future.retro Vectra User manual

TABLE OF CONTENTS
1. Table of Contents
2. Introduction
3. Definitions
4. Getting Started
5. Connections
6. Front Panel Controls
7. Front Panel Controls Continued
8. Memory Card and Files
9. Load, Save, Delete
10. Assign Parameters
11. Master Settings
12. Synthesizer Overview
13. Oscillators 1-4
14. Oscillator Waveform
15. Oscillator Frequency
16. Oscillator Frequency Continued
17. Oscillator Frequency Modulation
18. Oscillator LFO 1-4
19. Oscillator Envelope 1-4
20. Oscillator Envelope Time Modulation 1-4
21. Mixer
22. Automix and Mixer Modulation
23. Filter and Filter Modulation
24. Filter LFO
25. Filter Envelope
26. Filter Envelope Time Modulation
27. Amplifier Envelope
28. Amplifier Envelope Time Modulation
29. Arpeggiator and Sequencer Overview
30. Scales Keymap
31. Xpose, Xscale, and Range Keymap
32. Directions Keymap
33. Loop Point and Time Signature Keymap
34. Sequencer Parameters
35. Sequencer Show Mode
36. Sequencer Play and Arp Modes
37. Sequencer Fill Mode
38. Sequencer Edit Mode
39. Sequencer Real-time Record Mode
40. Sequencer Auto Record Mode, MIDI
41. Specifications
42. Specifications Continued
43. Specifications Continued
44. Copyright
1

INTRODUCTION
Thank you for choosing the Vectra synthesizer. Please take time to read through the entire manual for a
complete understanding of the operations and procedures needed to master this instrument.
Contents
Included with your Vectra synthesizer, you should find an external power supply, micro SD card, and
owner’s manual. If any of these items are missing, please notify the dealer you purchased the unit from
or contact Future Retro directly. Please keep the original box and all packaging material your unit came
with, as they provide the best protection and will be required should you ever need to ship your unit.
Overview
The Vectra is a unique hybrid synthesizer with a flexible architecture that allows many different forms
of synthesis to be realized. It’s the best of both worlds… The Vectra utilizes digital oscillators, ring
modulators, noise sources, vector mixer, LFO’s, complex envelopes, and modulation routings providing
many capabilities that would be very difficult to produce with analog circuitry alone. This allows for
accurate tuning, repeatability of complex patches, and patch storage. The Vectra also provides a multi-
mode analog filter, VCA, and final output, as these provide the best sonic qualities.
The Vectra includes a powerful and fun sequencer and arpeggiator, with many new capabilities.
Although the Vectra is a self contained instrument, MIDI can be used to interface with other devices.
Power
If the 15V DC power supply ever becomes lost or damaged, please contact us for a replacement.
Always make sure the power supply is correct for your country’s power mains voltage.
Care
Avoid exposing the unit to smoke or damp, dusty, or extreme hot and cold environments. To clean the
unit, use a soft damp cloth. Do not use any chemical cleaners, as these may harm the surfaces and finish
of the unit.
Product Warranty and Support
The Vectra comes with a 1 year limited warranty covering mechanical or electrical manufacturing
defects. Please keep all original packaging and purchase invoice as you will need to show proof of
purchase to receive warranty coverage.
The warranty does not cover normal wear, or damage due to misuse, or abuse of the product. There are
no user serviceable parts inside the unit. Disassembly or modifications performed to the unit will auto-
matically void the warranty. Future Retro will not be held liable for any accidents or damages caused to
the user or their surroundings when using this product.
Should your unit become damaged within the warranty period, please email product support:
[e-mail]
You will need to obtain authorization to return the unit to us for repairs.
Please visit the Support and Downloads pages of our website for the latest information, sound files, and
support for this product:
www.future-retro.com
2

DEFINITIONS
The following are definitions and abbreviations of modulation sources and parameters used in the Vectra
MODULATION SOURCES
Off: No modulation source.
Rnd-1: Creates a random value at the start of a single note-on.
Rnd-2: Creates a random value at the start of any new note-on.
Key-1: Covers the entire range of MIDI notes from 0-127.
Key-2: Covers the 29 note range of the internal keyboard.
Vel: The Velocity value of the keyboard, or sequencer.
Touch: The Touch value of the keyboard, or Aftertouch value of MIDI notes.
ModW: The ModW joystick axis, or the Mod Wheel MIDI message.
Bend: The Bend joystick axis, or Pitch Bend MIDI message.
Stk-X: The X-axis of the assignable Stick joystick.
Stk-Y: The Y-axis of the assignable Stick joystick.
LFO-(1-4): The Low Frequency Oscillator used to modulate Oscillators 1-4.
Env-(1-4): The Envelope used to modulate Oscillators 1-4.
LFO-F: The Low Frequency Oscillator for the Filter.
Env-F: The Envelope for the Filter.
EnvAmp: The output VCA’s amplifier envelope.
Link(1): Routes all of Oscillator 1’s modulation sources to Oscillator 2, 3, and 4.
DC-: A negative voltage potential.
DC+: A positive voltage potential.
Mix-1: Audio signal assigned to Mixer source 1.
Mix-2: Audio signal assigned to Mixer source 2.
Mix-3: Audio signal assigned to Mixer source 3.
Mix-4: Audio signal assigned to Mixer source 4.
PARAMETER ABBREVIATIONS
Mod: Modulation
Amt: Amount
Oct: Octave
Dtn: Constant Beat Detuning
FMoct: The Frequency Modulation amount in Octaves.
FMmod: The Frequency Modulation Source.
FMamt: The Frequency Modulation Amount.
Ctrl: Control, a modulation source that controls the amplitude of another modulation amount.
LFO: Low Frequency Oscillator
Env: Envelope
Dly: Delay
Atk: Attack
Hld: Hold
Dec: Decay
Sus: Sustain
Rel: Release
Rpt: Repeat
VCS: Control Voltage Slewing of filter cutoff modulation signals.
3

GETTING STARTED
To play the Vectra, follow these directions in order, starting with the power turned OFF.
1. Install the micro SD card in the rear of the unit with the contact finger pointing up.
2. Connect the 1/4” unbalanced audio output to a channel input on your studio’s mixer.
3. Press the power switch of the Vectra to turn the unit ON. Avoid touching the keybed, and
pitch-bend joystick during the boot up period, as the unit is calibrating these functions.
4. To adjust the main output level of the Vectra, press the Master switch, then rotate encoder 1.
To save this setting, while in Master mode press the Save switch.
5. Adjust the input gain setting on your studio’s mixer for the best signal to noise ratio without
distortion.
6. To load different sounds and sequences, press the Load switch to enter the Load mode. Rotate
encoder 1 to select different sounds, then press the Load switch to load the current sound
selected.
7. Touch the keyboard keys to begin playing the sound. Realize that some sounds may use
velocity or aftertouch to modify the sound, so try to play the keyboard with different methods.
8. Try applying pitch-bend, mod-wheel, mixer, filter, and stick variations to see how these affect
the currently selected sound.
9. Press the power switch again to turn the power off.
Remember, we’re just getting started here. In some instances you may experience no response from the
movement of the joysticks depending on how the instrument parameters are set. For a full understanding
of this product and its features, please read through the entire manual.
We have lots to cover so let’s get started.
4

CONNECTIONS
POWER
Connect the provided 15volt DC power supply to the power jack on the rear of the unit.
Always check to make sure the power supply is correct for your country’s power mains voltage.
MICRO SD CARD
Always make sure the unit is turned OFF before installing or removing the micro SD card.
Failure to do so may corrupt data stored on the card, or even cause damage to the card itself.
We recommend using a memory card with 2 gigabytes (or more) of memory. It is also advised to use
cards with a class 4, class 10 (or faster) read/write speed.
Install the card in the unit with the contact fingers facing up as indicated on the front panel.
MIDI IN
Information received at the MIDI IN jack can be used to play the internal sounds of the
Vectra, or synchronize the playback of the internal sequencer and arpeggiator.
Use a MIDI cable to connect this input to the MIDI OUT of an external sequencer or keyboard.
MIDI THRU
All information received at the MIDI IN jack will be sent out the MIDI THRU jack. Use a MIDI cable to
connect this output to the MIDI IN of another device for creating a daisy chain between multiple MIDI
units.
MIDI OUT
The MIDI OUT jack is used to send MIDI data from the internal keyboard, sequencer, or arpeggiator out
to other external MIDI devices.
Use a MIDI cable to connect this output to the MIDI IN of an external MIDI device.
AUDIO OUT
Use a 1/4” unbalanced audio cable to connect the Audio OUT to an input channel on your studio’s
mixer.
5

OVERVIEW OF FRONT PANEL CONTROLS
KEYBOARD
The Vectra provides a 29 note capacitive touch keyboard that can produce note-on/off, pitch, velocity,
and aftertouch, as well as activate gliding of oscillator pitches, and is also used for data entry for the
sequencer and arpeggiator. To produce glides, play two or more keys simultaneously, or drag your
finger across the keyboard.
Note: Avoid touching the keyboard or pitch-bend joystick when the unit is first turned On during the
boot up process, as these functions are being calibrated.
While the keyboard may have only 29 keys, most traditional instruments will have a limited number of
notes they can play. However if greater range of notes is needed, simply assign a scale to the keyboard.
The 29 keys can cover four octaves of notes in the Major scale, and six octaves for a pentatonic scale.
JOYSTICKS
The Vectra provides four joysticks for Pitch-bend and Mod-wheel, Mixing of the oscillators, control of
the Filter cutoff and resonance, and the Stick control which can be assigned to many different functions.
ENCODERS
Eight encoders are provided and their function will change depending on the mode you working in.
In this manual we will refer to these encoders as 1-8, with encoders 1-4 being the left column (top to
bottom), and encoders 5-8 being the right column (top to bottom). You will notice that each encoder
relates to a parameter shown in the display screen, as these parameters are also laid out as two columns
of (up-to) four parameters. Encoders can be rotated to change parameter values. Each encoder also has a
switch that can be activated by pressing down on the encoder knob. The function of these encoders will
be described in each mode section.
6

OVERVIEW OF FRONT PANEL CONTROLS
SCOPE
The smaller display on the front panel is the Scope. This display allows you to visualize the waveforms
and modulation signals happening for the most recently selected synthesizer mode.
DISPLAY
The larger display on the front panel is the main display. This display will show main parameters to be
adjusted for all the different modes.
LOAD/SAVE
The Load and Save switches are used to load, save, and delete instruments and sequences.
ASSIGN
The Assign switch allows individual synthesizer parameters to be assigned to the 8 encoders.
ARP/SEQ
The Arp/Seq switch accesses parameters for the Arpeggiator, Sequencer, and Keyboard.
SYNTH PARAMETERS
There are eleven switches to access the different synthesizer parameter modes.
These will be discussed in detail in the synthesizer parameters section.
MASTER
The Master mode contains master settings such as volume, MIDI channel, overall tuning, and the screen
saver sleep time.
7

MEMORY CARD AND FILES
MEMORY / MICRO SD CARD
The Vectra can load up to 999 sounds and sequences stored on the external micro SD card.
Each memory location holds the parameters for an individual sound and sequence.
If no card is installed in the unit, you can still play and edit a simple default sound patch and sequence,
however you will be unable to save or load any of your work.
A 2 gigabyte (or larger) micro SD card should be used with a speed rating of Class 4, Class 10 (or
faster). Since sounds and sequences are loaded directly from the card, the speed of the memory card
used can be critical for faster loading and saving.
Always turn the unit’s power OFF before installing or removing the micro SD card. Otherwise data on
the card may become corrupt, or damage may occur to the card.
The file system used in the Vectra requires the micro SD card to be formatted to the FAT16 or FAT32
standards. If you ever lose your card and need to replace it with a new one, make sure the card is format-
ted to this file type before inserting into the unit. When a newly formatted card is installed in the Vectra,
basic files and folders will be automatically generated on the card.
BACKING UP YOUR WORK
You can back up your work by connecting the micro SD card to your computer, and either drag and drop
the files on the card to your computer, or by making a disk image of the micro SD card. The disk image
is preferred if you ever want to reload the contents back onto the card exactly as it existed before.
Otherwise, if you drag and drop files from your computer back onto the card, sound files will appear in
memory in the order that they were placed on the card.
If you ever replace or reformat your card, it is recommended that you install the freshly formatted card
into the unit first and power up the unit so the basic folders, and default patch file are automatically
placed on the card. This then will make the default file NEW_INST the first file on the card, which is
easily accessed when creating new sounds from scratch. Then if desired, you can remove the card,
connect it to your computer, and drag and drop any additional sound files you may have previously
saved on your computer back to the card. All sound files must be placed in the INSTR folder.
While it is possible to rename files on your computer, users should be aware that the Vectra file system
uses short 8.3 names for files. This means that files should be eight characters in length and use only the
following characters:
“0 1 2 3 4 5 6 7 8 9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z ! # % & ’ ( ) — __”.
Using any other characters for a file’s name may cause errors, or the inability to load that file. Vectra
files all end in the “.txt” file format. This does not mean that you will be able to view or edit the contents
of the file with a text editor.
BAD FILES
If your card or files on the card ever become corrupt, it is recommended to back up the data on the card
to your computer immediately. Reformat the card to the FAT32 file type. Then look over the files you
saved from the card onto your computer. You can usually identify bad files by their size being different
than other files of the same type. If you see these bad files, delete them and then reload only the good
files back onto the freshly formatted card.
Note: It is not advised to store files on the micro SD card that the Vectra does not use or support.
8

LOAD / SAVE / DELETE
LOAD
Press the Load switch to enter the Load mode.
Here you can load an individual Sound, Sound and Sequence together, or an individual Sequence.
Rotate encoder 1 to select the file to load.
You can also press encoder switch 1 to quickly jump to the first or last file. How this works is, if you are
at any selection other than 000, pressing the switch will select the 000 file. Pressing this switch again
when selection is 000 will then select the last file on the card.
Rotate encoder 2 to select the file type to load.
Here you can select an individual Sound, Sound and Sequence, or an individual Sequence.
Once your selection has been made, press the Load switch to confirm and load the current selection.
Note: If keys are being played on the keyboard when a new sound is loaded, the new sound will load
once all keys on the keyboard have been released. If the sequencer or arpeggiator is playing when a
sound or sequence is loaded, the new sound or sequence will load once the current loop point is reached.
Tip: Since you can load Sounds and Sequences independently, this is a great way to copy a sequence
from one file to be used with the current sound, or copy a sound from another file to be used with the
current sequence. Once you have the desired combination of sound and sequence, save it to a new file.
SAVE
Press the Save switch to enter the Save mode.
Saving will write all the current sound and sequencer parameter data to the memory card.
If you made a few changes to an existing Sound and/or Sequence and wish to overwrite these new
changes to the same file, press the Save switch to confirm and save (overwrite) to the existing file name
on the card.
You can also rename the file before saving. This then keeps the original file on the card, and writes the
new changes you made to a file with another name on the card.
To rename a file, rotate the encoders to change the file name to something new. Then press Save to
confirm and save the new file to the card. Beware, if you rename the file to the same name of another
file already on the card, the existing file on the card will be replaced with this new file.
DELETE
To delete a Sound and Sequence file from the card, you must first load the file you want to delete.
Once loaded, press and hold the Save switch, and then press the Load switch to confirm and delete the
file. Once deleted, the switches can be released.
NOTE: When you save a file, this file will be written to the first available memory slot on the card. If no
files have been deleted, this allows new files to appear in sequential order. However, if you delete a file
and then save a new file, that new file will appear in the location as the previous file/s you deleted.
9

ASSIGN PARAMETERS
ASSIGN
The Assign mode allows (most) synthesizer parameters to be individually assigned to one of the eight
encoders. This allows the most useful parameters for a particular sound patch to all be accessible at the
same time while in the Assign mode. These custom control assignments will be stored with each
individual sound.
The reason we say “most” synthesizer parameters is, any synthesizer parameter value that is changed by
rotating the encoder can be assigned. While there are a few synthesizer parameters in which the value is
changed by pressing the encoder switch. Those parameters that require pressing the switch, can not be
assigned.
To assign a synthesizer parameter to one of the encoders, first navigate to the correct synthesizer
parameter page so the display shows the parameter you want to assign. Hold down the Assign switch,
and then press the encoder switch representing the synthesizer parameter you want assigned.
The display will then show the ASSIGNED CONTROLS screen and you can see all current assign-
ments. Now press the encoder switch you want that synthesizer parameter assigned to, and then release
the Assign switch.
The display will then jump back to the synthesizer mode/page you were last at.
Use this method to assign individual parameters to all eight encoders.
To enter the Assign mode, simply press and release the Assign switch. The display will show all
parameters assigned to the eight encoders. As you rotate one of the assigned encoders, the value for that
parameter will appear at the top of the display. If you would like to simply see the value an assigned
parameter is set to without adjusting the value, press that parameter’s encoder switch.
Note: You can overwrite a previously assigned parameter to an encoder simply by selecting a different
parameter and assigning it to that encoder location. Or if you would like to completely clear the assign-
ment of a parameter, once the Assign mode is selected, press and hold the Assign switch, then press the
encoder switch twice representing the parameter assignment you want to clear, then release the Assign
switch.
Note: Sequencer parameters can not be assigned to encoders. Most sequencer parameters are set using
the keyboard, and all sequence editing and parameters changes are done in the sequencer mode only.
10

MASTER SETTINGS
MASTER
Press the Master switch to enter the Master mode. Here you can adjust global parameters.
Level
Rotate encoder 1 to change the volume level for the main Audio Out signal.
Press encoder 1 switch to instantly mute and unmute the output volume.
MIDI
Rotate encoder 2 to change the MIDI channel the Vectra will send and receive MIDI data on.
Press encoder 2 switch to reset the MIDI channel to a value of 1.
Note: The MIDI channel can be changed at any time. The new MIDI channel setting will take effect
once all internal or external playing notes have been released to prevent latched notes.
This allows you to redirect MIDI notes playing in the internal sequencer out to different MIDI channels
on the fly, or to pick and choose from various external MIDI channels playing from an external DAW.
Tune
The Tune parameter defines the overall fine tuning of notes.
Rotate encoder 3 to adjust the tuning from –128 to 128. There are 128 fine tuning steps per semitone,
so this parameter provides -/+ 1 semitone adjustment.
Press encoder 3 switch to reset the tuning to a value of 0.
If you need to tune the instrument to greater than -/+ 1 semitone, you will need to use the Transpose
feature mentioned in the sequencer section of this manual.
Sleep
The Sleep parameter defines the number of minutes of inactivity before the screen saver will turn on.
The screen saver is designed to extend the life of the display and prevent image burn.
By default this parameter is set for 5 minutes.
Settings include: Off, 5, 10, 20, 30, and 60 minutes.
Rotate encoder 4 to change the setting.
Press encoder 4 switch and the parameter will reset to the 5 minute setting.
Warning: Setting the Sleep parameter to Off will prevent the screen saver from ever coming on.
Caution should be used with this setting, as extended periods of use without the screen saver active can
cause image burn, and the overall lifespan of the display to decrease.
Once the screen saver is active, you can wake the unit up by simply pressing any parameter switch or
turning an encoder knob. Moving the joysticks or playing the keyboard will not wake the unit from
sleep, however the unit will continue to play sounds as normal.
SAVING MASTER SETTINGS
Master settings can be saved to the memory card, and are automatically loaded each time the unit is
powered on.
To save Master settings, enter the Master mode, adjust your settings, and then press the Save switch.
11

SYNTHESIZER OVERVIEW
The Vectra provides four oscillators, two noise sources, four ring modulators, a four-channel mixer, five
LFO’s, six morphing envelopes, six primary multimode analog filter types, a main analog VCA, and
numerous internal modulation routings and VCA’s controlling modulation amounts.
It really is like having a powerful self-contained semi-modular synthesizer with approximately 500
internal signal routings, and around 256 storable sound parameters.
The synthesizer architecture is designed to allow the greatest flexibility in recreating multiple synthesis
techniques of the past while introducing several new innovations. The sound section has been inspired
by features of the greatest synthesizers ever made, while not focusing specifically on recreating any in-
strument in particular. The Vectra is in fact it’s own unique self-contained instrument.
The oscillators are digital as this provides the highest degree of tuning stability, while allowing both
virtual analog and digital waveform generations. With features like oscillator Sync, PWM, our new
waveform Phase Slice, and Fade features, independent glide times per oscillator, constant beat detuning,
and paraphonic voice modes, not to mention FM, AM, ring-modulation, and dedicated LFO’s,
envelopes, and VCA’s per oscillator really make these oscillators a power house.
The four-channel mixer is unique in that it provides an even balance when mixing multiple sources,
either manually with the joystick, or applying automated vector mixing, or mixer modulation.
The five LFO’s provide 500+ waveforms to choose from, with their frequency spanning from sub-audio
into the audio range. Their frequency can be stationary or track keyboard notes with glide. Waveforms
can sync to any waveform phase at a note-on, and they can be frequency modulated as well. In short
they can be used as LFO’s, complex envelopes, or audio rate oscillators.
The six morphing envelopes are really something else. With each envelope providing initial Delay,
Attack, Hold, Decay, Sustain, Release, as well as a loop time when they are set to Repeat. Ultra precise
and snappy they provide envelope times from 0ms to 14.7 seconds per each stage. Each envelope pro-
vides multiple envelope curve selections, and can be one-shot, normal envelope types, or looping.
And did you notice they can morph? Yes, that’s right! Envelopes can morph and modulate between two
individual values per each envelope stage.
The analog multimode filter provides six primary filter types being: 4-pole low-pass, 2-pole low-pass,
1-pole low-pass, 2-pole band-pass, 2-pole high-pass, 2-pole notch, with some additional selections to
define a filter’s self resonance response, and also to recreate a very unique characteristic of the EMS
VCS type filter modulation. The filter can track notes played on the keyboard, has a dedicated LFO,
Envelope, and one additional modulation source.
And finally the analog VCA before all those sweet sounds hit our ears.
The Amplifier VCA has a dedicated morphing envelope as well.
This synthesizer covers so much sonic territory from analog to digital sounds, traditional to experimen-
tal, bass, leads, solos, percussion, effects, drones, ambient sounds, and those yet to be discovered.
12

OSCILLATORS 1-4
Let’s take a moment to understand the navigation of the Oscillator modes.
The six switches to the left-hand side of the front panel access our oscillator parameters and modula-
tions.
Since there are four oscillators, LFO’s, and envelopes in this section, each of these switches can be
pressed repeatedly to select a different number (1-4) of oscillator, LFO, envelope, or modulation. If for
instance you are working on oscillator 1 adjusting the waveform, and want to change the frequency of
oscillator 1, simply press the Frequency switch. On the other hand, if you are adjusting the frequency of
oscillator 1, and then want to adjust the frequency of oscillator 2, simply press the Frequency switch to
select the next oscillator number to edit.
Press the WAVE switch on the front panel to access the oscillator’s wave parameters.
The Scope will show what the current waveform looks like.
The top of the main display shows the number for the current oscillator being edited.
Wave
Rotate encoder 1 to change the waveform selection.
The first five waveforms are analog models of the most traditional synthesizer waveforms being:
Sine, Triangle, Sawtooth, Square, and Pulse Width Modulated.
The rest of the display appears rather empty since no further modulation of thee waveshapes is possible.
The benefit of these waveforms is they are all anti-aliased, meaning you can play them at any frequency
and they sound good without digital artifacts.
These waveforms can be used to recreated most traditional analog synthesizer sounds.
Width
When the Pulse Width Modulated waveform is selected, new parameters appear on the display.
Rotate encoder 2 to adjust the initial Width of the pulse waveform.
Press encoder 2 switch to reset the initial pulse width value to 50%.
(Pulse Width) Mod
Rotate encoder 4 to select a modulation source to modify the pulse width.
Modulation sources are defined on page 2 of this manual.
(Pulse Width) Amt
Rotate encoder 8 to set the modulation amount from 0 to 100.
Press encoder 8 switch to quickly jump to a value of 0, or 100.
Tip: If you press encoder 1 switch while any of the first five analog modeled waveforms are selected,
the waveform will default to a sawtooth.
13

OSCILLATOR WAVE 1-4
Digital Waveforms
Rotating encoder 1 past the PWM waveform selection, we now enter the digital waveforms numbered
000-500. These single-cycle waveforms come from all sorts of various sources including real
instruments, and some of the most sought after vintage analog, digital, wavetable synthesizers, and
others that were purposefully drawn, or randomized.
We realize that scrolling through 500 waveforms can be tedious, so when any digital waveform is
selected, you can press encoder 1 to quickly jump to waveform 000, or 500.
Since these waveforms are digital, their waveshape can range from very simple to very complex.
Please understand that complex waveforms contain many harmonics, and as these complex waveforms
are played higher in frequency, they do have the ability to alias and introduce digital artifacts. While this
is alright for some sounds, it may not be for others. You will need to choose waveforms accordingly or
limit the upper range if you wish to avoid some of these digital waveforms from aliasing.
There are three additional selections that can be made for the waveform once you pass waveform 500,
these are DC-, OFF, and DC+. While not exactly waveforms selecting these options can allow you to
PWM any of the digital waveforms using the Slice mode, or cause digital waveforms to transition to
these levels when using the Fade mode.
When digital waveforms are selected the display changes quite a bit, as there are several things one can
do to these waveforms. In fact, now the oscillator is capable of producing two unique waveforms at a
time, and these waveforms can be modulated in new ways.
Wave1
Rotate encoder 1 to select Wave1.
Press encoder 1 switch to quickly jump to waveform 000 or 500.
Wave1 is the only waveform you will hear if no modulation is applied to the waveshape.
Wave2
Rotate encoder 2 to select Wave2.
Press encoder 2 switch to quickly jump to waveform 000 or 500.
Wave2 can be heard once modulation is introduced.
Start
Rotate encoder 3 to change the waveform start value.
Press encoder 3 switch to reset this value to 000.
The start value ranges from 000 to 255. These numbers represent one of the 256 samples each single-
cycle waveform is made up of. Therefore, Start offsets the point in memory both waveforms begin and
end, and is continuously adjustable. This can be useful for changing the harmonic content of the wave-
forms. For instance if waveform XXX is a sine wave, and waveform XXX(+1) is a sawtooth, setting the
start point to 128 would produce a waveform that was half sine wave, and half sawtooth.
Mod
Rotate encoder 4 to select the modulation source.
Modulation sources are defined on page 2 of this manual.
14

OSCILLATOR WAVE 1-4
Type
Press encoder 5 switch to change the waveform modulation Type to Slice or Fade.
Slice (or Phase Slice) allows an abrupt jump from playing wave1 to wave2, at any phase from 0-360
degrees for both waveforms. The measurement in degrees is controlled by the modulation amount and
source. The result can vary depending on the two waveforms you are slicing between, but overall will
introduce changes to the harmonic content. At times it can sound as though two separate oscillators are
going in and out of phase as though they are detuned.
Beware, the Slice method can introduce very high frequency harmonics causing other digital artifacts to
be heard. You will typically have the best results using this method with lower frequency sounds.
Fade allows a smooth crossfading between wave1 and wave2.
Amt
Rotate encoder 8 to change the modulation amount from 000 to 100.
Press encoder 8 switch to quickly jump to a modulation amount value of 000, or 100.
OSCILLATOR FREQUENCY 1-4
Key Tracking
Press encoder 1 switch to turn oscillator key tracking On/Off.
The keyboard icon will show in the top-left corner of the display when key tracking is turned On.
Oct
Rotate encoder 1 to change the oscillator pitch in octaves.
Pitch
Rotate encoder 2 to change the oscillator pitch in semitones.
Press encoder 2 to reset all Oct/Pitch/Fine settings.
Fine
Rotate encoder 3 to change the fine tuning of the oscillator.
There are 128 steps of fine tuning per semitone.
Press encoder 3 to reset fine tuning to a value of 0.
Dtn
Rotate encoder 4 to change the constant beat detuning from -/+ 5.00Hz.
Press encoder 4 to reset constant beat detuning to a value of 0.
15

OSCILLATOR FREQUENCY 1-4
Poly (oscillator 1 only)
Press encoder 5 switch to select a polyphonic mode type. Technically this is a paraphonic mode since all
4 oscillators share a common filter. However, Poly just sounded better than Para.
Selections include:
OFF: Poly mode is off, unit works normally as a monosynth.
Note: Poly modes 1SQ, 1ST, 1RR, and 1RT all use envelope 1 settings to control envelopes 2, 3, and 4.
While envelopes 1, 2, 3, and 4 can all be set independently for Poly modes 4SQ, 4ST, 4RR, and 4RT .
SQ: Sequential, plays voices sequentially 1, 2, 3, 4 as multiple notes are played and held.
ST: Same as SQ with retriggering of Filter and Amplifier envelopes with each new note played.
RR: Round Robbin, each new note plays the next available voice.
RT: Same as RR with retriggering of Filter and Amplifier envelopes with each new note played.
Tip: When using any of the Poly modes, you should set the mixer joystick to center position, and set
mixer sources to:
1: Osc1Env
2: Osc2Env
3: Osc3Env
4: Osc4Env
Note: The sequencer is monophonic. Should you try and play a sound using any of the Poly modes with
the sequencer, Poly mode will be turned Off automatically.
SynK (oscillator 1 only)
Rotate encoder 7 to set the waveform phase this oscillator will jump to when a new note is played.
When set to Off, no oscillator Sync will occur.
Press encoder 7 switch and the SynK value will quickly jump to Off, 000, 090, 180, and 270 degree
values.
Sync1 (oscillator 2-4)
Rotate encoder 7 to set the waveform phase this oscillator will jump to when it syncs to Oscillator 1’s
frequency. When set to Off, no oscillator sync will occur.
Press encoder 7 switch and the Sync1 value will quickly jump to Off, 000, 090, 180, and 270 degree
values.
Glide
Rotate encoder 8 to set the glide time for each individual oscillator.
Press encoder 8 switch to reset the glide time for the currently selected oscillator to a value of 0.
Tip: You can set Oscillators 2, 3, and 4 glide value to (1), and they will track the glide time set for
oscillator 1.
Note: The Vectra uses an autoglide circuit, where notes will glide only when two or more notes are
played simultaneously when using the normal monophonic mode. When glide is set greater than 0 in any
of the poly modes, individual voices can glide from their last played pitch to the currently played pitch.
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OSCILLATOR FREQUENCY MODULATION 1-4
Ctrl
Rotate encoder 2 to select a source to control the amplitude of the LFO.
Press encoder 2 switch to turn this mod source Off.
Rotate encoder 3 to select a source to control the amplitude of the Envelope.
Press encoder 3 switch to turn this mod source Off.
Mod
Rotate encoder 4 to select a third modulation source to modulate the oscillator frequency directly.
FMoct
Rotate encoder 5 to select the overall range in octaves the modulation sources will have on this
oscillator’s frequency. The range is from 0.5 to 10 octaves.
Press encoder 5 to reset the modulation octave range to a value of 1.
LFO(1-4)
Rotate encoder 6 to change the modulation amount this LFO will have on the oscillator’s frequency.
The range is from –99 to 100.
Press encoder 6 to quickly jump to a value of 000, 100, or –99.
Env(1-4)
Rotate encoder 7 to change the modulation amount this envelope will have on the oscillator’s frequency.
The range is from –99 to 100.
Press encoder 7 to quickly jump to value of 000, 100, or –99.
Amt
Rotate encoder 8 to change the modulation amount the defined third modulation source will have on the
oscillator’s frequency. The range is from –99 to 100.
Press encoder 8 to quickly jump to a value of 000, 100, or –99.
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OSCILLATOR LFO 1-4
Key Tracking
Press encoder 1 switch to turn LFO key tracking On/Off. The keyboard icon will show in the top-left of
the display when key tracking is turned On, and the frequency of the LFO will follow notes played on
the keyboard, and sequencer.
Freq
Rotate encoder 1 to set the initial pitch of the LFO. The range is 0.001Hz to 1001Hz.
Note: The LFO frequency will be higher than the frequency shown when key tracking is turned On.
Fine
Rotate encoder 2 to adjust the LFO’s frequency in fine steps from 000 to 127.
There are 128 fine steps of tuning per semitone of pitch or frequency.
Press encoder 2 switch to reset this fine tune amount to a value of 0.
Sync
Rotate encoder 3 to set the waveform phase this LFO will jump to when a new note is played.
When set to Off, no LFO sync will occur, and the LFO waveform will be free-running.
Press encoder 7 and the Sync value will quickly jump to values of Off, 000, 090, 180, and 270 degrees.
FMmod
Rotate encoder 4 to select a source to modulate the LFO’s frequency.
Wave
Rotate encoder 5 to select the waveshape for this LFO.
Press encoder 5 to reset the LFO waveshape to sine when any of the virtual analog waveforms are
selected, or quickly jump to waveform 000, or 500, when any of the 500 digital waveforms are selected.
Start
The Start parameter is only shown when the waveshape is set to any of the 500 digital waveforms.
Rotate encoder 6 to change the start point this digital waveshape will begin reading it’s shape from
memory. The value ranges from 000 to 255 samples, and going beyond the 000 or 255 sample values
will begin selecting the previous or next waveform in memory.
Press encoder 6 to reset the Start parameter to a value to 0.
Note: This start parameter can be used to combine different portions of two adjacent waveforms in
memory for more complex shapes.
FMoct
Rotate encoder 7 to define the number of octaves the modulation amount will have on this LFO’s
frequency. The range is from –99 to 100.
Press encoder 7 to quickly jump to a value of 000, 100, or –99.
FMamt
Rotate encoder 8 to change the amount of effect the modulation source will have on the LFO’s
frequency. The range is from –99 to 100.
Press encoder 8 to quickly jump to a value of 000, 100, or –99.
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OSCILLATOR ENVELOPE 1-4
This mode sets the initial parameters for the Oscillator Envelopes 1-4.
The envelope stages in order are: Delay, Attack, Hold, Decay, Sustain, Release, Repeat/loop.
Atk
Rotate encoder 1 to set the Attack time of the envelope from 0ms to 14.7 seconds.
Press encoder 1 to quickly jump to 0ms, or 14.7 seconds.
Dec
Rotate encoder 2 to set the Decay time of the envelope from 0ms to 14.7 seconds.
Press encoder 2 to quickly jump to 0ms, or 14.7 seconds.
Note: When both the Attack and Decay settings are 0ms, both parameters will show Skip as their value.
This means the envelope will skip over these stages and jump immediately to the Sustain level instead.
Sus
Rotate encoder 3 to set the Sustain level from 0 to 100.
Press encoder 3 to quickly change the Sustain level to 0, or 100.
Rel
Rotate encoder 4 to set the Release time of the envelope from 0ms to 14.7 seconds.
Press encoder 4 to quickly jump to 0ms, or 14.7 seconds.
ENVELOPE SHAPE
Press encoder 5 to change the envelope shape.
There are five DAHDSRR type envelopes.
These envelopes will play or loop as long as a key is held on the keyboard, and then jump to the
envelope Release stage when the key is released.
There are four DAHDR one-shot envelopes.
These envelopes will play through all stages (except Sustain and Release) each time a key is played.
When set to loop, these envelopes will continue to loop even after a key is released.
Dly
Rotate encoder 5 to set the initial Delay time of the envelope from 0ms to 14.7 seconds.
Hld
Rotate encoder 6 to set the Hold time of the envelope from 0ms to 14.7 seconds.
Press encoder 6 to quickly jump to 0ms, or 14.7 seconds.
Rpt
Rotate encoder 7 to set the Repeat (loop) rate from 0ms to 14.7 seconds, or NoLoop.
Press encoder 7 to quickly jump to a Repeat value of 0ms, or NoLoop.
Reset
Press encoder 8 to activate/deactivate the Attack Reset feature. When activated, if an envelope has an
Attack time greater than 0ms, the envelope will start producing attack from the 0 level.
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