Dreadbox Nymphes User manual

10
Contents
1. Introduction
1.1 Key features
1.2 Included in the box
1.3 Signal ow diagram
1.4 Connections
2. Getting started with the Nymphes
2.1 Power considerations
2.2 Quick Start Guide
3. Programming the Nymphes
3.1 The Basics of How a Synth Works
3.2 Shift Button
3.3 Oscillator
3.4 Filter
3.5 Envelope
3.6 LFO
3.7 Notes about modulation
4. Saving and Loading
4.1 Loading a patch
4.2 Saving a patch
5. Menu Accessible Parameters
5.1 MODE
5.2 CHORD
5.3 LFO 2
5.4 REVERB
5.5 MOD W (modulation wheel)
5.6 VELO (keyboard velocity)
5.7 AFTER (keyboard aftertouch)
5.8 MIDI C (midi channel)
5.9 The Four Assignable Modulation Sources
6. Global Settings
7. Preset List
8. CC List

2
Introduction Note
We came across the general idea for the Nymphes around March 2020. I was playing with my vintage Sequential
Six-track, which is a fairly simple yet effective synth concept. With only a simple reverb pedal connected to it,
you can actually achieve a wide variety of sounds. Not a modulation monster, just an oscillator and a noise
generator through a lter and an amp. Yet, it had some advanced technology when it was released, as it was the
rst multi-timbral synthesizer. The Six-track, was made so as to be an affordable polyphonic synth for its time
and without sound compromises.
Nymphes is not multitimbral, it does not have a keyboard or a sequencer and the modulation matrix is far more
complex than the Six-track. Yet, it keeps the exact same idea, affordable to the masses with no sound
compromises.
Also, on March 2020 is when a new world order was introduced. People were locked inside their houses, in fear
of a new virus. This went on for months. In Greece we had to send a text message in order to be able to go out.
Restaurants, bars, shopping malls and any kind of entertainment were closed - even the parks were shut. You
were able to go out only for very specic reasons such as supermarkets, grocery stores, pharmacy, a visit to the
doctor, a walk with your dog or exercise. Each case had its own sms code.You had to send your name and
address and you got a reply saying if you are allowed to leave your house. We also had a curfew from 21:00 until
05:00.
Cops went wild - they suddenly took their jobs far more seriously than they should. There were incidents where
they just bullied simple civilians and even families. Sometimes police brutality was worse, hitting people just
because they were more than 4 people together or because they were sitting in a “forbidden” bench in the town
square.. Yet our politicians seemed to have an asylum on these same measures they voted. They could go to
parks and they arranged feasts with 100 people or even more. Some of them even made FB photo posts, posing
, stating “I ll do whatever I want - and you can do nothing about it”.
People were stressed inside their houses, some of them didn’t understand or didn’t accept those extreme
measures, so they got angry. Monsters that were hidden in plain site now emerged and domestic violence rised.
Femicides are now back and abused women are just a rising number. Greece of course is just a mild case. There
are countries around the world that do not consider women part of the thinking society. They are not allowed to
be educated, play sports, or work. They are forced to marry men they don’t want and are simply used as a
reproducing and house-keeping tool.
I could go on for many more pages, but what does all these have to do with a synth that is used in a capitalistic
society and will of course bring prots/make a living to all the people that are working on it?! That means not
only the owners of this company, but also the employees, distributors, shops, music magazines and websites,
you-tubers, electronic part makers, PCB factories, metal workers, courier companies, printing press etc) and the
list could go on forever....
-
Well actually, nothing....!! It’s just a synth where its destiny is to make music. It is in the hands of the artist to
transform this into a message tool.
So it is......Nymphes.....ancient Greek nature deities. They were supposed to live in larger groups, completely
independent from everyone and that was their main strength . Nymphes were later renamed as fairies in the
medieval era and unfortunately their original name was associated with something completely different than
they used to be. Maybe because men were afraid them. Or maybe not. Nonetheless, the real Nymphes are still
all around us, trying to keep this men’s world in a balance.
Athens, 15 December 2021
Dimitra and Yiannis

3
1.1 Key features
- All analog Synthesizer (except of the reverb)
- 6 voices of Polyphony
- Lush digital reverb
- 12 envelopes and 7 LFO’s (2envelope/voice, 1LFO/voice + 1 generic)
- 6 different playing modes
- 98 Presets Memory (49 user and 49 factory)
- MIDI in/out over USB or via MIDI out via DIN5
- Compact, USB powered for maximum portability
- Metal enclosure
1.2 Included in the box
- Nymphes synthesizer
- Quick start guide
- Menu map card
- USB cable
- DIN5 to 3,5mm cable
Please note that a USB mains adapter or power supply is not included. Almost any USB adapter will work with the Nymphes,
but there are some power considerations, so please check the “Connections” section of the manual before plugging in your
Nymphes.
1.3 Schematic diagram
VOICE 6
VOICE 5
VOICE 4
VOICE 3
VOICE 2
VOICE 1 OUT
REVERB
HPF
+
1. Introduction
If noise oor is present, when
Nymphes is connected to a computer,
use a USB data / power splitter (not
included) to reduce it.
1.4 Connections

4
2.1 Powering considerations
Even though the Nymphes is an analog synthesizer, it can be powered with a simple USB cable. Giving the unit
some extra mobility, you can just use a power bank and play anywhere (with a 20.000 mAh power bank you could
power and play the unit for up to 55 hours).
Most households nowadays have at least a dozen or so USB cables and power adapters available.
So, you’re thinking, “Can I use any USB power supply?”
Yes, but there are some things you need to take into consideration.
Not having a dedicated power adapter means that
depending on the USB power supply quality or your connection, could result in a dirty synth and noise oor.
You can easily avoid those situations by following these simple rules:
- When you turn the Nymphes on, there is a burst of noise occurring. This is normal but in order for this to happen,
make sure you have the level of your monitor/amp turned off.
- Power the Nymphes and all the devices connected to it, from the same mains power line. You should
specically avoid using different mains. For example a mains line for Nymphes and a different one for your
amp/monitor that have internal protection circuit. This can produce a constant noise generation from the output
of the synthesizer, which can only be eliminated by reseting the unit.
- When powering the Nymphes from a computer, if you use a DAW to work with the MIDI CC documentation, a
ground loop can be created, causing a noticeable hum. In that case, you should power the Nymphes from a
different power supply and not from the same computer that you’re running the DAW on.
You can do that with the use of a USB data/power splitter.
- Using a very long USB cable can also cause line noise. For cleaner sounding performance it is also better to
use a USB cable that has a ferrite bead installed.
- Make sure your USB power adapter is rated for at least 1A - Poor quality USB power adapters should be
avoided.
- Also have in mind - as mentioned before - when using a power bank, make sure it’s a good quality one.
You can also power a keyboard controller with the same power bank.
2.1.1 Bad power supply (or cable) side effects
- May not boot Nymphes
- Lots of noise, abnormal sound elements
- Wobbly oscillators
- Firmware update may not work
If you have any of the above effects, replace your adapter and/or cable asap.
You should also avoid leaving the synth on power when you are not going to use it for a long period of time
(and that should be a rule for every electrical/electronic device) for various reasons.
Most important reasons are:
- Expanded life circle
- Protection of the environment
2. Getting started with the Nymphes

5
THE SHIFT BUTTON
Double click the SHIFT button and
its LED will be lit. You can now
control all the parameters labeled
above the sliders.
Another way to access these
parameters is by holding down the
SHIFT button while changing the
values of the parameters in the pink
areas (similar to how you use the
SHIFT button on a computer’s
keyboard).
1. Press the LOAD
button and its LED
will ash.
2. With the SHIFT
button ON, select
a bank with the
rotary switch.
3. With the SHIFT
button OFF, select
a preset with the
rotary switch.
4. Press the LOAD
button to recall the
selected user
preset OR Hold
down the LOAD
button to recall the
factory preset.
2.2 Quick Start Guide
If you want to reload your current preset, just skip step 2 and 3.
HOW TO LOAD A PRESET

6
1. While holding
down SHIFT,
press SAVE. Its
LED will ash.
2. With the SHIFT
button ON, select
a bank with the
rotary switch.
3. With the SHIFT
button OFF, select
a preset with the
rotary switch.
4. Press SAVE to
store the selected
user preset.
If you want to save on your current edited preset, just skip step 2 and 3.
HOW TO SAVE A USER PRESET
HOW TO CONTROL THE MENU
Press the MENU button to
access the numeric menu.
While the MENU LED is lit, use
the rotary switch to select the
desired MENU option. Some
of the MENU options will also
have submenus used to
access more parameters. When an option has a submenu (like
MODE), press the MENU button again
and its LED will ash, to indicate that
the rotary switch is now selecting the
submenu options.
Numeric Menu
Rotary Switch

7
1. Press
MENU and
select LFO 2.
1. Press MENU and
select MODE.
2. Press MENU
again. Its LED will
start blinking.
3. Select a Play Mode. Press MENU again
to conrm your selection.
4. Press
MENU to exit.
2. These sliders set the LFO 2
modulation destinations and
amounts, corresponding to either
SHIFT ON or SHIFT OFF
parameter.
3. These sliders set the LFO 2
controls, corresponding to either
SHIFT ON or SHIFT OFF
parameter.
HOW TO CONTROL THE MENU
CHANGING PLAY MODE MODE LIST
1. POLY: 6 Voices to 6 keys
2. UNI A: 6 Voices to 1 key
3. UNI B: 4 Voices to 1 key
4. TRI: 2 Voices to 3 keys
5. DUO: 3 Voices to 2 keys
6. MONO: 1 Voice to 1key
7. CHORD: This is not a Play Mode.
When selecting it, you are accessing
the Chord editing page. Chords are
active only on modes 2, 3, 4, 5 and can
be accessed via the dedicated slider.

8
ADDING REVERB
1. Press MENU
and select REVERB.
2. These sliders are now corresponding to
the 2nd indicated top row.
The rest of the synthesizer’s controls are
inactive.
1. Press MENU
and select
either MOD W,
VELO or
AFTER.
2. These sliders set the modulation destinations and
amounts, corresponding to either SHIFT ON or SHIFT
OFF parameter.
3. Press
MENU to exit.
HOW TO USE MOD WHEEL, VELOCITY
AND AFTERTOUCH

9
3.1 The Basics of How a Synth works
You can nd a lot of information on this topic all over the internet, but here are at least a few of
the basic concepts that might help you understand this synth a bit more.
The oscillator serves as the source for the basic noise or sound in a synthesizer. The tone of
that sound depends on the shape of the wave produced by the oscillator. Classic-style analog
synthesizers usually offer a similar list of waveforms, and the Nymphes as well offers all the
usual suspects: saw, square, pulse, and triangle. After a synthesizer’s waveform produces a
tone, it is usually sent to the lter.
The lter does exactly that: it lets you lter out or remove harmonics from the basic waveform,
making the tone brighter or duller depending on how the lter is set. Another feature of some
lters is resonance or Q. This accents the harmonics near the lter cutoff frequency, providing
that classic squelchy and squeaky quality that synths are so well known for. After the lter, a
synth usually sends the signal to the amplication section.
The amplication section of a synth is the part that controls the amplitude or how loud the
sound is. Usually, the amplication of the tone is controlled by a 4-step envelope that provides
an attack phase, a decay phase, a sustain phase (where the amplitude is held constant), and a
decay phase, where the amplitude drops to zero after the sustain phase. This attack, decay,
sustain, and release envelope is frequently referred to as an ADSR envelope.
The last key piece of the synth puzzle is the modulation. A modulator is simply something (a
source) that modulates, changes, or controls something else (a destination). In the case of a
synthesizer, usually there is a low frequency oscillator (LFO) or an envelope generator (EG) that
can be used to modulate another parameter or value on the synthesizer. For example, you can
create vibrato by using an LFO to slightly change the oscillator pitch in a cyclic way. You could
also use an LFO to modulate the lter cutoff value to create an auto-wah effect, alternately
changing how bright or dull a tone is. The possibilities are almost endless and that is what
makes programming synths such an interesting activity.
3. Programming the Nymphes

10
3.2 The SHIFT Button
Though there are only 14 sliders on the Nymphes, by using just the SHIFT button with those 14 sliders, you can
easily access 28 parameters for controlling and programming the synth. When the SHIFT button is lit, the 14
labels on top of the sliders describe the parameter that each slider controls.
When the SHIFT button is not lit (off), then the 14 labels underneath the sliders describe what each of the 14
sliders control.
You can either temporarily press the SHIFT button, and it will light up, or you can quickly double-click the shift
button, and it will stay lit. Again, it’s important to remember, as long as the SHIFT button is lit, the sliders will
control the parameters labeled at the top.
3.3 Oscillator
The 10 available settings in the oscillator section are controlled
with the 5 sliders and the shift button. Most importantly, these
settings let you program the shape, the tuning/pitch, and the
amplitude of the oscillator waveform and sub oscillator.
WAVE (slider 1) - the oscillator waveform control lets you select
the shape of the continuously variable waveform, morphing
between sawtooth, square, and triangle shapes.
LVL (slider 2) - the level control lets you set the amplitude or
loudness of the oscillator waveform.
SUB (slider 3) - the sub-oscillator control lets you add a square
wave, pitched one octave below the pitch of the oscillator
waveform
NOISE (slider 4) - the noise source control lets you add white noise
mixed with the main oscillator and sub-oscillator.
1
2 4
3 5
1
2 6 104 8 12 14
3 7 11 1395

11
LFO (slider 5) - the low frequency oscillator control sets how much LFO 1 modulates the pitch of the waveform.
This can be used to create just a subtle vibrato to more extreme sound effects.
PW (shift-slider 1) - the pulse-width control lets you adjust the pulse-width of the pulse or square wave, changing
the characteristics of the sound. Modulating the PW with an LFO can produce a slightly-detuned sound that Nick
from Sonic State loves. As long as there is some pulse-wave selected, the pulse width can be adjusted. When
the waveshape is strictly a saw wave or a triangle, changing the pulse width has no effect. Modulating the PW
requires the use of LFO2
GLD (shift-slider 2) - the glide control (also referred to as portamento) lets you set the glide rate between
successively played notes. Glide is xed-rate, not a xed-time and polyphonic. Whether the glide reacts to legato
playing or not is set through the menu. See the MENU MAP for how to change the legato setting. On the
polyphony, note that glide is heavily depending on the number of voices, and whether there is a free available
voice or not.
DTN (shift-slider 3) - the detune control lets you detune the intervals between notes, from a slight effect to a
dramatic. The detune can be used in any of the various polyphonic or unison modes, creating some incredibly
thick sounding notes.
CHORD (shift-slider 4) - the chord control lets you use the slider to choose different predened chords that can
be programmed via the MENU function. On POLY and MONO modes, this has no effect
EG (shift-slider 5) - the envelope generator control lets you program how much the lter envelope modulates the
pitch of the oscillator. Important to note, envelopes are unipolar.
3.4 Filter
The Nymphes has a 24db lowpass (LP), resonant lter which feeds into a 6db High
Pass (HP), non-resonant lter. The 6 available settings in the lter section are
controlled with the 3 sliders and the shift button. These 6 settings let you program
parameters for both lters like cutoff and resonance, as well as modulations like
key tracking, envelope, and LFO.
CUT (slider 6) - the lter cutoff control lets you set the cutoff frequency of the LP
lter. Frequency range is from 32,7 hZ up to 16.744 hZ
RES (slider 7) - the lter resonance control let you set the amount of resonance,
also sometimes referred to as Q. At it’s max setting it will self oscillate.
EG (slider 8) - lter envelope generator (EG) control lets you set how much the
lter envelope modulates the lter cutoff
HPF (shift-slider 6) - the high-pass lter control lets you set the frequency cutoff
for the high-pass lter. Note, the HPF is routed in series after the LPF, giving you a
band-pass effect.
TRACK (shift-slider 7) - the lter key tracking control lets you set how much the lter frequency cutoff follows
the keys. When the slider is all the way up, the lter cutoff will track to the oscillator pitch at a 1:1 ratio (the cutoff
will increase 1 octave for every octave the pitch of the note increases).
LFO (shift-slider 8) - the low frequency oscillator control sets how much the LFO 1 modulates the lter frequency
cutoff.
Playing only with the lter as a source: Set up the Oscillator LVL, SUB and NOISE to 0% and then on the lter :
CUT = 0%, RES= 100%, EG=0%, HPF=0%, TRACK=100%, LFO= 0% .
This will allow for the lter to be in perfect tune and matched with the oscillator’s frequency.
7
6 8

12
3.5 Envelope
The 8 available settings in the envelope section are controlled with the
4 sliders and the shift button (discussed later in the manual, these
controls can also be used to program the reverb effect). The sliders
allow you to shape the envelope generator or EG for modulating both
the lter cutoff and the amplitude or volume of output.
Filter Cutoff and Pitch Envelope
A(slider 9) - the attack control sets how fast or how slow the envelope
rises to its peak lter cutoff value.
D(slider 10) - the decay control sets how fast or how slow the envelope
drops from its peak value lter cutoff value to its sustain value.
S(slider 11) - the sustain control lets you set the level lter cutoff
sustain value.
R(slider 12) - the release control lets you set how fast or how slow the
envelope drops from the lter cutoff sustain value to a zero value,
totally closing the lter cutoff.
Amplitude Envelope
A(shift-slider 9) - the attack control sets how fast or how slow the amplitude envelope rises to its peak value.
D(shift-slider 10) - the decay control sets how fast or how slow the amplitude envelope drops from its peak
value to the value the envelope will sustain at.
S(shift-slider 11) - the sustain control lets you set the amplitude envelope’s sustain value.
R(shift-slider 12) - the release control determines how fast or how slow the envelope drops from the amplitude
sustain value to value of zero.
3.6 LFO
The Nymphes has 2 Low Frequency Oscillators or LFO’s referred to as LFO1 and LFO2.
Both are bipolar and can be used to modulate various parameters on the synth. LFO 1
is polyphonic and can only modulate 1) the frequency or pitch of the oscillator and 2)
the lter cutoff. LFO 2 is monophonic but can be programmed as a modulation source
for 24 different destinations.
Both LFO 1 and 2 have four different rate settings accessed through the MENU, and
both can be set to 1) low, 2) high, 3) track (where the rate is determined by key tracking),
and 4) BPM (where the rate can sync to midi clock). Lastly, KEY SYNC can be switched
on or off for both LFOs. When the Rate is set to BPM , but no clock is send, it
automatically works on low rate mode.
RATE (slider 13) - the LFO frequency rate control sets the LFO 1 frequency or how fast
it will cycle.
WAVE (slider 14) - the LFO wave shape control lets you select the wave shape for LFO1.
Unlike the Nymphes oscillator waveforms that are continuously variable, the LFO wave
forms are ve discreet (individual) wave forms including: 1) triangle, 2) saw/ramp
down, 3) saw/ramp up, 4) square, and 5) random (sample-and-hold).
DELAY (shift-slider 13) - the LFO amplitude delay control lets you set an amount of time or delay before the LFO
amplitude increases.
10 12
119
14
13

13
FADE (shift-slider 14) - the LFO amplitude fade control lets you set an amount of time or delay before the LFO 1
amplitude fades out. If the FADE setting is zero, the amount of LFO modulation will remain constant.
TIP! One Shot LFO: If the DELAY slider is set to zero and the FADE slider is set to full ( or all the way up) then the
LFO will only cycle one time, and can also be used like a secondary envelope shaped by the LFO waveform.
3.7 Notes about modulation
The Nymphes offers a respectable selection of modulation options, letting you manipulate and modulate the
sound in various ways. Some of the modulation sources are not assignable, meaning they are already assigned
to certain modulation destinations.
For example, both LFO 1 and the lter envelope are already routed to the oscillator pitch and the lter cutoff,
and cannot be assigned to any other destinations. Only the amount of the modulation can be changed by the
user. Fortunately, there are other modulation sources that offer more exibility and can be assigned to a large
list of destinations.
How to set up the assignable modulation sources is discussed in “5. Menu Accessible Parameters” below in
the user guide.

14
4.1 Loading a patch
The Nymphes has 49 factory preset patches and 49 user patches. Each of the 49
storage locations, A1 through G7 can contain both a factory preset patch or a user
patch. How to load either a preset or user patch is described below.
To load a patch, simply run through the following steps:
1) Press the LOAD button which will then slowly blink.
2) With the SHIFT button lit, turn the rotary selector to choose bank A through G. If
you are already in the bank you want, you can skip this step.
3) With the SHIFT button off (not lit), turn the rotary selector to the desired patch
number 1 through 7.
4) For this last step, it’s important to understand you have 2 options:
a. If you quickly click the LOAD button, it will rapidly blink, and a user patch will
be loaded or
b. If you press and hold the LOAD button until it starts rapidly blinking,a
factory preset patch will be loaded
Tips:
- You can quickly reload your current preset by double clicking the load button
- If you switch to a different preset than the one you are already at, the LOAD button will start blinking at a
different interval.
4.2 Saving a patch
To save a user patch in any of the 49 storage locations, just follow these steps.
1) While holding SHIFT, press the SAVE button which will start ashing after being pressed.
2) With the SHIFT button lit, turn the rotary selector to choose bank A through G. If you are already in the bank
where you want to store your patch, you can skip this step.
3) Next, turn off the SHIFT button (it should be unlit), and turn the rotary switch to your desired patch location 1 - 7.
4) Finally, press the SAVE button which will ash, showing your patch is now saved.
Tips:
- You can quickly save your current preset by clicking SHIFT+SAVE and then SAVE again.
- If you switch to a different preset than the one you are already at, the SAVE button will start blinking
at a different interval.
- Save and Load have a different LED blinking pattern
4. Saving and Loading

15
5. Menu Accessible Parameters
The menu section lets you access parameters and settings that help you further:
1) program your patches and
2) congure how the Nymphes operates.
To access any of the menu items, just press the MENU button, which will light up,
and using the rotary selector, choose numbers 1 through 7. When you’re nished
editing whatever menu option, just press the MENU button again to return to
normal operation.
5.1 Play MODE (MENU item 1)
This option lets you set how many oscillators will sound with each note, which will overall affect the polyphony
as well. See the table below that describes each mode.
5.2 CHORD Edit Mode
Also accessed under the MODE submenu is the CHORD option (submenu item 7). With any of the four unison
play modes (UNI A, UNI B, TRI, and DUO), this submenu option lets you program 7 different chords that are
stored with the patch and can be changed with the CHORD slider (shift-slider 4). The slider accesses the 7
chords from lowest to highest, meaning when the slider is all the way down, chord EDIT 1 is playing, and as you
push the slider up, it will select the next chord sequentially (EDIT 2, then EDIT 3, etc) until the slider is all the way
up, and chord EDIT 7 is playing.
Programming Chords
Programming chords is fairly easy, though a bit lengthy, and naturally starts with a click of the MENU button:
1) Press the MENU button, which will light up.
2) With the rotary switch, select option 1, PLAY MODE.
3) Press the MENU button again, which will begin to blink.
4) With the rotary switch, select option 7, CHORD EDIT.
5) Press the MENU button again (which will blink faster still), and the EDIT 7 chord will begin to play
automatically.
6) Select the chord EDIT number you want to program, and simply play the chord, which is automatically
saved.
7) Select any other chord EDIT numbers, program the chords you want and hit the MENU button to return to
normal operation when you’re done.
An interesting thing to try: Adding some interesting possibilities, the CHORD selection slider (shift-slider 4) can
be a modulation destination, letting you sequence through the chords using a modulation source, like the mod
wheel or an LFO.
MODE Submenu # Polyphony Oscillators
per Note
POLY 1 6 1
UNI A 2 1 6
UNI B 3 1 4
TRI 4 3 2
DUO 5 2 3
MONO 6 1 1

16
5.3 LFO 2 (MENU item 2)
This option lets you program the parameters of a second low frequency oscillator, LFO 2, as a modulation
source, and also link LFO 2 to multiple modulation destinations and set the modulation amounts. To link one of
the slider parameters as a modulation destination, just move the slider for the parameter. You may have to use
the SHIFT button in combination to alternate parameters a slider can control.
5.4 REVERB (MENU item 3)
This lets you activate the 4 ADSR sliders to program the reverb for the Nymphes. Using just these four sliders
you can:
1) Adjust the reverb space (SIZE) with slider 9.
2) Adjust the decay of the reverb (DEC) with slider 10.
3) Set the amount of a lowpass lter (FILT) with slider 11.
4) Adjust the mix of dry and wet signal (MIX) with slider 12.
5.5 MOD W (MENU item 4)
This lets you use the modulation wheel to modulate any of the 28 slider parameters. As a quick tip, by linking
the mod wheel to the oscillator LFO (slider 5) using a triangle wave, you can manually add vibrato to the sound.
5.6 VELO (MENU item 5)
This lets you use keyboard velocity (how hard you strike a note on a keyboard) to modulate any of the 28 slider
parameters, assuming your keyboard controller has velocity sensitive keys.
5.7 AFTER (MENU item 6)
This lets you use keyboard aftertouch to modulate any of the 28 slider parameters.
5.8 MIDI C (MENU item 7)
This option lets you set the midi channel the Nymphes will respond to. Press the MENU button to access the
menu options. Select 7 with the rotary switch. Press the MENU button a second time to access the sub-menu
(the MENU button will ash after the second press). Use the rotary switch to select 1 through 7 representing
midi channels 1 through 7, and then press the MENU button again to exit.
5.9 The Four Assignable Modulation Sources
The four modulation sources accessed through the MENU (LFO 2, MOD W, VEL, and AFTER) are all set up and
assigned to mod destinations in a similar way.
With the exception of LFO 2 (which cannot modulate the LFO 1 parameters), all the parameter values controlled
by the sliders can be set as modulation destinations. LFO 2 can modulate 24 destinations linked to the
parameters controlled by the rst 12 sliders. The modulation wheel (MOD W), velocity (VEL) and aftertouch
(AFTER) can each modulate any of 28 destinations linked to the parameters controlled by the 14 sliders. It can
get quite extreme, where you could modulate every slider parameter value with a modulation source if you really
wanted to.
Assigning Modulations
To assign any of the four modulation sources to any of the destinations, you merely need to:
1) Press the MENU button, which will remain lit.
2) With the rotary selector, select numbers 2, 4, 5, or 6, to select either the LFO 2, mod wheel (MOD W),
velocity (VEL), or aftertouch (AFTER) as the modulation source.
3) Select the modulation destination or destinations by moving the sliders for the parameters you want
modulated, where the position of the slider determines the amount of modulation. If the slider is all the way
up, the modulation amount will be 100%. If the slider is half way up, the modulation amount will be 50%. If
the slider is all the way down, the modulation is 0% or basically turned off.
4) Press the MENU button to exit, the MENU light will go off, and the Nymphes is now back in normal
operation.

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Canceling Modulations
An easy way to cancel all modulation destinations for a given modulation source is to:
1) Press the MENU button,
2) Select the mod source with the rotary selector, and then
3) Press and hold the MENU button for one second.
4) The MENU button light will go out, and any mod destinations for that mod source are now reset or turned
off (see the MENU MAP for more details on this).
Modulation Behavior
An important point to note is when modulating a parameter, with the exception of the LFO’s, the modulation
amount from the source is added to the current destination parameter setting. For example, if the programmed
amplitude of the oscillator is already maximum (the LVL setting), then you can’t use the modulation wheel (MOD
W) to increase the value anymore. It is already at its maximum. You would rst need to reduce the oscillator
level setting (LVL), so using the modulation wheel would have room to add value to the parameter and control
the increase in amplitude.
For LFO2 though, modulations will be added in a mixing method. That means that the slider value sets the
starting point and then LFO 2 is mixed in there. If LFO2 amount is at max, the slider value will have no effect.
We strongly suggest you to experiment with modulations and the way they are added, especially with LFO2, as
we consider it on of the strongest morphing points that Nymphes has to offer.

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6. Global Settings
No. Setting Name Possible Values Description
1PITCH WHEEL From 0 to 12 semitones Lets you set how much the pitch wheel will fully shift the
pitch. Use the LFO WAVE slider (slider 14) to adjust.
2FINE TUNE +/- 4 Semitones Lets you ne tune the instrument as a whole. Use the LFO
WAVE slider (slider 14) to adjust.
3SLIDERS Jump or Catch
Lets you decide whether the slider value automatically
jumps to the position of the slider, or you have to move the
slider past the stored value before it responds (catch). Use
the LFO WAVE slider (slider 14) to select.
4LOAD PREVIEW Off/On
Lets you turn patch preview on or off, where you can
preview the stored patch before loading it. Use the LFO
WAVE slider (slider 14) to turn on or off.
5CC In: Off/On Out: Off/On
Lets you turn on or off whether the Nymphes responds to
midi CC values. Use LFO RATE slider (slider 13) to set. Lets
you turn on or off whether the Nymphes sends midi CC
values. Use the LFO WAVE slider (slider 14) to set.
6PROGRAM CHANGE In: Off/On Out: Off/On
Lets you turn on or off whether the Nymphes responds to
program change messages. Use the LFO RATE slider
(slider 13) to set. Lets you turn on or off whether the
Nymphes sends program change messages. Use the LFO
WAVE slider (slider 14) to turn to set.
The global settings offer six more parameters that affect the Nymphes’ operation. These are the only
parameters that are saved outside of the normal patch settings. See the MENU MAP for a graphic description
of the steps outlined below.
To access the Global Settings:
1) Press the MENU button, which will light
2) Select option 7 (MIDI CHANNELS)
3) With SHIFT lit, press the MENU button again, which will start ashing slowly
4) With the rotary switch, select options 1 through 6 to access to the various Global Settings
5) With either the LFO RATE slider (slider 13) or the LFO WAVE slider (slider 14), adjust the settings as desired.
The list of Global Settings

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No. NAME MODE REVERB MOD WHEEL VELOCITY AFTERTOUCH LFO1 MODE LFO2 MODE
A1 LONG PAD 1 POLY LONG PITCH LFO X X LOW LOW
A2 MOVING PAD POLY SMALL WAVE LFO1 RATE X HIGH LOW
A3 SOFT PAD 1 POLY MEDIUM PITCH LFO X X LOW LOW
A4 LEAD TRI X PITCH LFO X X LOW LOW
A5 ETHEREAL 1 POLY LONG SUB X X LOW LOW
A6 BASS 1 UNI A X PITCH LFO X CUT LFO + RES LOW LOW
A7 ETHEREAL 2 POLY LONG MULTIPLE X X LOW LOW
B1 PAD 1 POLY X LFO RATE X X TRACK LOW
B2 SOFT PAD 2 POLY X CUT CUT PITCH LFO LOW LOW
B3 DEEP PAD 1 TRI MEDIUM PITCH LFO X X LOW LOW
B4 NIL’S LEAD POLY X PITCH LFO X X LOW LOW
B5 PAD 2 POLY X PITCH LFO X X LOW LOW
B6 SHEARING POLY LONG CUT X X TRACK TRACK
B7 THIN PAD POLY X RES X X LOW TRACK
C1 EPIC TRI LONG PITCH LFO X X LOW LOW
C2 RADIO POLY MEDIUM LFO1 WAVE X X TRACK TRACK
C3 SPACE 1 POLY LONG NOISE RES X LOW/KEY LOW
C4 DEEP PAD 2 POLY LONG X X X LOW LOW
C5 SPACE 2 POLY MEDIUM X X X LOW LOW
C6 ETHEREAL 3 POLY LONG PITCH LFO X X LOW LOW
C7 ETHEREAL 4 POLY MEDIUM MULTIPLE X X LOW LOW
D1 BRASS 1 POLY SMALL RES X CUT LOW LOW
D2 BRASS 2 POLY SMALL PITCH LFO X X LOW LOW
D3 BRASS 3 POLY SMALL PITCH LFO X X LOW LOW
D4 PIANO POLY SMALL AMP D +R VCA LVL X LOW LOW
D5 ORGAN POLY X CUT X X LOW LOW
D6 ELC PIANO POLY X AMP D +R X X LOW LOW
D7 FLUTE MONO SMALL AMP S VCA LVL X LOW LOW
E1 FAT UNISON UNI A X PITCH LFO X CUT LFO + RES LOW LOW
E2 RUN ARP DUO X CUT X X LOW LOW
E3 MONOPHONIC MONO X AMP R X X LOW LOW
E4 SLIDE CHORD UNI A X CHORD X X LOW LOW
E5 BASS 2 UNI A X CUT X X LOW LOW
E6 CHORD PROG UNI B MEDIUM CUT + RES X X LOW LOW
E7 BASS 3 DUO X PITCH LFO X X LOW LOW
F1 KICK MONO X VCF EG X X LOW LOW
F2 SNARE POLY SMALL X X X LOW LOW
F3 TOM POLY X X X X LOW LOW
F4 HAT MONO X AMP D +R X X LOW LOW
F5 CLAP POLY SMALL X X X HIGH/KEY HIGH/KEY
F6 STICK POLY X X X X HIGH HIGH
F7 DISCO POLY X X X X LOW LOW
G1 CLICKY POLY X PITCH LFO X X LOW LOW
G2 PSEUDO DELAY POLY X LFO RATE X X LOW/KEY LOW
G3 S+H VCF POLY LONG PITCH LFO X X TRACK LOW
G4 BROKEN POLY X X X X TRACK TRACK
G5 SEASIDE MONO X X X X LOW LOW
G6 INITIAL (POLY) POLY X PITCH LFO VCA LVL CUT TRACK LOW
G7 INITIAL (UNISON) UNI A X PITCH LFO X CUT LOW LOW
7. Preset List

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Modwheel 1 0-127
Filter Control
HPF Cutoff 30-127
LPF Cutoff 4 0-127
Glide 5 0-127
LPF Tracking 6 0-127
AMP Level 7 0-127
Resonance 8 0-127
LPF EG Depth 9 0-127
LPF Cutoff LFO Depth 10 0-127
Oscillator Control
PulseWidth 11 0-127
OSC Wave 12 0-127
OSC Level 13 0-127
Sub Level 14 0-127
Noise Level 15 0-127
LFO Pitch Depth 16 0-127
EG Pitch Depth 17 0-127
Detune 18 0-127
Chord Selector 19 0-127
Envelope Control
Filter EG Attack 20 0-127
Filter EG Decay 21 0-127
Filter EG Sustain 22 0-127
Filter EG Release 23 0-127
AMP EG Attack 24 0-127
AMP EG Decay 25 0-127
AMP EG Sustain 26 0-127
AMP EG Release 27 0-127
Play MODE 30 0-5 POLY / UNI A / UNI B / TRI / DUO / MONO
LFO Control
LFO 1 Rate 31 0-127
LFO 1 Wave 32 0-127
LFO 1 Delay 33 0-127
LFO 1 Fade 34 0-127
LFO 1 Type 35 0-3 LOW / HIGH / TRACK / BPM
LFO 1 SYNC 36 0-1 FREE / KEY SYNC
LFO 2 Rate Depth 37 0-127
LFO 2 Wave 38 0-127
LFO 2 Delay Depth 39 0-127
LFO 2 Fade Depth 40 0-127
LFO 2 TYPE 41 0-3 LOW / HIGH / TRACK / BPM
LFO 2 SYNC 42 0-1 FREE / KEY SYNC
8. CC List
Controls CC Value Notes