Overdrive - Amount of distortion
VOLUME
Lin - Should not be adjusted
Inv1 - Should not be adjusted
Mix1 (Volume) - Volume adjustment.
Inv2 - Should not be adjusted
Mix2 - Should not be adjusted
REVERB
Level - FX Send level to OUT4
DELAY
Level - FX Send level to OUT3
PAN
Pan - Left-Right Adjust
OUT
Level - Dry output level adjust - not normally adjusted
FRONT PANEL TEMPLATE
MIDI CONTROL CHANGE ASSIGNMENTS
|
CC |
MIDI SPEC |
Studio STD |
E-Tribe A |
|
0 |
Bank MSB |
Bank MSB |
|
|
1 |
Modulation |
Modulation |
Modulation controlled morph |
|
2 |
Breath |
Assignable 1 |
|
|
3 |
|
Assignable 2 |
|
|
4 |
Foot |
Character |
Foot controlled morph |
|
5 |
Portamento |
Portamento |
Portamento |
|
6 |
Data Entry |
Data Entry |
|
|
7 |
Volume |
Volume |
Volume |
|
8 |
Balance |
Main OSC Mix |
OSC Balance |
|
9 |
|
OSC2 Mix |
|
|
10 |
Pan |
Pan |
Pan |
|
11 |
Expression |
Expression |
Expression |
|
12 |
Effect Control 1 |
Effect Control 1 |
DISTORTION |
|
13 |
Effect Control 2 |
Effect Control 2 |
|
|
14 |
|
Dynamics |
|
|
15 |
|
Filter Overdrive |
|
|
16 |
GP Control 1 |
Filter Cutoff |
CUTOFF |
|
17 |
GP Control 2 |
Filter Q |
RESONANCE |
|
18 |
GP Control 3 |
Primary (AMP) EG Attack |
AMP EG ATTACK |
|
19 |
GP Control 4 |
Primary (AMP) EG Decay |
AMP EG DECAY |
|
20 |
|
Primary (AMP) EG Sustain |
AMP EG SUSTAIN |
|
21 |
|
Primary (AMP) EG Release |
AMP EG RELEASE |
|
22 |
|
AMP Gate/EG Switch |
FORCE AMP SUSTAIN = FULL |
|
23 |
|
Filter EG Depth |
FILTER EG DEPTH |
|
24 |
|
Filter Velocity Depth |
FILTER EG VELOCITY DEPTH |
|
25 |
|
Accent |
ACCENT |
|
26 |
|
LFO Depth |
|
|
27 |
|
LFO Wave |
|
|
28 |
|
LFO Rate |
|
|
29 |
|
Aux LFO Modulation Depth |
|
|
30 |
|
Filter LFO Modulation Depth |
|
|
31 |
|
AMP LFO Modulation Depth |
|
|
32 |
Bank LSB |
Bank LSB |
|
|
33 |
|
AMP Velocity Depth |
AMP VELOCITY SENSITIVITY |
|
34 |
|
Timbre Velocity Depth |
FILTER CUTOFF VELOCITY DEPTH |
|
35 |
|
Filter Key Track |
|
|
36 |
|
LFO2 Wave |
|
|
37 |
|
LFO2 Rate |
|
|
38 |
|
Timbre LFO Modulation Depth |
|
|
39 |
|
LFO2 Delay |
|
|
40 |
|
LFO3 Wave |
|
|
41 |
|
LFO3 Rate |
|
|
42 |
|
Pitch LFO Modulation Depth |
|
|
43 |
|
LFO3 Delay |
|
|
44 |
|
Timbre EG Attack |
|
|
45 |
|
Timbre EG Decay |
|
|
46 |
|
Timbre EG Sustain |
|
|
47 |
|
Timbre EG Release |
|
|
48 |
|
Alt Timbre EG Depth |
|
|
49 |
|
Filter EG Attack |
FILTER EG ATTACK |
|
50 |
|
Filter EG Decay |
FILTER EG DECAY |
|
51 |
|
Filter EG Sustain |
|
|
52 |
|
Filter EG Release |
|
|
53 |
|
Pitch EG Attack |
|
|
54 |
|
Pitch EG Decay |
|
|
55 |
|
Pitch EG Depth |
|
|
56 |
|
Timbre EG Depth |
PWM FILTER EG DEPTH |
|
57 |
|
Main OSC Waveform |
OSC1 WAVE |
|
58 |
|
Main OSC Tune |
OSC1 TUNE |
|
59 |
|
OSC2 Waveform |
OSC2 WAVE |
|
60 |
|
OSC2 Interval |
OSC2 OFFSET |
|
61 |
|
OSC2 Detune |
DETUNE |
|
62 |
|
Pitch EG Sustain |
|
|
63 |
|
Pitch EG Release |
|
|
64 |
Sustain SW |
Sustain SW |
Sustain SW |
|
65 |
Portamento SW |
Portamento SW |
|
|
66 |
Sostenuto SW |
|
|
|
67 |
Soft SW |
|
|
|
68 |
Legato SW |
|
|
|
69 |
Hold 2 |
|
|
|
70 |
Sound Variation |
Timbre |
OSC MODULATION |
|
71 |
Timbre |
Presence |
FILTER RESONANCE ADJUST |
|
72 |
Release |
Release |
AMP EG RELEASE ADJUST |
|
73 |
Attack |
Attack |
AMP EG ATTACK ADJUST |
|
74 |
Brightness |
Tone |
FILTER CUTOFF ADJUST |
|
75 |
Decay |
Decay |
AMP EG DECAY ADJUST |
|
76 |
Sound CTL 7 |
Timbre Rate |
FILTER EG DECAY ADJUST |
|
77 |
Sound CTL 8 |
Timbre Mod |
FILTER EG DEPTH ADJUST |
|
78 |
Sound CTL 9 |
<reserved> |
|
|
79 |
Sound CTL 10 |
<reserved> |
|
|
80 |
GP Control 5 |
Variation |
OSC MODULATION SELECT |
|
81 |
GP Control 6 |
Timbre Control 1 |
PULSE WIDTH |
|
82 |
GP Control 7 |
Timbre Control 2 |
FM DEPTH |
|
83 |
GP Control 8 |
Timbre Control 3 |
DISTORTION EG DEPTH |
|
84 |
PortamentoCTL |
|
|
|
85 |
|
Tune |
TUNE (SHIFT PITCH) |
|
86 |
|
Low EQ Gain |
|
|
87 |
|
Low EQ Frequency |
|
|
88 |
|
High EQ Gain |
|
|
89 |
|
High EQ Frequency |
|
|
90 |
|
Filter Type |
FILTER TYPE |
|
91 |
FX1 Depth |
FX1 Depth |
REVERB SEND |
|
92 |
FX2 Depth |
FX2 Depth |
|
|
93 |
FX3 Depth |
FX3 Depth |
|
|
94 |
FX4 Depth |
FX4 Depth |
DELAY SEND |
|
95 |
FX5 Depth |
FX5 Depth |
|
|
96 |
Data Entry +1 |
Data Entry +1 |
|
|
97 |
Data Entry -1 |
Data Entry -1 |
|
|
98 |
NRPN LSB |
NRPN LSB |
|
|
99 |
NRPN MSB |
NRPN MSB |
|
|
100 |
RPN LSB |
RPN LSB |
|
|
101 |
RPN MSB |
RPN MSB |
|
|
102 |
|
|
|
|
103 |
|
|
|
|
104 |
|
|
|
|
105 |
|
|
|
|
106 |
|
Mix Low EQ Gain |
|
|
107 |
|
Mix Low EQ Frequency |
|
|
108 |
|
Mix High EQ Gain |
|
|
109 |
|
Mix High EQ Frequency |
|
|
110 |
|
Mix Parametric EQ Gain |
|
|
111 |
|
Mix Parametric EQ Frequency |
|
|
112 |
|
OSC3 Waveform |
|
|
113 |
|
OSC3 Interval |
|
|
114 |
|
OSC3 Detune |
|
|
115 |
|
OSC3 Mix |
|
|
116 |
|
|
|
|
117 |
|
|
|
|
118 |
|
|
|
|
119 |
|
|
|
|
120 |
All Sound Off |
All Sound Off |
All Sound Off |
|
121 |
Reset All CTL |
Reset All CTL |
Reset All CTL |
|
122 |
Local SW |
Local SW |
Local SW |
|
123 |
All Notes Off |
All Notes Off |
|
|
124 |
Omni Off |
Omni Off |
|
|
125 |
Omni On |
Omni On |
|
|
126 |
Poly |
Poly |
|