FXPANSION DCAM SYNTH SQUAD User manual

2

3
Contents
5Credits
5About this manual
61: Introduction
61:1 Welcome to DCAM: Synth Squad
6DCAM: Synth Squad at a glance
6A note on effects
71:2 Shared aspects of all instruments
81:3 Interface basics
8Loading presets: preset pickers
8Other Preset picker controls
9Preset browser
10 Controlling parameters: initial values (Main view)
10 Fine control over parameters
10 Controlling parameters: TransMod modulation depths
11 TransMod slots
11 Rotary selectors and drop-down menus
11 Numerical text-boxes
11 Buttons
11 Indicator LEDs
12 Parameter context menu
12 Snapping/unit options for tuning and filter cutoff controls
12 On-screen keyboard and performance controllers
13 2: Strobe
13 2:1 Overview
13 Strobe highlights
14 2:2 Oscillator section
14 Oscillator controls
14 Waveform mixing controls
14 Pulse Width controls
14 Direct modulation
15 2:3 Filter section
15 Filter controls
15 Direct modulation
16 2:4 Amp section
16 2:5 Other functions
17 2:6 Modulation
17 Gateable modulators
17 Glide
17 Keytracking (modulation from keyboard pitch)
18 2:7 Strobe signal flow
19 3: Cypher
19 3:1 Overview
19 Background
19 Programming with Cypher
20 3:2 Oscillator section
21 3:3 Shaper section
22 3:4 Filter section: shared controls
22 3:5 Filter section: individual controls for filters 1 & 2
23 3:6 Amp section
23 3:7 Other functions
24 3:8 Modulation in Cypher
24 Gateable modulators
24 Glide
24 Keytracking (modulation from keyboard pitch)
24 Oscillators as LFOs
24 Beating rates as LFOs
25 3:9 Cypher signal flow
25 Osc section
26 Shaper-Filter & Amp sections
27 4: Cypher’s oscillators in detail
27 4:1 Introduction to audio-rate modulation
27 Basics of audio-rate modulation
27 Audio-rate modulation implementations
27 4:2 Frequency modulation
28 Oscillator FM in Cypher
29 Filter FM
29 Envelopes and LFOs
29 Programming hints
30 4:3 Wave modulation
30 Continuous waveshape of Cypher’s oscs
30 Audio-rate waveform modulation
31 4:4 Audio-rate sample and hold
31 Using audio-rate sample & hold
32 4:5 Variable-depth oscillator sync
32 Main uses of osc sync
32 Variable-depth osc sync in Cypher
34 4:6 Beat detune
34 Using the Beat control
34 Beat rates as TransMod modulators
34 Usage with other oscillator functions
35 5: Amber
35 5:1 Overview
35 Divide-down synthesis explained
35 Implementations of divide-down synths
35 String synths in popular use
36 Amber: the next step in divide-down synthesis
37 5:2 Master tuning controls
37 5:3 Synth section
37 Paraphonic oscillator control
37 Filter stage (polyphonic multimode resonant filter)
38 5:4 Ensemble section
38 Paraphonic oscillator control
38 Formant filter stage
38 5:5 Ensemble section chorus stage
39 5:6 Mixer / Amplifier stage
39 5:7 Perform controls
40 5:8 Other functions
40 5:9 Modulation
40 Paraphonic architecture and polyphonic modulation
40 Gateable modulators
41 Synth and Ensemble Envelopes
41 Glide
41 Keytracking (modulation from keyboard pitch)
42 5:10 Amber signal flow
43 6: Common synth functions
43 6:1 Arpeggiator (Strobe and Cypher only)
43 Arpeggiator and LFO
43 Arpeggiator and Keying controls
43 Arpeggiator controls
44 6:2 Keying controls
45 6:3 Glide controls
45 6:4 Settings
46 6:5 Preferences panel
46 Oversampling
46 Perf. Controls (Performance controllers)
46 Managing settings
47 6:6 Visualizer scope
47 Locking and unlocking the Scope
47 Parameter value display
47 6:7 FX versions of synth plugins
48 6:8 MIDI Learn and host automation
48 MIDI Learn
49 Host automation
50 6:9 Program change panel
50 Using the PC panel

4
51 7: Modulation
51 7:1 Introduction to modulation in DCAM: Synth Squad
51 The TransMod system explained
52 7:2 TransMod system overview
52 Main view
52 TransMod Slot views
53 Basic TransMod system operations
53 Scaling
54 7:3 Using the TransMod system
54 Setting initial value of controls (Main view)
54 Fine control over parameters
54 Setting TransMod modulation depths
55 Managing modulation with the parameter context-menu
55 Managing TransMod slots with the slot context menu
55 Mouseover indicators and slot highlighting
56 Load to Mod Slot
57 7:4 Velocity and Performance controllers
57 Velocity
57 Performance controllers
58 7:5 Gateable modulators
58 Types of gating behaviour (Gate parameter settings)
59 Envelope
60 LFO
61 Ramp
62 7:6 Glide, voices and unison
62 Glide
62 Voices and Unison
63 7:7 Tracking the keyboard
63 Pitch keytracking
63 Keyboard zones
64 7:8 Summary of TransMod sources
64 Monophonic sources
64 Mono source sub-menu
65 Perf source sub-menu
65 Polyphonic sources
65 Poly source sub-menu
66 Random source sub-menu
67 Synth source sub-menu
68 8: Fusor
68 8:1 What is Fusor?
68 FuseMod
68 8:2 Interface Overview
68 Fusor LCD
69 Macro controls
69 Edit page buttons
69 Edit workspace
69 Keyboard and performance controls
69 Status display
70 8:3 Global page
70 Device and preset pickers
70 Edit and Power buttons
70 MIDI channels
71 Synth channels
71 Aux FX, Mixer & Master insert FX
72 8:4 Input device pages
72 Key Map page
73 MonoMod page
73 Animator page
74 8:5 Synth channel pages
74 Synth1, Synth2 and Synth3 pages
75 FX1, FX2 and FX3 pages
75 8:6 Aux FX and Master FX pages
75 Aux FX page
75 Master FX page
76 8:7 Fusor FX suite
76 Overview
76 Effect types
78 X4 Quad FX
80 8:8 Modulation in Fusor
80 FuseMod
80 Devices that can be modulated
80 Using the FuseMod system
80 FuseMod modulation sources
81 Using FuseMod modulation within synths’ TransMod slots
82 8:9 Animator: global controls
82 Architecture overview
82 Preset pickers
82 Engine selector
83 Engine type
83 Clocking
83 Important note about clocking and triggering
83 Driving devices with Animator
84 Animator Graph editor
84 Graph lanes
85 Advanced engine type Graph modulation
86 8:10 Animator: Arpeggiator engine type
86 Destination
86 Arp/Seq section
86 Graphs section
86 Triggering section
87 Using the Advanced engine type as an arpeggiator
87 8:11 Animator: Note Sequencer engine type
87 Destination
87 Arp/Seq section
87 Graphs section
88 8:12 Animator: Modulation Sequencer engine type
88 Destination
88 Graphs section
89 8:13 Animator: Advanced engine type
89 Introduction
89 Using the Advanced engine type alongside other types
89 Destination
90 Pattern memories
90 Graph offset controls and modulation
90 Triggering section
92 Arp/Seq section
92 Key Input section
92 Oct Advance section
94 8:14 Fusor signal flow
95 Appendix 1: Standalone application & plugin usage
95 Using the synth standalone applications
95 I/O Settings
96 Using Synth Squad as RTAS plugins in Pro Tools 7.x
96 Using Synth Squad as AU plugins in Logic 7.2 or later
96 Using Synth Squad as AU plugins in Logic 8
97 Using Synth Squad as VST / AU plugins in Ableton Live
97 Using Synth Squad as AU plugins in Digital Performer
97 Using Synth Squad as VST plugins in Cubase 4
98 Using Synth Squad as VST plugins in Sonar
98 Using Synth Squad as VST plugins in FL Studio
98 Using Synth Squad as VST plugins in Reaper
99 Potential problems
100 Appendix 2: Strobe filter modes
101 Appendix 3: Cypher waveshaper modes
102 Appendix 4: Fusor – Overloud Breverb algorithms
102 Breverb Hall
102 Breverb Inverse
103 Breverb Room
103 Breverb Plate
104 Appendix 5: Host automation parameters
104 Strobe
105 Cypher
107 Amber
108 Fusor

5
Credits
DSP Programming Andrew Simper
Additional Programming Angus Hewlett
Steve Baker
Paul Chana
SKoT McDonald
Caleb Reach
Project Co-ordination Steve Baker
Rhiannon Bankston-Thomas
Interface Design Alex Akers
Steve Baker
Angus Hewlett
Artwork/Packaging Design Rus Brockman
Web Programming Andreas Schnetzler
Manual/Copywriting Mayur Maha
Video Production Rory Dow
QA Rob Bantin
Andrew Vernon
Preset design and QA Peter ‘Mod’ Slotwinski
Support Ryan Sellers
Rory Dow
Alex Volmer
Andrew Vernon
Artist Relations Clare O’Brien
FXpansion USA Terry Hardin
Daniel Wilkinson
Preset design
Patchen Preston
Kickflip
DJ Subject
Dave Blakely
Bobule
Michal Garstecki
Janis Chaffin
Francesco Silvestri
Daniel Stawczyk
Rory Dow
Angus Hewlett
Peter ‘Mod’ Slotwinski
Tasmodia tasmodia.com
Raphael S. electric-himalaya.com
Brian Lee xenossoundworks.com
Derik White dustedwilliamsounds.com
SoundsDivine soundsdivine.com
Beta testing
Mark Williams, Sean Ahern, Andrew Capon,
Robert Sfeir, Ashley Smith, Mikael Adle,
Murray McDowall, Jordan Chillcot, Christopher
Reis, Andy Reaburn, Anthony Webster, Paul
Sureno, Andrew Shantz, Joost Gransjean, Scott
McGrath, Kris Giampa, Roy Queenan, Andreas
Beisler, Alice Bernier
Special thanks to Zimon Drake at
French Kiss Films: frenchkissfilms.com
www.fxpansion.com
About this manual
It is beyond the scope of this manual to fully explain every concept of synthesis in detail.
A lot of background information is given in order for you to fully understand DCAM: Synth Squad’s features, but some prior
knowledge of synthesis and audio processing/mixing functions is assumed.
Suggested further reading
The Sound On Sound magazine articles database includes an excellent resource of synthesis information, particularly
the comprehensive ‘Synth Secrets’ series. There are also articles on mixing, effects processing and other relevant topics
when using DCAM: Synth Squad:
http://www.soundonsound.com/articles/Technique.php
There is also an excellent book about synthesis available for free viewing on the web (or as a downloadable PDF file),
called ‘Advanced Programming Techniques for Modular Synthesizers’ by James J. Clark. It is written for the Nord Modular
DSP synthesis environment, but its information is relevant for all kinds of synthesis, no matter what equipment you’re
using:
http://www.cim.mcgill.ca/~clark/nordmodularbook/nm_book_toc.html
Printing this manual
Full permission is granted to print this manual for personal, non-commercial use.
Manual revision 1.01

6
1: Introduction
1:1 Welcome to DCAM: Synth Squad
DCAM: Synth Squad at a glance
DCAM: Synth Squad contains 4 individual devices:
Strobe
• souped-up performance synth
• designed for easy programming of classic subtractive analogue synth sounds
• centred around a simple 1-oscillator architecture
• includes a built-in arpeggiator
Strobe is installed as an instrument and as an effect for processing audio through its circuit.
Cypher
• 3-oscillator, complex synth
• FM and other audio-rate modulation
• several other specialized oscillator functions
• a dual-filter/waveshaper architecture
• a built-in arpeggiator
Cypher is a more challenging environment for programming – if you require a traditional analogue-style sound, you’ll
achieve quicker results using Strobe.
Cypher is installed as an instrument and as an effect for processing audio through its circuit.
Amber
• classic string synthesizer model with divide-down oscillator structure
• constantly generates the notes for a 96-note keyboard range within a single voice
• 3 vintage chorus models and a formant filter
Amber is installed as an instrument and as an effect for processing audio through its circuit.
Fusor
Fusor is an environment for:
• layering synths
• applying FX processing
• step-sequencing
• performing modulation between the various loaded elements
Fusor is installed only as an instrument plugin – it cannot be used as an effect for processing external audio.
A note on effects
None of the individual synths feature built-in audio effects, with the exception of Amber’s chorus, which is essential for a
string synthesizer. You may wonder why we took this decision. There are a couple of main reasons:
1. Classic analogue synthesizers have no problem sounding great without any effects
2. We wanted the synths in DCAM: Synth Squad to sound equally great without relying on any effects
However, we realise that effected super-patches are valid in their own right. This is where Fusor comes in – it includes an
extremely versatile suite of built-in effects, as well as a comprehensive way of modulating them. If effects are vital to you,
we encourage you to use the synths within Fusor to see (and hear) what’s possible.

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1:2 Shared aspects of all instruments
DCAM: Discrete Component Analogue Modelling
DCAM: Synth Squad has been built by accurately analysing and modelling real-world components and circuits found in
vintage analogue synths.
As a result, don’t expect a standard ‘clean VA’ sound from these synths – you would never get perfect waveshapes on a
real VCO-based analogue synthesizer.
What you can expect is a set of meticulously crafted synthesizer instruments that sound truly alive in a way that is very
rare in the digital world.
Voices, Unison voices and polyphony
Each of the synths within DCAM: Synth Squad features an identical approach to synth voices and unison.
These settings result in 4-note polyphony,
with each note being 2 stacked voices.
Strobe and Cypher feature a classic polyphonic architecture – to achieve 2 note
polyphony, for example, 2 whole monosynths are effectively played together at the
relevant pitches.
You can consider each of these ‘monosynths’ as a ‘voice’.
Additionally, you can set up ‘unison voices’ in order to stack more than 1 voice for
each note of polyphony. This is a classic technique used in analogue synthesis to
achieve huge, fat sounds.
Unison voices are taken from the total available voices. The total polyphony is:
voices ÷ unison voices
Amber’s architecture, like any classic string machine, is different to a classic polysynth. It provides 96 simultaneous notes
within a single voice. However, multiple voices can be used for programming more unconventional sounds.
TransMod modulation
Common between all the DCAM: Synth Squad instruments is the modulation architecture, called the TransMod system.
While there are some hard-wired modulation routings in the synths, you will need to use the TransMod modulation system
to perform more sophisticated synth programming functions.
By default, no TransMod slot is selected, and ‘Main’ is highlighted. In this state, only the initial values of parameters can be
adjusted.
First TransMod slot selected – controls can now set and display
modulation depths away from initial values.
Main view selected – only the initial value of all parameters is shown.
Clicking on one of the 8 TransMod slots changes the controls so that you can set a modulation depth on each of them.
Fusor includes a slight variant on the system called FuseMod, which allows various devices within Fusor, including synths,
to modulate each other. It operates in a very similar way to the TransMod system, and is described in section 8:8.
Performance controllers and MIDI Learn
DCAM: Synth Squad features a standardized system for manipulating parameters with MIDI controllers.
Performance controllers are designed to allow you to have access to your most immediate MIDI controllers across all
presets. Typical performance controls include Modulation Wheel, Aftertouch, Breath, Expression controllers and so on.
DCAM: Synth Squad also provides a MIDI Learn system, which allows you to map any MIDI CC# to any parameter.

8
1:3 Interface basics
Loading presets: preset pickers
Preset name
Load to
Mod Slot
PreferencesTools
menu
Save
preset
Preset
browser
Prev/Next
preset
Audio stream
indicator
MIDI
indicator
The instruments in DCAM: Synth Squad have a standardized preset selection system. There are 3 ways of browsing
through presets:
Clicking on the preset name displays a drop-down menu of all available
presets. Click on any preset in the menu to load it.
• Drop-down preset menu
Click on the preset name to display a simple drop-down
list of available presets, arranged by styles.
In order to access all available presets, hover the mouse
over the red up/down arrows at the top and bottom of
each sub-menu. The contents of the sub-menu scroll
up/down to reveal more presets if they are present.
• Prev/Next preset buttons
These buttons provide a quick way of flicking through
presets sequentially.
• Preset browser
Click on the Browse... button in the preset picker to
launch the preset browser, which lets you browse
through presets ‘in-context’ – see below for more details.
Other Preset picker controls
Save preset
This button launches a system Save As... dialog, directed
at the user preset location, It is recommended to save
your presets into this folder so that they are easily
accessible within the preset-loading functions!
Saving a preset with the relevant 2-letter prefix (for
example, BA for basses) results in it appearing in the
respective category sub-menu.
The user preset location is:
<user location>/FXpansion/<synth name>/Presets
Tools menu
The Tools menu contains items for launching the preset browser and Save As... dialog. It also features Cut, Copy and
Paste functions, which can be useful for transferring the current preset to other instances of the synth that are currently
open in your host.
Preferences
Click this button to open the Preferences panel, which is discussed in section 6:5.
Load to Mod Slot
The synth preset pickers contain the Load to Mod Slot button, which offers an advanced function for use with the
TransMod system. See section 7:3 for more details.
Audio stream indicator
This indicator lights up if the synth receives an audio stream. The indicator should be lit if the synth is operating properly in
your host’s audio engine, or within the standalone application if a valid audio interface is selected.
MIDI indicator
This indicator lights up when any MIDI event input is received.

9
Preset browser
The preset browser allows you to browse through presets ‘in-context’.
Load
preset
Refresh
Prev/Next
preset
Search
field
Show PC panel Category
filters
1. Click on the Browse... button in the preset picker in order to display the preset browser.
2. Click on a preset in the list.
3. Play some MIDI notes into the synth – you’ll hear the selected preset.
4. If you click the Load button, the preset will be loaded into the synth.
5. If you click the Cancel button, the synth reverts back to its state before you opened the preset browser.
Presets can be selected either by clicking them in the listing, or by using the Prev/Next buttons.
The Load Preset button allows you to load a preset from any location on your system (rather than merely within the synth
plugins’ own preset folders), while the Refresh button re-reads the contents of the preset folder.
Searching and filtering
The preset browser contains additional functions to filter and search the available presets.
Click in the Search field at the top-right of the preset browser, type a search term
and press ENTER in order to search the name, author and style fields and display
matching results.
The 3 category filters allow you to narrow down the displayed presets by the following criteria:
Collections Filters by preset collection. By default, Factory and User collections exist.
You can also compile new collections using the PC panel (see below).
Preset author Filters by the name of the preset designer.
Preset style Filters by preset style (Bass, Chord, Drum, Keys, Lead, Organ, Pad, Texture, Unison,
Arpeggiated, Special FX or Sequenced).
All 3 filters and the search facility can be used at the same time.
The preset browser contains the program change (PC) panel, which is shown by clicking the Show PC Panel button. This
function is described in section 6:9.

10
Controlling parameters: initial values (Main view)
When the ‘Main’ view is selected, only the initial value of a control can be adjusted.
The initial value of a
control is adjusted by
clicking it and dragging
up/down.
Main view:
Sliders
Main view:
Rotary pots
The initial value of a
control is adjusted by
clicking it and dragging
up/down.
You can also double-click the control, type a value and
press ENTER or RETURN.
Main view
Fine control over parameters
Hold down the SHIFT key while adjusting a control for finer resolution.
Controlling parameters: TransMod modulation depths
Each synth features 8 TransMod slots, which allow modulation depths to be set on almost all synth parameters.
When a TransMod slot is selected (see below), the synth’s controls can be adjusted in the following ways:
You can also double-click
outside the slider cap,
type a value and press
ENTER or RETURN.
Click outside the slider cap and
drag up/down.
The slider cap divides and the
modulation depth from the initial
value is set.
You can also move the part of the
slider cap with the arrow to adjust
modulation depth.
TransMod slot selected:
Setting modulation depth
Click the slider cap and drag
up/down, or double-click to type
a value and press ENTER or
RETURN.
TransMod slot selected:
Setting initial value
Drag the initial part of the slider cap
(without the arrow):
The initial value and the modulation depth
are adjusted together.
You can also double-click to type a value.
TransMod slot selected:
Setting initial value + depth
Hold down ALT and click/drag the initial
slider cap (without the arrow):
Only the initial value is set – the
modulation depth is unaffected.
TransMod slot selected:
Setting initial value only
Sliders
• When modulation already exists, 2 additional ways of manipulation are possible:
TransMod slot selected:
Setting initial value only
Hold down ALT and click/drag the centre
of the pot:
Only the initial value is set – the modula-
tion depth is unaffected.
TransMod slot selected:
Setting initial value + depth
Click and drag the centre of the rotary pot
to adjust the initial value and modulation
depth together.
You can also double-click to type a value.
You can also double-click
in the outer ring, type a
value and press ENTER
or RETURN.
TransMod slot selected:
Setting modulation depth
Click and drag the outer ring
around the rotary pot to set the
modulation depth from the initial
value.
TransMod slot selected:
Setting initial value
Click the centre of the
rotary pot and drag up/down.
Rotary pots
• When modulation already exists, 2 additional ways of manipulation are possible:

11
TransMod slots
When you first launch a DCAM synth, it displays its Main view.
The Main view only edits the ‘basic state’ of the synth – the initial values of all controls before any TransMod modulation.
TransMod
slots 1-8
Prev/Next
slot buttons
If you click on any of the 8 TransMod slots’ selection area (where it says ‘via’), or use the Prev/Next slot buttons, the
synth’s interface changes so that most of its controls are able to set and display modulation depths away from the initial
value.
In this example, Strobe’s first TransMod slot (assigned to key-on velocity) contains modulation for the
osc Saw waveform level, filter Cutoff and amp Level parameters.
See chapter 7 for full details of the TransMod system.
• Click & drag:
Click the value and drag it up/down.
• Double-click & type:
Double-click the value, type a new one and
press ENTER/RETURN.
• Rotary selector click & drag (left):
Click the rotary selector and drag up/down.
• Rotary selector drop-down menu (below):
Click on the display that shows the setting and select the relevant
setting from the drop-down menu that appears.
• Fusor contains some rotary selectors that
are essentially pots (such as Steps in the
screenshot to the right), some which have
associated drop-down menus (such as Step Duration) and some which are simply drop-down
menus (such as the Multiplier controls).
Drop-down menus can also be found in the synths – for example, TransMod slot source/scaler
menus, performance controller selectors in the preferences panel and the preset menu (click on
the preset name).
Rotary selectors and drop-down menus
Numerical text-boxes
There are two ways to adjust these controls:
Buttons
Buttons are generally ‘toggle’ type buttons – click to activate, click again to deactivate. Buttons light up when
activated. Some ‘radio’ button-style controls exist, such as the sub-oscillator Octave buttons in Strobe.
Indicator LEDs
DCAM: Synth Squad instruments contain indicator LEDs which light up to represent LFO rates, audio-rate modulation
and so on. Do not confuse these with buttons, which are larger.

12
Parameter context menu
Right-click (or CTRL-click) on any control to show its parameter context menu, which
offers a number of functions and options relating to the control.
Reset Param
Resets the control’s initial value to its default setting.
Clear Param Mod
Clears any modulation depths that exist for the control in the current TransMod slot.
Clear Param All Mod
Clears any modulation depths that exist for the control in all TransMod slots.
Lock Scope
Unlock Scope
You can lock the visualizer scope to the section of the synth that contains the current
parameter (see section 6:6).
Clear Learn
Clears any MIDI Learn assignment that exists for the parameter (see section 6:8).
Snapping/unit options for tuning and filter cutoff controls
Any controls related to audio pitch or frequency (usually oscillator pitch and filter cutoff controls) offer 3 distinct modes of
operation, which are accessed via the parameter context menu.
The Just and Harmonic modes are based on perfect pitch ratios, rather than absolute frequency settings. This is
particularly useful for programming musically harmonic frequencies when using Cypher’s audio-rate modulation functions.
Using these modes means you you don’t have to calculate such frequencies manually.
These modes persist independently – all tuning controls within each synth possess their own mode, and all filter controls
possess their own mode.
Just
Uses perfect pitch ratios rather than imperfect, equal-tempered pitch.
In this mode, pitch or filter cutoff controls are set in harmonics (Hm).
There is no snapping to whole harmonics.
Harmonic
Similar to Just, except that the control snaps to whole harmonics.
Equal
Represents equal-tempered tuning in semitones, snapping to whole semitones.
Off
Turns off all snapping/unit options: the control is set in semitones but does not snap to whole semitones.
On-screen keyboard and performance controllers
Performance
controllers
1 & 2
MIDI Learn Panic button
(all notes off)
Pitch bend
wheel Octave down/up Keyboard
This area of the interface mainly contains controls that are representations of hardware input – the keyboard, pitch-
bend wheel and performance controllers 1 and 2. While these are intended to be used with MIDI hardware, the interface
elements can nevertheless be controlled with the mouse. Use the Octave down/up buttons to access the full range of
MIDI notes on the keyboard.
There are a couple of other MIDI-related functions in this area:
MIDI Learn button
Engaging this button enters MIDI Learn mode. This function is discussed in section 6:8.
Panic button
Clicking this button results in a MIDI reset – all notes are turned off. Use this to stop any notes that are hung or have a
very long amp envelope release time.

13
2: Strobe
2:1 Overview
Strobe is a performance synthesizer, designed to be easy to program so that you can get on with playing great-sounding
music! A single-oscillator synth with osc-stacking, sub-oscs and osc sync, it also features a versatile multimode filter, LFO,
ramp generator, two envelopes and an arpeggiator.
While being inspired by relatively simple monosynths such as the Roland SH series (especially the SH-09 and SH-101),
Oberheim OB-1 and SCI Pro-One, Strobe is not an exact model of any particular synth. It has been designed to take the
performance synthesizer into a new dimension.
Strobe highlights
Unlike the monosynths which inspired its design, Strobe is capable of polyphony - you can set up as many voices as your
CPU can handle, and define a number of unison voices. For example, with 8 voices and 2 unison voices, the result is 4-
note polyphony with each note comprising 2 unison voices.
Strobe is designed for powerful analogue-style bass, lead and pad sounds. The filter section features a large variety
of modes, leading to wide range of potential timbres. The detailed filter model includes realistic overdrive of the circuit,
further increasing the tonal range. The osc-stacking allows many possibilities that are normally only possible when using
multiple oscillators or unison voices.
While the synth’s architecture is quite simple, with certain ‘obvious’ hard-wired modulation routings
already available via dedicated depth controls, the TransMod modulation system provides a huge
selection of monophonic and polyphonic modulation sources, which can be routed to virtually any
synthesis parameter. Strobe’s power truly comes alive when using imaginitive modulation,
which greatly expands its sound and performance potential.
Try also stacking 2 or 3 instances of Strobe in Fusor, which allows you to inter-
connect modulation sources between instances.

14
2:2 Oscillator section
Pulse Width
direct mod: Key
Pulse Width
direct mod: LFO
Pulse Width
direct mod: Env
Octave
buttons for sub-oscs
Pitch direct
modulation:
- Key
- LFO
- Env
Main osc
waveform mixer
Sub-osc
waveform mixer
Oscillator controls
Tuning: Pitch & Fine
These are the main tuning controls for the oscillator. The Pitch can be modulated from the keyboard, LFO and Mod
Envelope using the dedicated controls.
Sync
The oscillator features a ‘hard sync’ function: you can increase the frequency of the oscillator with the Sync control, but it
is re-synced on each cycle of the lowest sub-oscillator.
The resulting waveform has the same overall pitch as the original osc but with added harmonics that create more complex
timbres.
Stack & Detune
These controls comprise the oscillator-stack function, which provides classic multi-osc sounds using a single oscillator,
without needing to use additional unison voices.
The Stack control sets the number of stacked oscillators, while the Detune control detunes them up to an octave apart
from the main oscillator pitch. For a ‘detuned supersaw’ sound, set the Detune control to around 5%, and then increase
the Stack control to 2 or 3 (or any number up to 5!).
Waveform mixing controls
Main osc and sub-osc mixer
The main osc mixer contains level sliders for Saw, Square (Sqr) and Noise (Nse) (gaussian white) waveforms.
The sub-osc mixer features level siders for Sine (Sin), Triangle (Tri), Saw and Square (Sqr) sub-oscillator waveforms.
Each of these can be set 1, 2 or 3 octaves below the main osc pitch using the Octave buttons.
The level sliders allow you to freely mix the levels of all these parallel waveforms.
The Square waveforms, for both the main osc and sub-osc, are in fact pulse waveforms. Their pulse width can be
manipulated with the controls in the Pulse Width section of the oscillator.
When using the StrobeFX plugin (MIDI-controlled audio effect plugin version), the external audio input appears in place of
the Nse source.
Pulse Width controls
PW & Sub PW
The Square waveforms in Strobe are actually variable-width Pulse waveforms.
The Pulse Width section allows you to control the pulse width of the Square main oscillator and sub-oscillator shapes
using the PW and Sub PW controls respectively.
The main osc pulse width (PW) can be modulated from the keyboard, LFO and Mod Envelope using the dedicated
controls.
Direct modulation
The oscillator section contains dedicated controls for setting the modulation depth of the osc’s Pitch and the Pulse Width
of the main Square waveform (the sub-osc pulse width must be modulated via the TransMod system) from 3 modulation
sources:
• Keytracking
• LFO
• Mod Envelope

15
2:3 Filter section
Filter cutoff
direct mod: Key
Filter cutoff
direct mod: LFO
Filter cutoff
direct mod: Env
Filter Power
Strobe’s filter is its main source of tonal variation,
especially when modulated. While there are direct
modulation routings to the cutoff from the keyboard
pitch, LFO and Mod Envelope, the filter’s controls
can be modulated with the TransMod system for
really creative and varied effects.
Strobe’s filter is based on an OTA (operation
transconductance amplifier) cascaded core, with a
diode clipper in the feedback section. The diodes
are slightly mismatched, leading to the characteristic
growl of a real analog filter.
Filter controls
Power
The Power button switches the filter on or off. When
the button is disabled, the audio from the oscillator passes through the filter unaffected.
Cutoff & Res (Resonance)
The Cutoff control determines the cutoff frequency of Strobe’s filter.
The Res control adds emphasis around the cutoff frequency, giving a warm, resonant sound to the osc tone. At extreme
Res settings, the filter self-oscillates.
The cutoff can be modulated from the keyboard, LFO and Mod Envelope using the dedicated controls.
The control is adjusted in semitones, allowing you to tune the self-oscillating filter just like an oscillator. Setting the
keytracking depth control to maximum allows you to ‘play’ the filter musically from the keyboard.
Drive
The Drive control increases the gain of the signal going into the filter. This overloads the filter’s components, drastically
changing its sound and character.
Note that the effective resonance is reduced as you turn up the Drive control.
Mode
A large variety of filter modes are available by adjusting the Mode control.
Note that filters denoted as ‘T’ feature 2 or more filters with an octave between the frequency of each. The first filter in the
name is at the cutoff frequency, with subsequent filters each an octave higher than the last. The only exceptions are the
last 2 filter modes - see the table below. Graphical plots of the filter responses can be found in Appendix 2.
In other combination filters, all filters act at the cutoff frequency.
L2, L4, B2, B4, H2, H4 2-pole (12 dB/oct.) & 4-pole (24 dB/oct.) Low-pass, Band-pass & High-pass filters
P2 2-pole Peak filter
NP2 1-pole Notch and 2-pole Peak filters
N2P2 T 2-pole Notch and 2-pole Peak filters, an octave apart
N2L2 T 2-pole Notch and 2-pole Low-pass filters, an octave apart
N2H1L1 T 2-pole Notch, 1-pole High-pass and 1-pole Low-pass filters, each an octave apart
P2N2 T 2-pole Peak and 2-pole Notch filters, an octave apart
H2N2 T 2-pole High-pass and 2-pole Notch filters, an octave apart
H1L1N2 T 1-pole High-pass, 1-pole Low-pass and 2-pole Notch filters, each an octave apart
N2P2N2 T 2-pole Notch, 2-pole Peak and 2-pole Notch filters, each an octave apart
N2 2-pole notch filter
N4 4-pole notch filter
N2L2 2-pole Notch and 2-pole Low-pass filters
H2N2 2-pole High-pass and 2-pole Notch filters
H1N2L1 1-pole High-pass, 2-pole Notch and 1-pole Low-pass, each an octave apart
N2N2A T 2-pole Notch with 2-pole Notch an octave higher than the cutoff frequency
N2N2B T 2-pole Notch with 2-pole Notch an octave lower than the cutoff frequency
Direct modulation
The filter section contains dedicated controls for setting modulation depth of the filter Cutoff by 3 modulation sources:
• Keytracking
• LFO
• Mod Envelope

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2:4 Amp section
Strobe’s amp section can be overloaded like that of a real analogue synth VCA (voltage-controlled
amplifier). There is a waveshaping stage between the Amp and final Level controls, which is capable
of distortion when its components are driven hard.
If you want a cleaner sound, keep the Amp control at low settings and increase the Level.
If you want to overload the amp by increasing the Amp parameter, remember to turn down the Level
control. Otherwise, the output of Strobe may clip.
Amp
The Amp parameter is directly modulated by the Amp Envelope. Its value represents the amplitude at
the maximum value of the AmpEnv (at the end of its attack stage).
In order to achieve velocity-sensitivity for amplitude, modulate the Amp parameter with the OnVel+
source (found in TransMod slot 1 in all DCAM: Synth Squad presets).
Pan
The Pan parameter sets the position of the voice in the stereo field.
Try modulating this control with the TransMod system, using a Voice modulation source – this leads to a rich stereo spread
of the voices when playing chords.
Level
This parameter sets the final Level of the voice before it is summed with all other active voices.
Analogue
The Analogue parameter simulates the effect of noise and mains hum in certain parts of the audio and control signal
paths, something that always occurs in real analogue synth circuits. At lower settings, it leads to a subtly gritty and slurring
character, while higher settings create a more unstable and noisy sound.
2:5 Other functions
Built-in Arpeggiator
The arpeggiator is common to both Strobe and Cypher. See section 6:1
for details on using the arpeggiator.
Settings, Glide and Keying controls
These parameters are common to all synths, and are covered in sections 6:2, 6:3 and 6:4.
Visualizer Scope
The visualizer scope provides context-sensitive graphical
feedback for each section of Strobe. See section 6:6 for
more details on this feature.

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2:6 Modulation
Strobe contains several modulators that feature direct routings and depth controls for certain destinations. These sources
can also be used in the TransMod system (see chapter 7) to modulate other parameters and perform more complex
modulation. There are many other TransMod sources available beyond the modulators shown on the interface.
Gateable modulators
Gateable modulators (which can be gated with note-on/-off or triggered with note-on) feature a number of different gating/
triggering modes, including the ability to gate or trigger each other. For more details, see section 7:5.
LFO
Direct routings: Osc Pitch, Pulse Width, Filter Cutoff
Gateable by: Poly, PolyOn, Mono, Ramp, ModEnv,
Song
Ramp
Direct routings: none
Gateable by: Poly, PolyOn, Mono, ModEnv, LFO, Song
Mod Envelope
Direct routings: Osc Pitch, Pulse Width, Filter Cutoff
Gateable by: Poly, PolyOn, Mono, Ramp, LFO, Song
Amp Envelope
Direct routings: VCA Amp
Gateable by: Poly, PolyOn, ModEnv, Ramp, LFO, Song
Glide
Strobe is capable of smoothing both velocity and pitch
control signals.
For further details on the Pitch Glide and Vel Glide
functions, see sections 6:3 and 7:6.
Keytracking (modulation from keyboard pitch)
Direct routings: Osc Pitch, Pulse Width, Filter Cutoff
Keytracking is modulation from the pitch of the keyboard. The pitch modulation source value increases by 1 over each
octave. As well as the direct routings and depth controls specified above, keytracking can also be achieved for any other
parameter by using the Pitch source in the TransMod system.
See section 7:7 for more details about keytracking.

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2:7 Strobe signal flow
The following signal flow diagram represents a single voice of Strobe. Only direct modulation is shown – there are many
further possibilities when using the TransMod system.

19
3: Cypher
3:1 Overview
Cypher features a dual-filter/waveshaper architecture and a highly complex, versatile set of 3 modelled oscillators. While
it can be used as a 3-osc analogue-style subtractive synth, it has been designed to be used primarily for FM, audio-rate
modulation and other advanced oscillator functions. Using Strobe is recommended for most ‘conventional’ subtractive
sounds, as it is optimized for quick and easy programming.
Also included in Cypher is an arpeggiator identical to that found in Strobe, and other common DCAM: Synth Squad
functions such as the TransMod system for advanced modulation.
Background
The ethos behind Cypher is to provide a truly accurate model of an analogue synth capable of analogue-style FM and
other audio-rate modulation (as opposed to multi-operator FM such as that found in Yamaha DX-series digital synths). It
features thru-zero FM which allows musical digital FM-style sounds with an analogue-style circuit.
Some examples of analogue synths that feature FM are the SCI Prophet 5 and Roland Jupiter series,
which allowed one osc to modulate another. Most modular synths also allow you to patch any audio-rate
signal to vary the osc frequency.
Programming with Cypher
Cypher requires a slightly different approach to a more conventional analogue-style synth. Chapter 4
features a detailed discussion of the specialized functions of Cypher’s oscillators, which are the main
focus of timbral variety in the synth.
Each osc is tuned using a Scale control in relation to a variable master pitch. Since any pitch-related
control in DCAM: Synth Squad features several snapping modes including ‘harmonic’, you can tune
each osc with harmonic ratio multipliers instead of absolute frequencies. This means you don’t
have to calculate harmonic frequencies yourself, making musically useful FM sounds much
easier to achieve than with traditional
analogue oscillators. See section 1:3 for
more details of the snapping functions.

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3:2 Oscillator section
This section is a brief overview of Cypher’s oscillator functions. Please read chapter 4 to gain a full understanding of the
oscs’ special capabilities.
Osc
Power
Frequency
indicator
LED
Ring Mod
Filter Mix
Oscillator 1
Blend control
Oscillator 2
Oscillator 3
Osc 3
WM from 2
Osc 2
FM from 3
Osc 2
Sync to 1
Osc 3
Sync to 1
Master
tuning
Pitch, Fine & Scale
The pitch of each of the 3 oscillators is scaled against the master tuning (set using the Pitch and Fine controls), using
their respective Scale parameters.
By setting the Harmonic mode on a pitch control’s parameter context menu, each osc’s Scale control can operate in
harmonic pitch ratios instead of semitones, useful when dealing with FM and other audio-rate modulation processes.
Power
Each osc features a Power button to enable it. With the button disabled, the osc is deactivated.
Wave
The shape of each oscillator can be varied continuously between Triangle, Saw, Square and Pulse waveforms, using the
Wave control.
Due to their continuously variable nature, Cypher’s oscs do not feature a dedicated pulse width control – in order to vary
pulse width, you must modulate the Wave parameter in the square/pulse region of its travel.
The waveform of Osc3 can be varied at audio rate by Osc2 using the WM from 2 control.
FM from 3 & WM from 2
Audio-rate modulation refers to modulating a parameter at the very fast speeds of audio waveforms, as opposed to the
slower speeds of LFOs and envelopes (known as control-rate modulation). The audio-rate modulation in Cypher is the
result of extremely detailed modelling, and strives to reproduce the complex behaviour that results when modulating
analogue components at audio-rate. Here’s a summary of what Cypher can do in this respect:
• Audio-rate Frequency modulation of Osc2 by Osc3 using the FM from 3 control on Osc2 (see sections 4:1 and 4:2)
• Audio-rate wave modulation of Osc3 by Osc2 using the WM from 2 control on Osc3 (see section 4:3)
Sync to 1
The Sync to 1 controls in the Osc2 and Osc3 sections allow you to sync these oscs to Osc1’s frequency. Rather than
a simple on/off button for this function, Cypher features a continuous control that provides full ‘hard’ sync at 100% and
variable degrees of sync between 0 and 100%. This feature is covered in detail in section 4:5.
Beat
The Beat control allows you to detune one oscillator against another while keeping the rate of the resulting ‘beating’
constant across the keyboard. This opens up new rhythmic ways of playing sounds with classic detuned-beating
characteristics. See section 4:6 for a detailed discussion of how the Beat control works.
This control also sets the osc’s frequency (or rate) while the Osc is in LFO mode (when the Low button is enabled).