Fred’s Lab TOORO Troubleshooting guide

T¨ O¨ OR¨ O module
User and service Manual
Revision 1.0 EN - 24/03/2021
for Firmware V1.20 - 08/03/2021
Fr´ ed´ eric Meslin / Fred’s Lab
March 29, 2021
1

Introduction
Thank you very much for purchasing the T¨o¨or¨o!
This is the second multitimbral synthesizer from Fred’s Lab and our best attempt at
hybrid polyphonic synthesis.
By carefully blending analog and digital technologies, mixing 1970’s and 2020’s electronics
and pouring it in a compact and rugged package, the T¨o¨or¨o was born.
With its 6 characterful voices, the wild FL A847 filters and an advanced delay on board,
the T¨o¨or¨o has high sonic potential, just release it and create!
Love from Germany
Fred, from Fred’s Lab
Legal notices
Fred’s Lab cannot be liable for erroneous information contained in this manual. The
contents of this manual may be updated at any time without prior notice. We have put
best effort to ensure the information provided here is useful and accurate. Fred’s Lab
extends no liabilities in regard to this manual other than those required by the local laws.
Fr´ed´eric Meslin Audioger¨ate
Herwarthstraße, 20
53115 Bonn, Germany
[email protected]
http://fredslab.net
Support requests
For support requests, you can reach me per e-mail at:
[email protected]
or per post, using the previously mentioned company address.
For each support request, please include the instrument model, serial number and a precise
description of the problem encountered with a maximum of details and supporting elements
for a quick resolution.
Copyright information
This original manual, its content, including the graphics & descriptions are the property
of Fred’s Lab. No part of this manual should be reproduced other than for customer
personal use and backup needs without a written permission from Fred’s Lab.
2

Warranty
Fred’s Lab warranty this product free of defects 3 years from its date of purchase.
This warranty covers product from manufacturing defects, when the product is used ob-
serving normal operating conditions. However, the warranty does not cover:
 Normal product wear-out
 Damages caused by failure to observe the rules of use
 Damages due to negligence of the user
 Products having been modified or repaired by the user or a third person
More information about product warranty can be found in the General Terms and
Conditions of Sale document available at:
https://fredslab.net/en/terms.html
Special Thanks
I would like to thank the following persons for their contributions to this project:
 Panel and logo designs: Serge Beauchamp
 Kickstarter communication / Press kit: Alex Theakston
 Factory sounds: Espen Kraft
 Quality insurance: Benoit Ruelle, Ren´e Schmidt, Pierre Studievic, Mathieu Meslin,
Thomas Billiou, Oliver Rockstedt
 User manual: Oliver Rockstedt, Fanny Homberger (DE)
 Audio demos: Laurent Pelletier, Fabien Labonde
And Fanny & Neal Homberger for their continuous support and their regular contributions.
This project has been made possible through the financial support from the Kickstarter
Backers.
Precautions
Before plugging in the T¨o¨or¨o! and go rocking the World, have a sit and read this
precautions through:
 Always use the device in a dry and warm environment
 Never drop the device or expose to too much pressure or vibration
 Never spill liquids or bath the device in beer
 Never clean the device with an aggressive solvent
 Only use certified USB power adapters to power the device
 Never wiggle the plugs to disconnect the cords
 Never connect the line outputs to the power outputs of an amplifier
 Only modify the unit at your own risk!
3

The T¨o¨or¨o! used in conjunction with headphones and speaker systems can produce very
loud sounds in a wide range of frequencies.
Human hearing is very sensitive and can be damaged quickly. So watch out your hears
and those of your audience!
4

Contents Contents
Contents
1 Presentation 9
1.1 WhatisMIDI? .................................. 9
1.2 Remarksonpolyphony.............................. 9
2 Requirements 9
2.1 Anaudiosystem ................................. 9
2.2 AMIDIcontroller ................................ 10
2.3 AUSBpowersource............................... 10
2.4 RemarksonUSBnoise.............................. 10
3 Instrument Setup 11
4 Instrument Operation 12
4.1 Connectors .................................... 12
4.2 Controls&Indicators .............................. 13
4.3 EditingParameters................................ 14
4.3.1 ParameterLEDs ............................. 14
4.3.2 ParameterDisplay ............................ 14
5 Preset & Multi Management 15
5.1 SelectingaPart.................................. 15
5.2 Setting the MIDI Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
5.3 SelectingaPreset................................. 15
5.4 SavingaPreset.................................. 16
5.4.1 Overwriting the Current Preset . . . . . . . . . . . . . . . . . . . . . 16
5.4.2 Saving a Preset to a Different Memory Location . . . . . . . . . . . 16
5.5 CopyingPresets.................................. 16
5.6 InitializingaPreset................................ 16
5.7 Dumping a Preset via Sysex . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
5.8 SelectingaMulti ................................. 17
5.9 SavingaMulti .................................. 17
5.9.1 Overwriting the Current Multi . . . . . . . . . . . . . . . . . . . . . 17
5.9.2 Saving a Multi to a Different Memory Location . . . . . . . . . . . . 17
5.10CopyingMultis.................................. 18
5.11InitializingaMulti................................ 18
5.12 Dumping a Multi via Sysex . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
6 Preset Parameters 19
6.1 Overview ..................................... 19
6.2 VoiceMode .................................... 19
6.3 Oscillators..................................... 20
6.3.1 Wave ................................... 20
6.3.2 Table ................................... 20
6.3.3 CoarseTune ............................... 21
6.3.4 FineTune................................. 21
6.3.5 FMAmount ............................... 22
6.3.6 FMRate ................................. 22
6.3.7 Level.................................... 22
5

Contents Contents
6.3.8 Sync.................................... 22
6.4 Extra ....................................... 23
6.4.1 NoiseLevel ................................ 23
6.4.2 Ringmodulator Level . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
6.5 Filter ....................................... 24
6.5.1 Cutoff................................... 24
6.5.2 Resonance................................. 24
6.5.3 EnvFAmount .............................. 24
6.5.4 LFO1Amount.............................. 24
6.5.5 PitchTracking .............................. 25
6.5.6 Aftertouch Amount . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
6.6 Shaper....................................... 26
6.6.1 CutoffFrequency............................. 26
6.6.2 Resonance................................. 26
6.6.3 EnvAAmount.............................. 26
6.6.4 LFO2Amount.............................. 26
6.6.5 PitchTracking .............................. 27
6.6.6 Mode ................................... 27
6.7 LFOs ....................................... 28
6.7.1 Shape ................................... 28
6.7.2 Speed ................................... 28
6.7.3 Rise .................................... 29
6.7.4 Phase ................................... 29
6.8 Envelopes ..................................... 30
6.8.1 AttackTime ............................... 30
6.8.2 DecayTime................................ 30
6.8.3 SustainLevel............................... 30
6.8.4 ReleaseTime............................... 31
6.8.5 VelocityAmount............................. 31
6.8.6 HoldTime ................................ 31
6.8.7 Aftertouch Amount . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
6.8.8 TriggerMode............................... 31
6.9 Amplifier ..................................... 32
6.9.1 Level.................................... 32
6.9.2 Pan .................................... 32
6.10Arpeggiator.................................... 33
6.10.1 Mode ................................... 33
6.10.2 Grid.................................... 33
6.10.3 Tempo................................... 34
6.10.4 Hold.................................... 34
6.11ModulationMatrix................................ 35
6.11.1 Entering the Matrix Programming Mode . . . . . . . . . . . . . . . 35
6.11.2 Programming a Modulation Assignment . . . . . . . . . . . . . . . . 35
6.11.3 Replacing a Modulation Assignment . . . . . . . . . . . . . . . . . . 35
6.11.4 Clearing a Modulation Assignment . . . . . . . . . . . . . . . . . . . 35
6.11.5 Exiting the Matrix Programming Mode . . . . . . . . . . . . . . . . 35
6.11.6 Modulation Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
6.11.7 Modulation Destinations . . . . . . . . . . . . . . . . . . . . . . . . . 36
6.11.8 Default Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
6

Contents Contents
6.11.9 Example 1: Applying LFO 1 Modulation on Osc 1 Pitch . . . . . . . 37
6.11.10 Example 2: Applying Pitch Modulation on Amplifier Pan . . . . . . 37
7 Multi Parameters 38
7.1 Overview ..................................... 38
7.2 PartsMixer.................................... 38
7.3 MultiFX ..................................... 39
7.3.1 Length................................... 39
7.3.2 Feedback ................................. 39
7.3.3 Mix .................................... 39
7.3.4 Mode ................................... 39
7.3.5 Speed ................................... 40
7.3.6 Depth ................................... 40
8 Filter Tuning 41
9 Firmware Update 41
10 Specifications 42
10.1SoundEngine................................... 42
10.1.1 General .................................. 42
10.1.2 Oscillators................................. 42
10.1.3 Filter ................................... 42
10.1.4 Shaper................................... 42
10.1.5 Envelopes................................. 42
10.1.6 LFOs ................................... 42
10.1.7 Arpeggiator................................ 42
10.1.8 DCA.................................... 43
10.1.9 MultiFX ................................. 43
10.2Memory ...................................... 43
10.3LineOutputs ................................... 43
10.4AudioResolution................................. 43
10.5MasterClocks................................... 43
10.6Power ....................................... 43
10.7Connectors .................................... 43
10.8UserInterface................................... 44
10.9Dimensions&Weight .............................. 44
10.10Mechanics..................................... 44
10.11Accessories .................................... 44
11 MIDI Implementation 45
11.1 Channel Voice Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
11.1.1 NoteOff.................................. 45
11.1.2 NoteOn.................................. 45
11.1.3 Polyphonic Aftertouch . . . . . . . . . . . . . . . . . . . . . . . . . . 45
11.1.4 Controller Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
11.1.5 ProgramChange............................. 46
11.1.6 Channel Aftertouch . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
11.1.7 PitchBend ................................ 46
7

Contents Contents
11.2 System Real Time Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
11.2.1 ClockStart ................................ 46
11.2.2 ClockContinue.............................. 46
11.2.3 ClockStop ................................ 47
11.2.4 ClockTick ................................ 47
11.2.5 ActiveSensing .............................. 47
11.3MIDICCAssignments.............................. 48
12 Sysex Implementation 50
12.1Requests...................................... 50
12.1.1 MultiRequest .............................. 50
12.1.2 PresetRequest .............................. 50
12.2Dumps....................................... 50
12.2.1 MultiDump ............................... 50
12.2.2 PresetDump ............................... 51
12.2.3 DataPacking............................... 54
13 Schematics 55
14 Norms 65
14.1Europe:CE.................................... 65
14.2 Canada: Interference Regulation . . . . . . . . . . . . . . . . . . . . . . . . 66
14.3USA:FCCInformation ............................. 66
8

2 REQUIREMENTS
1 Presentation
The T¨o¨or¨o is a 6-voice polyphonic, 4-part multi-timbral, hybrid ”digilog” MIDI sound
module.
 Polyphonic means it can play several notes at the same time.
 Multi-timbral means it can play several instruments at the same time.
 Digilog means the sound is created using audio algorithms and then converted into
the analog domain for further processing.
 MIDI sound module means it needs a MIDI controller to generate sound.
1.1 What is MIDI?
MIDI stands for Musical Instrument Digital Interface.
It is a technical standard allowing music instruments to communicate and be used in con-
certo. It defines a protocol, messages, a digital interface and cables / connectors formats.
A MIDI connection carries notes, controller changes, clocks and various configuration data.
The T¨o¨or¨o is a hybrid instrument. It initially computes the sounds using mathematical
models and algorithms, executed by a powerful ARM micro-processor, which are then
converted into analog domain and shaped by an FL A847 low-pass filter.
1.2 Remarks on polyphony
The 6-voice polyphony is the absolute maximal number of notes that can be played at
the same time. If you try to play more notes simultaneously, the older voices will be muted
and reused for newer notes. This mechanism is called ”voice-stealing” and will result in
audio artifacts or parts of your music not being played when triggered. In order to avoid
it, keep in mind the module limitations while composing your music.
2 Requirements
To play with the T¨o¨or¨o you need:
 An audio system with line-level inputs
 A MIDI controller, a sequencer or a computer
 A USB power source
2.1 An audio system
can be a HiFi stereo system, a power mixing desk connected to speakers or a pair of active
speakers.
9

2.2 A MIDI controller 2 REQUIREMENTS
2.2 A MIDI controller
can be any master keyboard, wind controller, surface... that sends MIDI notes. You can
also attach the instrument to a hardware or software MIDI sequencer. It can run on a
computer, a laptop or a tablet/smartphone. You may need a dedicated external MIDI
interface or just use the USB connection.
2.3 A USB power source
can be a USB host, a power bank or a USB wall adapter/charger. Never use cheap USB
chargers that can be very noisy.
2.4 Remarks on USB noise
If you keep hearing irritating hum and noise when the T¨o¨or¨o is connected via USB, you
may experience a USB ground loop problem. Fortunately, there are several solutions
to overcome this problem.
Solution 1:
 Use another USB power source (power bank or wall adapter)
 Connect the instrument to the computer with a MIDI DIN cable
Solution 2:
 Use a USB galvanic isolator
Example: Olimex USB-ISO module
https://www.olimex.com/Products/USB-Modules/USB-ISO
MIDI DIN connections are, by design, prevented from ground loop problems. It is the
preferred solution to avoid these annoying issues.
10

3 INSTRUMENT SETUP
3 Instrument Setup
Step 1: Audio
Connect the T¨o¨or¨o line-level outputs (left & right) to your audio system inputs using two
6.35mm unbalanced jacks.
Step 2: MIDI
Connect the T¨o¨or¨o MIDI DIN input (MIDI IN) to your MIDI compatible controller or
sequencer/computer using a MIDI DIN cable.
or
Connect the USB port (USB - 5V) to your computer, laptop, tablet or smartphone.
Step 3: Power
If not already done in the previous step, connect the T¨o¨or¨o power input (USB - 5V) to
your power source of choice.
Press the power switch on the rear panel to power up the T¨o¨or¨o.
Step 4: Audio system
Switch on you audio system, adjust the volume and play some notes!
11

4 INSTRUMENT OPERATION
4 Instrument Operation
Once the instrument is properly installed and you can hear some sounds when playing
notes, let’s have a good look at its panel:
4.1 Connectors
AUSB - 5V
This is the USB-B connector for both power and MIDI over USB function. It must be
attached to a source to power up the T¨o¨or¨o.
BMIDI IN
This is the MIDI DIN input connector for a MIDI compatible controller or sequencer. It
should be attached to a MIDI DIN output connector of an other device.
CMIDI OUT
This is the MIDI DIN output connector to be connected to a sequencer, computer or sub-
sequent machines. All incoming messages that are not parsed by the T¨o¨or¨o are forwarded
to this output.
DVOICES 1&2 / 3&4
These are separate TRS jacks hardwired to voices 1-4 for individual processing. Signal of
voices 1/3 will appear on the tip, voices 2/4 on the ring of the connector. Note that the
voices are not cut from the main outputs when a cable is plugged in.
12

4.2 Controls & Indicators 4 INSTRUMENT OPERATION
E F LEFT & RIGHT
These are the main outputs to be connected to a mixing desk, audio interface of power
speaker system.
4.2 Controls & Indicators
1Power Switch
Switches the power on or off.
2Module Buttons & LEDs
Selects the module edited by the parameter encoders. Pressing the same buttons several
times cycles through all available modules of a section. The LED color shows which module
is currently selected corresponding to the panel labeling.
3SYSTEM Button
Allows access to the advanced functions. This button is used in conjunction with the
parameter encoders and the module buttons.
4ALT Button & LED
Used to access the alternate functions and synthesis parameters labelled in inverse printing.
Pressing this button toggles between normal and alternate mode. Alternate mode is
indicated with the LED lit.
5VOL/BAL Button
Holding this button while turning one of the encoders sets the volume or balance for a
part. In normal mode, volume is set. To set the balance, enable the alternate mode via
the ALT button.
6POLY LED
If lit, the currently selected part is in polyphonic mode. Otherwise, the part is set to
monophonic mode. Double-click the VOL/BAL button to toggle the mode.
7Parameter Encoders & LEDs
Changes the value of sound or system parameters.
8PGM LED
Indicates if modulation matrix programming mode is enabled.
9EXIT Button
Exits matrix programming mode and returns to normal operation. Also, holding the
EXIT button and pressing the PRESET button reloads the currently saved preset /
multi (depending on ALT), discarding all modifications made.
13

4.3 Editing Parameters 4 INSTRUMENT OPERATION
10 Sources Buttons
Enters matrix programming mode and selects the source to modulate a sound parameter.
If alternate mode is enabled via the ALT button, a second set of sources can be selected
and assigned.
11 PRESET/MULTI Button
Loads and saves presets and multis. Pressing the button momentary, loads the next preset.
Holding the button down for more than one second will save the current preset or multi
with all its modifications.
12 7-segment Display
Shows the current preset or multi number. While editing a parameter, the display will
show its current value for some time. To indicate negative parameter values, the dot after
the first digit will be lit. Also, when MIDI data is received, the dot after the second digit
will flash. When selecting a module for editing, the display will briefly indicate which
module is edited.
4.3 Editing Parameters
To edit parameters, use the 4 encoders at the bottom row of the T¨o¨or¨o. Which parameters
are currently edited, depends on the selection of the module via the module buttons, if
alternate mode is enabled via the ALT button or the SYSTEM button is held down.
4.3.1 Parameter LEDs
The LEDs above the encoders give a rough idea about the parameters value by showing
different colors and brightness:
 When a parameter is set to 0, the LED is off.
 Unipolar parameters start with yellow for smaller values, blending into red on higher
values.
 On bipolar parameters, negative values are shown in green, positive values are shown
in red.
Color blind users should instead rely on the values shown on the display when turning the
encoders.
4.3.2 Parameter Display
Whenever a parameter is changed via an encoder, the display shows its current value for
a short time and then changes back to the preset or multi number.
To show the values in full resolution on the 2-digit display, most numeric parameters of
the T¨o¨or¨o are shown as hexadecimal values. Negative values are indicated by a dot after
the first digit.
Hex: -0x2A
Decimal: -42
Hex: 0x43
Decimal: 67
14

5 PRESET & MULTI MANAGEMENT
5 Preset & Multi Management
The T¨o¨or¨o is a multi-timbral device that can store 100 presets and 10 multis. All memory
locations can be overwritten by the user, so the factory patches can be overwritten.
An important concept to understand is that there is no separation between preset and
multi mode, the T¨o¨or¨o always operates in multi mode.
 A preset is a single sound with a set of parameters for oscillators, filter, shaper,
LFOs, envelopes, amplifier, arpeggiator and modulation matrix.
 For operations on presets, the alternate mode must be disabled. Make sure that the
ALT LED is not lit.
 A multi is a set that references 4 presets as parts, a mixer with volume and balance,
the MIDI channel settings and an fx section.
 For operations on multis, the alternate mode must be enabled. Make sure that the
ALT LED is lit.
5.1 Selecting a Part
Before selecting or editing a preset, it is important to select the part currently edited. By
default, part 1 is selected.
Press and hold the SYSTEM button. Then use the first parameter encoder labelled
PART to select the part. The display will show P1..P4 while the encoder is turned.
Part selection 1..4
5.2 Setting the MIDI Channel
You can set a separate MIDI channel for each part to receive notes and other messages
from an external keyboard, computer or sequencer. In addition, omni mode can be
selected to receive MIDI data from all channels.
Press and hold the SYSTEM button. Then use the second parameter encoder labelled
CHANNEL to select the midi channel. The display will show 01..16 or OM while the
encoder is turned.
Channel 1..16 Omni mode
Note: when omni mode is selected, channel 1 is used to transmit parameter
changes.
5.3 Selecting a Preset
There are 2 ways to select a preset:
 Press the PRESET button to increment the preset number by one.
15

5.4 Saving a Preset 5 PRESET & MULTI MANAGEMENT
 Press and hold the SYSTEM button. Then use the fourth parameter encoder
labelled PRESET to increment or decrement the preset number.
Preset selection 0..99
5.4 Saving a Preset
5.4.1 Overwriting the Current Preset
To save an edited preset onto the current memory location, press and hold down the
PRESET button until the display starts to blink. When the button is released, the
preset will be saved, replacing the data stored previously.
5.4.2 Saving a Preset to a Different Memory Location
Saving a preset to a different location can be done by copy & paste utilizing a temporary
buffer.
 Press and hold the SYSTEM button. Then press the Module button labelled
FILTER. This button also has a secondary vertical label COPY left to it.
 The preset is now stored inside a temporary buffer.
 Select the destination preset to be overwritten as described above under Selecting a
Preset.
 Press and hold the SYSTEM button. Then press the Module button labelled
ENV. This button also has a secondary vertical label PASTE left to it.
 The preset previously stored in the temporary buffer is now recalled.
 Press and hold down the PRESET button until the display starts to blink. When
the button is released, the preset will be saved.
5.5 Copying Presets
Presets can be copied to another location via copy & paste in a similar way as described
above under Saving a Preset to a Different Memory Location.
5.6 Initializing a Preset
To initialize a preset, press and hold the SYSTEM button and then press the Module
button labelled OSC. This button also has a secondary vertical label INIT left to it.
Initializing resets all sound parameters to their default values.
5.7 Dumping a Preset via Sysex
Preset data can only be dumped over USB MIDI to be stored on an external computer or
sequencer.
16

5.8 Selecting a Multi 5 PRESET & MULTI MANAGEMENT
To dump a preset over USB MIDI, press and hold the SYSTEM button and then press the
Module button labelled LFO. This button also has a secondary vertical label DUMP
left to it.
You can dump back a preset from your computer or sequencer at any time. The T¨o¨or¨o
will process any received dump without any prerequisites.
5.8 Selecting a Multi
There are 2 ways to select a multi:
 When alternate mode is selected via the ALT button, the multis can be cycled
through by pressing the PRESET button repeatedly.
 Press and hold the SYSTEM button. Then use the third parameter encoder labelled
MULTI to increment or decrement the multi number.
Multi selection M0..M9
5.9 Saving a Multi
First, make sure that alternate mode is enabled via the ALT button.
5.9.1 Overwriting the Current Multi
To save a multi onto the current memory location, press and hold down the PRESET
button until the display starts to blink. When the button is released, the multi will be
saved, replacing the data stored previously.
5.9.2 Saving a Multi to a Different Memory Location
Saving a multi to a different location can be done by copy & paste utilizing a temporary
buffer.
 Press and hold the SYSTEM button. Then press the Module button labelled
FILTER. This button also has a secondary vertical label COPY left to it.
 The multi is now stored inside a temporary buffer.
 Select the destination multi to be overwritten as described above under Selecting a
Multi.
 Press and hold the SYSTEM button. Then press the Module button labelled
ENV. This button also has a secondary vertical label PASTE left to it.
 The multi previously stored in the temporary buffer is now recalled.
 Press and hold down the PRESET button until the display starts to blink. When
the button is released, the multi will be saved.
17

5.10 Copying Multis 5 PRESET & MULTI MANAGEMENT
5.10 Copying Multis
Multis can be copied to another location via copy & paste in a similar way as described
above under Saving a Multi to a Different Memory Location.
5.11 Initializing a Multi
To initialize a multi, while in alternate mode, press and hold the SYSTEM button and
then press the Module button labelled OSC. This button also has a secondary vertical
label INIT left to it. Initializing resets all multi parameters to its default values.
 Part 1 will be set to preset 00 on MIDI channel 1.
 Part 2 will be set to preset 01 on MIDI channel 2.
 Part 3 will be set to preset 02 on MIDI channel 3.
 Part 4 will be set to preset 03 on MIDI channel 4.
 Volume is set to maximum for all parts.
 Balance is set to center for all parts.
 The FX mix level is set to minimum / disabled
5.12 Dumping a Multi via Sysex
Multi data can be dumped over USB MIDI to be stored on an external computer or
sequencer.
To dump a multi over USB MIDI, while in alternate mode, press and hold the SYS-
TEM button and then press the Module button labelled LFO. This button also has a
secondary vertical label DUMP left to it.
You can dump back a multi from your computer or sequencer at any time. The T¨o¨or¨o
will process any received dump without any prerequisites.
Important: keep in mind that multi data does not contain any information about the
sound parameters. You have to transfer these separately via preset dumps.
18

6 PRESET PARAMETERS
6 Preset Parameters
6.1 Overview
T¨o¨or¨o overall preset structure
Notes:
 The preset name is only accessible by Sysex messages.
 The Tune and Band Range parameters are only accessible via Sysex and MIDI
CC messages.
6.2 Voice Mode
Each preset of the T¨o¨or¨o can be played in monophonic or polyphonic mode. To toggle the
mode, double-click the VOL/BAL button. If polyphonic mode is selected, the POLY
LED is lit.
In monophonic mode, each part is played by a single dedicated voice. The voice number
corresponds to the part number, e.g. part 1 uses voice 1, part 2 uses voice 2 etc. This way,
each part appears as a separate signal at the Voices Outputs, so it can be processed and
mixed individually.
In monophonic mode, note priority is ”last played” for new notes, and ”highest” for re-
triggered notes.
19

6.3 Oscillators 6 PRESET PARAMETERS
6.3 Oscillators
The T¨o¨or¨o has two identical wavetable oscillators that build the heart of the sound
engine. Each oscillator generates a blended waveform that is determined by the content
of the selected wavetable. In addition, FM modulation and auto-sync is possible within a
single oscillator to produce alterations of the harmonic content.
To access the oscillators parameters, press the OSC module button. If
you press the button more than once, the selection will cycle between Osc
1 and Osc 2. The LED color indicates which oscillator is selected:
Osc 1 Osc 2
In addition, the display will show the selected oscillator briefly:
Osc 1 Osc 2
In normal mode, the Wave, Coarse Tune, FM Amount and Level parameters can be
edited via the first and second encoder. To edit the Table, Fine Tune, FM Rate and
Sync parameters, alternate mode has to be enabled via the ALT button.
6.3.1 Wave
Sets the play position inside the selected wavetable. You can modulate this parameter via
the modulation matrix in order to bring movement into your sound.
6.3.2 Table
This parameter selects the wavetable that is used by the oscillator. In conjunction with
the Wave setting, it is the most important control to define the basic tone.
Each wavetable consists of a combination of 4 waveforms that are blended to create a
smooth transition. The following 16 waveforms are available to build these combinations:
 Sawtooth
 Square
 Triangle
 Sine
 Blue Noise
 Brown Noise
 Metal overtones
 Bell like
 Double Saw
 Double Square
 Organ,
 Prime numbers
 Formant A
 Formant E
 Formant O
 Grin
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