Kodamo Essence FM MKII User manual

Preliminary Version
12-12-2019
For reference only

Welcome to the Kodamo EssenceFM! Thanks for urchasing our instrument, which re resents
another and new vision of FM synthesis. We were always focused on making the EssenceFM
“musician oriented”, aiming for reliability and comfort of use in every situation.
This manual was written to offer you the best ex erience you’d get from the EssenceFM. We
recommend to read at least the first section and store this handbook reciously in case you want
to get further information.
Main features
- 300-voice oly hony 6-o erator FM sound engine,
- 16- art multitimbral,
- 6- oint loo able envelo es,
- Free Algorithm and Envelo e Design,
- 8-cord Modulation matrix with 138 sources/228 destinations,
- 24 user-editable Waveforms,
- 2 inde endent Multi-Effect DSPs
- Powerful Voice Sequencer
Safety Precautions
- Use only the su lied ower ada ter.
- Ensure your outlet is ro erly grounded
- Do not cover the vent holes to revent overheating
- Do not o en the device.
- Do not ex ose the device to water or any kind of liquid. If this ha ens, immediately turn
it off and un lug it, then ut it in a warm lace. Try turning it on again only when it’s
com letely dried.
- Do not use the device in excessively hot environments (>40°C)
- Do not ut any heavy objects on the device, the touch screen could be easily damaged.
- Ensure the device is in a stable osition before using it
- Never ower off the device when you are saving
Please regularly save your data to a USB storage device (see Global > Storage). Like on most
synthesizers, a ower loss while saving may corru t your sounds!

Table of Contents
Making connections...............................................................................................................7
Let’s lay !..............................................................................................................................7
Introducing the Front Panel...................................................................................................8
User Interface Elements.........................................................................................................9
First ste s.............................................................................................................................10
Introducing FM synthesis...............................................................................................10
Sound design ti s...........................................................................................................11
Voice mode..........................................................................................................................12
Voice List..................................................................................................................12
Voice Editor....................................................................................................................12
Algorithm design......................................................................................................13
Editing voice/o erator arameters..........................................................................13
Voice settings...........................................................................................................13
O erator settings.....................................................................................................16
Envelo e Edit ..........................................................................................................17
Patch mode..........................................................................................................................18
Patch editor...................................................................................................................18
Layer management..................................................................................................18
Patch settings...........................................................................................................19
Layer settings...........................................................................................................19
Voice Sequencer......................................................................................................20
Performance mode..............................................................................................................21
Manager.........................................................................................................................22
Part Editor......................................................................................................................22
Effects / Routing.............................................................................................................23
Effect selection........................................................................................................23
Knob Assign....................................................................................................................23
Global mode.........................................................................................................................24
Global > MIDI.................................................................................................................24
Global > Tuning..............................................................................................................25
Global > Waveforms.......................................................................................................25
Waveform Editor.....................................................................................................26
Sorting............................................................................................................................26
Dis lay...........................................................................................................................27
Storage...........................................................................................................................27
Audio..............................................................................................................................28
System...........................................................................................................................28
Reset........................................................................................................................28
Demo.......................................................................................................................28

TouchPiano....................................................................................................................28
Automation..........................................................................................................................29
Effect List..............................................................................................................................29
Troubleshooting...................................................................................................................30
Making connections
It’s the moment to lug your EssenceFM!
All the back anel connectors are detailed below:
-Audio Out ut Pairs 1 to 4 (¼ inch / 6,35 mm TRS hone jacks): Each air can o erate as a
stereo bus (cf. FX and Routing section). Each out ut delivers balanced signal, but still can
be connected to an unbalanced TS jack.
-USB (Ty e B): Connects to a host system for USB-MIDI transmission.
-Ethernet (8- in RJ45): Connects to a network to carry MIDI-RTP ackets.
-MIDI Out (5- in DIN): Connects to any MIDI instrument to be controlled by the
EssenceFM.
-MIDI Thru (5- in DIN): Any MIDI data fed into the MIDI In ort will be out ut here
directly.
-MIDI In (5- in DIN): Connects to any MIDI controlling device (e.g. master keyboard,
synth, sequencer, com uter MIDI interface, wind controller, etc.)
-DC Power su ly: Connects to the su lied 12V DC 2A ower unit.
Let’s play !
When owered u , the EssenceFM starts in
Patch mode by default, letting you lay with its
resets sounds.
Just scroll down the list and select a atch by
ressing on its name to use it.

The EssenceFM ower resides into its structure,
smaller elements are stacked to make big
ensembles. Let’s familiarize with it.
Voice: The Voice is the smallest element that the
EssenceFM uses to make a sound. It’s the basic
starting oint to make a sound.
Patch: The Patch is basically gathering one or
more voice(s), by stacking, layering, sequencing them together and adding effects. It’s the main
element to lay with the EssenceFM.
Performance: The Performance is the dedicated mode to multitimbral o eration. It allows you to
assign a atch to each MIDI channel. In this mode the effects DSPs are shared, ignoring atch effect
settings.
Introd cing the Front Panel
The EssenceFM’s front anel is based on the combination of a large touchscreen and hardware
controls. Hardware controls rovide a quick access to the most common features.
MODE KEYS
- Performance
- Patch
- Voice
- Global
Those keys rovides direct access to the
associated modes. See the
Performance/Patch/Voice/Global sections to
know more about them.
DATA ENTRY
-Direct Access knobs: Those 6 knobs are used for the Direct Access feature described
below, exce t on the main age of the Performance mode, where they act as real-time
MIDI controllers.
-Main Dial: Modifies the focused element on screen (which will be detailed in the next
section).
-Inc / Dec: Works in the same way as Main Dial (increments and decrements value)
EDIT KEYS

Copy: Places the focused element into the cli board for further use.
Paste: Places the cli board content into the focused element.
Undo: Discards the last o eration, u to 1000 times. Note: leaving a age resets the undo/redo
history.
Redo: Restores the reviously discarded o eration.
Save: Saves the current element into the internal memory. A art from some global settings, an
element is never automatically saved when co ied, moved or edited, you need to ex licitly ress
Save. Pressing save on a general age (e.g. Patch list) will o en a o u allowing you to save some
s ecific elements, or to save them all.
Recall: Reloads the edited element ( erformance, atch, voice, scale or waveform) from its last
saved state.
MISC.
Preview (♪): Plays a few notes to quickly listen to an element without having to use a MIDI
controller. To customize review, take a look at the Preview tab in Global > MIDI age.
Panic: Immediately sto s all notes currently laying.
User Interface Elements
The EssenceFM user interface is organized into ages. After ressing a mode key, the main age of
the mode is dis layed, then you can access more sub- ages from it.
The breadcrumb located at the to of the screen always shows you were you are in the age tree.
You can navigate back by ressing on a age's name.
Note the asterisks (*) on some age names. It means that the related element was modified but
wasn't saved. When the asterisk is not on a age re resenting a s ecific element but on a
«general» age (like Patch here, which is the atch list), that means at least one atch is unsaved.
As described above, ressing Save here will allow you to save all or some of the modified elements,
without having to reach all of them one by one.
If you are not familiar with com uters and user interfaces, here is a descri tion of the elements
you'll find in the EssenceFM :
Foc s notion: Focus is the gra hical re resentation of which element is currently editable, it’s
re resented by a frame surrounding the focused element. A focused element is directly editable by
turning the Main Dial knob, ushing INC/DEC keys, and is eligible to a COPY/PASTE o eration.
Direct Access feat re: The 6 knobs located on the right side of the touchscreen allow you to edit
values without needing to focus the element. Elements concerned by Direct Access are always
flagged with the associated knob number. It’s mostly sliders, but envelo e oints can be directly

accessed this way too. (see Architecture Reference cha ter to see how the Envelo e Editor works)
Pop p: A window that a ears in front of the rest of the age for an action confirmation, or to
show you more arameters relative to the button you ressed.
B tton: Clicking it triggers an action, exactly as a hysical key can do. It’s used to go to a sub age,
confirm an o eration, etc.
Slider: Allows you to set a value. To modify it, sim ly drag horizontally the slider gauge. You can
also ty e directly a numerical value by using the virtual key ad. To access it, focus the slider you
want to modify, then click on the Key ad button at the to right corner.
List: Allows you to select an element in a list. You can swi e it vertically to quickly scroll across the
elements, or slowly move your fingerti to reach recisely what you are seeking in the list. Any list
element can also be accessed by entering its index with the virtual numerical key ad (by clicking
on the button after it’s focused, like the
slider).
Text field: Allows you to enter text data
(e.g. atch name). Clicking on it o ens the
al hanumeric virtual keyboard.
Checkbox: A arameter that can be
activated (checked) or deactivated
(unchecked).
Radio B tton: Allows to make a choice
between several o tions. Unlike
checkboxes, radio buttons are at least two, and only one can be selected at a time into a set.
Tab field: S lits interface elements into several tabs, which are like small ages. Accessing a
articular tab is done by clicking on its header.
First steps
Introd cing FM synthesis
FM stands for “Frequency Modulation”. A waveform is multi lied (“modulated”) with another
waveform to create a new one. It’s the same as vibrato, exce t that it is much faster, so much
faster that it sounds like a different timbre to the ear, rather than a quick vibrato.
If you’re familiar with the subtractive synthesis used in analog synths, FM is the o osite: you
usually start from sounds with low harmonic content (e.g. a
Sine Wave), that once modulated will create the desired
harmonics.
The new harmonics created, sometimes called “Partials”,
de ends on the frequency ratio between the carrier (the base
sound) and the modulator (the one modulating the carrier’s

signal).
In FM synthesis, a block generating sound is usually called an O erator, and the O erator
arrangement is called an Algorithm.
An FM Algorithm is usually re resented as below, and is to be read from to to bottom.
When an o erator is feeding its signal into another one under it (1, 5 and 6) it is called a Modulator
-you don’t hear its direct sound-, while o erators at the bottommost (2, 3 and 4) are Carriers.
Changing the volume of a carrier will effectively change your sound’s volume, but doing the same
thing on a modulator with modify the harmonic content of the sound. This is where the ower of
FM synthesis resides! Cou led with envelo e generators, harmonic content that changes over time
is easily achieved.
There may be several modulators for one carrier, in this case their out ut is sim ly summed before
the modulation ha ens (additive synthesis). Or there may be a modulator modulating several
carriers, in that case its out ut is sim ly sent to each carrier.
The quickest way to learn FM synthesis is by looking at existing sounds. Go into Voice mode, select
one from the list and ress “Edit”. Now you're free to modify it, destroy it or make it better!
FM synthesis has the big advantage of being really fun to work with - after about 10 years
ex erimenting with it, we are still sur rised by the variety of sounds we can get from it.
We ho e you’ll like it as much as we do!
So nd design tips
Start with a single audible o erator (mute the others), then build your sound from it, by adding
o erators as you need them. Instead of using a single modulator with a very high volume, try using
several of them chained in different ways, with a lower volume to achieve a more refined sound.
When trying to achieve a articular sound, try to s lit it into several sub-sounds to make them
easier to manage. For exam le, for a an flute, you may want to create a short noise attack sound
+ a sustained, cleaner i e sound.
Use the sine wave first. They are the most flexible and useful in FM synthesis. Use other
waveforms with care, as their aliasing limit is easily exceeded. You will find that some waveforms
are well suited to some instruments (like the Square wave for cymbals, or the HSine for bowed
strings).
When you have a good sound that is just a bit “thin” sounding, try detuning an o erator (“Fine”
arameter) to create a rotating hase shift. If the wobbly effect isn’t a ro riate, try instead
overla ing two instances of the voice in Patch mode, with a slight detune a lied to one of it.
Also, don’t underestimate the effects. Some chorus or haser may do wonders.

Voice mode
In Voice mode you can organize, lay and edit a 6-o FM voice. This mode res onds to the Global
Channel, see Global > MIDI configuration.
Voice List
Bank / Voice Lists: Those lists allows
you to select the voice you want to lay
or edit in this mode
By Category: Shows the voices/ atches
sorted by Category instead of sorting
them by Bank.
Find : Allows to search a voice by
name.
MIDI activity indicator : Shows the
Pan (light vertical bar), Volume (height),
Channel (channel number or G for
global channel) and MIDI activity (color) in a very com act way.
Edit: Goes into the Voice Edit Mode
Swap: Swa s the current voice with another one, select via a o u .
Clear: Resets com letely the current voice
Show Patches: Shows all atches using the selected voice. It’s useful to see which atches will be
affected when editing this voice.
These arameters on the aren’t stored within the voice, they are for laying ur oses:
P.Bend Range (0 ~ 96): Pitch Bend range in semitone
Vol me (0 ~ 127): Volume of the voice
Pan (0 ~ 127): Pan of the voice
Mono: Toggles voice to monodic lay
mode
PortSpd (0 ~ 127): Portamento S eed,
works only when the voice is in Mono
Mode
Voice Editor
The voice editor is s lit into two arts:
the left art of the screen always
dis lays the algorithm, while the right

anel dis lays arameters relative to the selected element.
Algorithm design
The algorithm on the left side of the screen shows the o erators, their out ut level is dis layed in
real-time when you are laying, allowing you to clearly see how their envelo es are working.
There are several actions you can do on the o erators via the touch screen to build your
algorithm :
- Pressing an o erator and releasing it (drag&dro ) onto another one will connect them together.
If these o erators are already linked together, their ositions will be swa ed.
- Pressing an o erator to move it always removes its bottom links.
- Releasing an o erator in an em ty area and it will sim ly fall, going to the bottom or to the
nearest o erator below.
- Using two fingers and ressing simultaneously two o erators will link them together. It allows to
create additional links that aren’t always ossible with the sim le drag&dro o eration
Limitations : There can be only 1 o erator that has more than two o erators feeding into it. It can
be any o erator as it’s managed by the engine. Additional links won’t be created if you request
them when the limit is exceeded.
Editing voice/o erator arameters
When an o erator is ressed, the right anel shows the o erator's arameters.
When you ress the touchscreen in an em ty region of the left art of the screen, the right anel
shows the voice settings.
Voice settings
BASE TAB :
Voice Name: Sets the name of your voice
Vol me (0 ~ 127): Sets the volume of the voice
Transpose (-36 ~ +36): Sets the semitone trans osition of
the voice
T ning (-100 ~ +100): Sets the fine tuning of the voice
Scale: Selects the scale which will be a lied to the voice
(cf. Tuning section in Global Mode)
Category: Assigns a category to your voice (cf. Sorting
section in Global Mode)
Algorithm Library: Here you can choose one of our 32 reset algorithms to hel you to start
creating a new voice
Randomize: This button generates a new sound using a “smart randomize” rocess, in case you
need some new sound ideas !

LFO TAB :
Waveform (0 ~ 23): Selects the waveform you want to use
with your LFO. It’s the same waveform set used into
synthesis.
Mask (0 ~ 12): This mask distorts and resha e the selected
LFO waveform. It doesn’t overwrite the original waveform.
Phase Offset (0 ~ 31): Here you can set the oint where
the LFO waveform will start to lay.
Random Phase: Use a random number generator to set
the LFO waveform start oint when the note is layed.
Common Phase: If checked, the LFO isn’t triggered at each Note On, but it still work at background,
and the voice is just “connected” to the LFO when Note is triggered.
Speed (0 ~ 127): Sets the LFO s eed rate
Delay (0 ~ 127): Sets the delay between the Note On message, and the start of the LFO.
Attack (0 ~ 127): Sets the slo e of LFO amount when triggered
FILTER TAB :
D/W Balance (0 ~ 127): Here you can set the balance
between the dry sound and the filtered sound. It works
in the same way you can find in any serial connected
audio rocessor. A value of 64 means you’ve got a 50%-
50% mix between dry and filtered sound.
Resonance (0 ~ 120): This slider allows you to set the
resonance of the filter
C toff Env (5-segment): This envelo e allows you to
control cutoff evolution during the time. See Envelo e
Edit section to know more about mani ulating
envelo es.

MODMATRIX TAB :
U to 8 modulation cords can be setu for each voice.
Sliders and buttons a lies to the current selected
modulation line in the list.
Offset: A lies an offset (adds, subtracts) to the modulation
source
Ratio: Scales the modulation source
Set So rce: Selects the source to use (cf. source list below)
Set Dest.: Selects the destination arameter to affect (cf.
destination list)
C t cord (x): Removes the selected modulation line
I/O val e monitor: On this line, you can check, for the selected cord in the list above, the source
value and how the Offset and Ratio amounts are working on it. It’s a good tool to fine tune those
values according to what you are sending into the mod. matrix.
Mod Matrix Sources Mod Matrix Destinations
Note number
Velocity
Release Velocity
Aftertouch
Poly. Aftertouch
Pitch Bend
LFO
Note count
RNG
Envelo e (any)
Control Change (any)
Volume
Freq. Coarse/Fine
LFO S eed
LFO AM/FM De th
LFO Waveform/Mask
Flt Reso/Cutoff
FltEG S eed
FltEG Sg1-5 Time
FltEG Pt1-6 Y
PanEG S eed
PanEG Sg1-5 Time
PanEG Pt1-6 Y
Feedback Src
Feedback Lvl
Volume
Freq. Mult
Freq. Coarse
Freq. Fine
Waveform
Initial Phase
LFO AM/FM
EG S eed
EG Sg1-5 Time
EG Pt1-6 Y
PitchEG S eed
PitchEG Sg1-5 Time
PitchEG Pt1-6 Y
PAN TAB :
This envelo e allows you to control the Pan of your voice over
time. See Envelo e Edit section to know more about
mani ulating envelo es.

O erator settings
BASE TAB :
Waveform (0~23): Sets the waveform used as base
oscillator for the selected o erator. See Waveforms
section in Global mode to know how to edit and
customize those waveforms.
Phase (0~31): Sets the initial hase where the waveforms
starts at.
Random Phase: Use a random number generator to set
the initial hase.
Vol me (0~127): Sets the o erator’s volume.
Feedback So rce (1~6) [OP1 only]: Selects which o erator out ut will be fed back into OP1.
Feedback Level (0~127) [OP1 only]: Sets the level of the feedback loo .
Fixed: Toggles between Fixed or Multi licative o erator frequency mode. In Multi licative mode, it
follows MIDI note frequencies with multi lier a lied to it, while in Fixed mode, it stays always the
same.
M ltiplier (0~40) [only in Multiplicative mode]: Sets the o erator frequency multi lier. Original
frequency de ends on incoming MIDI note itch.
Q artertones (0~24) [only in Multiplicative mode]: This arameter allows you to “trans ose” the
o erator note by quarter-tone ste s.
Fine (-100~+100) [only in Multiplicative mode]: This arameter allows you to fine tune the
o erator’s frequency.
Freq. M ltiplier [only in Fixed mode]: Sets the multi lier of the o erator fixed frequency. Available
values are 0.1, 1, 10 and 100
Freq. Fine (0 ~ 255) [only in Fixed mode]: Sets the o erator fixed frequency according to the
multi lier set below.
Freq ency indicator [only in Fixed mode]: This number shows you the o erator actual frequency in
Hertz. It’s useful to accurate the two revious arameters.
VOL EG TAB :
This envelo e allows you to control the o erator’s volume
during time. See Envelo e Edit section to know more about
envelo e mani ulation.
Caution: If the selected o erator is a carrier, you must end
its envelo e with a value of zero, otherwise your voice will

never sto laying. Don’t forget to ress the anic button if a note is stuck !
MOD TAB :
Velocity Sensitivity (-127 ~ +127): Sets how the o erator
volume is affected by the note on velocity.
LFO AM: Sets how much the LFO affects the current
o erator’s volume.
LFO FM: Sets how much the LFO affects the current
o erator’s frequency.
Keyboard Scaling: This curve allows you to set the o erator
keyboard scaling. It scales the o erator’s volume according
to the incoming MIDI note. There are 3 arameters: Lower
volume, Center note, and U er volume. The two (u er and lower) volumes re resents the
amount at bottom and to of your MIDI keyboard. The center note arameter sets the root of
those two curves.
PITCH EG TAB :
This envelo e allows you to control the selected
o erator itch during the time. See Envelo e Edit section
to know more about mani ulating envelo es.
Pitch EG Range (shown when no oint is selected): This
value sets the Pitch EG maximum value. Available ranges
are Tone, Quint and 1 to 4 octaves.
Envelo e Edit
The EssenceFM envelo e editor is quite different from those you can find in other synthesizers.
Instead of the classic ADSR we have oints without redetermined roles, they can be laced freely
to create the envelo e sha e.
Each EG segment is delimited by 2 oints and you can drag them to adjust segment start and end
values (vertically) and duration (horizontally). Vertical lines indicates the time scale, and the
horizontal zoom can be adjusted by inching with two fingers.
EG mani ulations are described below:
Add Point (+): Add a new oint after the selected one.
Delete Point (x): Remove the selected oint.
Center Point (Pan & Pitch EG only): Centers vertically the selected oint on the origin axis.

S stain Point: Attach sustain to the selected oint. The envelo e level will be locked at it until
Note Release.
Skip on Release (only shown when Sustain Point is selected): If checked, when the note is released
before reached the sustain oint, the envelo e value will jum to this oint.
Segment Loop A / B: Sets the Loo Start and Loo End oints of a segment loo , which can take in
several segments. Loo must be set before the sustain oint to work.
Linear / Exponential (only shown when no oint is selected): Sets the envelo e in Linear or
Ex onential mode.
Selected Point Information: On the age bottom line, selected oint coordinates are shown to
hel you adjusting them.
Information: Main Jog Wheel and INC/DEC keys behavior is quite different when you’re editing an
EG oint. Jog Wheel adjusts (like Direct Access knobs) the horizontal osition and INC/DEC keys
modifies the vertical osition.
Patch mode
In Patch Mode you can organize, lay and edit Patches. This mode res onds to the Global Channel,
see Global > MIDI configuration.
When going into Patch Mode, the first age showing u is the Patch List.
Like in Voice mode, arameters on the
Patch List age aren’t saved into the atch
(Pitch Bend Range, Volume, Pan…).
“Edit” brings you to the Patch Editor.
“Swap” swa s the current atch with the
atch of your choice.
“Clear” clears the current atch.
Patch editor
Layer management
Layer list: All voices layered into the
current atch are listed here. It allows
you to select the layer you want to work
on, whose arameters are on tabs 1 to 3.

Add Layer (+): Adds a new layer based on the revious element.
Assign Layer: Assigns a voice to the selected layer.
Edit Layer: O ens the selected layer in Voice Editor. You can edit the voice and hearing it in
context, but BEWARE, any modification is reflected on ALL PATCHES which are using the edited
voice.
Remove Layer (x): Remove the selected layer from the atch. Obviously, it doesn’t delete the
original voice.
Move Layer p: Puts selected layer before the revious element in the list.
Move Layer down: Puts selected layer after the revious element in the list.
M te Layer: Mutes the selected layer. This setting is stored into the atch.
M te All: Toggles mute for all layers.
Patch settings
PATCH TAB :
Name: Sets the atch name
Category: Assign a category to current atch (cf. Sorting section
in Global Mode)
Effects: See the Effects section for more information.
Voice Seq: See dedicated section below
Icon: Sets an icon to your atch
Layer settings
TAB 1 :
Vol me (0 ~ 127): Sets the selected layer volume
Bottom Key (0 ~ 127): Sets the selected layer bottom bound
note. You can use MIDI Learn button on the right to set it directly
via your MIDI controller.
Top Key (0 ~ 127): Sets the selected layer to bound note. You
can also use MIDI Learn button on the right to set it directly via
your MIDI controller.
Bottom Velocity (0 ~ 127): Sets the lower velocity bound from which the selected layer should be
heard.
Top Velocity (0 ~ 127): Sets the to velocity bound at which the selected layer should be heard.

T AB 2 :
Pan (0 ~ 127): Sets the selected layer an osition.
Transpose mode: In this mode, selected layer will res ond to the
incoming MIDI note itch
Fixed mode: In this mode, selected layer will ignore the incoming
MIDI note itch
Transpose [Trans ose mode only] (-36 ~ +36): Sets the incoming
note itch offset
Note [Fixed mode only] (0 ~ 127): Sets the selected layer itch
T ning (-100 ~ +100): This arameter allows to set the note itch really recisely.
TAB 3 :
Excl sion Gro p (None, 1~8): Sets the Grou in which all notes,
from the selected layer, shouldn’t be allowed to lay
simultaneously. It’s a useful tool to make realistic drum-kits (e.g:
O en and Closed hi-hat should be in the same exclusion grou ).
Ro nd Robin Slot (1 ~ 32): This feature allows you to lay the
selected layer sequentially, each time you trigger a note. For
exam le, if you’ve got 2 layers which are res ectively in slot 1 and 2, the first incoming note will
lay on the first layer, the next note on the second layer, and so on.
Voice Sequencer
This tool, built into the atch, is a
owerful way to make rhythmic and
evolving sounds, following its own tem o
or locked to an external MIDI Clock.
It basically works like every event-based
MIDI sequencer, but in a sim ler way.
Each atch layer a ears like a “track” in
which you can ut one or more events.
There are two kind of events: note and
swa . Note event triggers a sound
corres onding to the layer assigned voice.
Swa event moves the current laying note to another layer.
You can add, drag horizontally, and remove any event into the sequencer grid in order to com ose
a sequence following your creativity !

Layer List: Selects the layer you want to work on.
Seq encing Grid: As ex lained above, this grid is the main s ace in which you lace events to build
your sequence.
Loop: If checked, the sequence will lay indefinitely until you release the note.
MIDI Sync: If checked, the Voice Sequencer will lock to an external MIDI clock, instead of internal
tem o. Caution: be sure your sequencer (or any other MIDI controller) is able to send this kind of
message when you’re using this feature, otherwise your Voice Sequence won’t lay at all. The line
which a ears below shows you if an external clock is received, and, if so, the calculated tem o.
Fixed Tempo [Internal Sync mode only] (1 ~ 500): Sets the internal Voice Sequence tem o
Step division [MIDI Sync mode only] (0.125 ~ 2): Sets the grid division of the sequence when
synced to an external MIDI clock.
Add Event (+): Adds an event into the selected layer track
Q antize: Puts selected event on the closer beat vertical rule.
Q antize All: Tem orally aligns all events on the sequencer grid.
Event kind radio buttons (Note or Swa ): Selects the current event ty e, which was detailed in
Overview section below.
D ration [Note event only] (0 ~ 126 ; Infinite): Sets the event length, and allows to simulate a Note
Off event. If set to infinite, this event won’t be simulated. Note: A real Note Off event, incoming
from MIDI, will always be a riority !
Relative Note [Note event only] (-48 ~ +48): Sets the note event trans osition, relatively to the
incoming MIDI note itch.
Layer N mber [Swa event only]: Sets the layer to which the note will be swa ed.
Trigger Once: Triggers the event only once if the sequence is loo ed.
Delete Event (x): Remove selected event from the grid.
Performance mode
Manage: Goes to Performance Manage
age, described below.
FX & Ro ting: Goes to Performance
Effects and Routing arameters age,.
Knobs: Goes to Knob assign age
Toggle m te: Mute all unmuted arts,
and vice-versa.
For each art, ressing the MIDI
channel n mber indicator o ens a o u to change it.
Pressing the individual M te buttons mute the selected art.

Manager
On this age, you can manage all 256 erformances stored in the synth. You can also see several
information about current and selected erformances, es ecially the atches assigned to the 8
first arts.
Performance List: One among the 256 erformances can be selected here
Swap Perf: Swa s the selected erformance with another you select via the shown dialog.
Clear Perf: Resets the selected erformance to factory defaults.
Perf Name: Sets the erformance name.
Make C rrent: Loads the selected erformance into a buffer, in order to be used when you’re in
erformance mode. Caution: If you want to kee your changes, you have to save the current
erformance into a slot in the list BEFORE loading another one into the active erformance buffer.
Part Editor
Bank / Patch Lists: Those lists allows you
to select the atch you want to assign to
the selected art
By Category: Toggle the Bank/Patch Lists
into Category/Patch lists mode
Find : This function allows you to
browse among atches according to a
string you entered.
MIDI activity indicator: Shows the Pan,
Volume, Channel and MIDI activity
Edit: This button goes into Patch Edit Mode, but you still hearing it in Performance context.
P.Bend Range (0 ~ 96): Pitch Bend range in semitone
Vol me (0 ~ 127): Volume of the art
Pan (0 ~ 127): Pan of the art
Mono: Toggles art to monodic lay mode
Porta Speed (0 ~ 127): Portamento S eed, works only when the art is in Mono Mode.
Prev / Next: Jum s to the revious or next art without having to go back to the main
Performance age.