Korg wavestate native User manual

wavestate native
WAVE SEQUENCING SYNTHESIZER
E2

ii
Contents
Introduction........................................................................................................................................... 1
Main Features................................................................................................................................................................................................... 1
Structure............................................................................................................................................................................................................ 2
User Interface Elements ............................................................................................................................................................................... 2
Conventions in this manual ........................................................................................................................................................................ 2
Getting Started ...................................................................................................................................... 3
Installation and updates .............................................................................................................................................................................. 3
Edit page layout .............................................................................................................................................................................................. 3
Sound Browser ................................................................................................................................................................................................ 6
Saving Sounds ................................................................................................................................................................................................. 7
Main Menu........................................................................................................................................................................................................ 8
Settings .............................................................................................................................................................................................................. 9
Modulation.....................................................................................................................................................................................................13
MIDI Learn.......................................................................................................................................................................................................14
Automation ....................................................................................................................................................................................................15
Copy/Paste......................................................................................................................................................................................................15
Randomize......................................................................................................................................................................................................16
Overview page.....................................................................................................................................17
Synthesis page.....................................................................................................................................19
Filter ..................................................................................................................................................................................................................20
Pitch...................................................................................................................................................................................................................23
Amp...................................................................................................................................................................................................................25
Wave Sequencing 2.0...........................................................................................................................27
Overview .........................................................................................................................................................................................................27
Wave Sequence Page ..................................................................................................................................................................................28
Wave Sequence.............................................................................................................................................................................................29
Standard Lane Controls..............................................................................................................................................................................30
Step Probability.............................................................................................................................................................................................31
Master Lane ....................................................................................................................................................................................................31
Timing...............................................................................................................................................................................................................32
Sample .............................................................................................................................................................................................................34
Pitch...................................................................................................................................................................................................................36
Shape................................................................................................................................................................................................................37
Gate ...................................................................................................................................................................................................................38
Step Seq...........................................................................................................................................................................................................38
Wave Sequence Steps contextual menu ..............................................................................................................................................39
Setup page ...........................................................................................................................................41
Program Setup...............................................................................................................................................................................................42
Voice Allocation ............................................................................................................................................................................................42
Layer Setup.....................................................................................................................................................................................................44
Arpeggiator ....................................................................................................................................................................................................45
Zones & Scales page ............................................................................................................................47
Keyboard Zones ............................................................................................................................................................................................47
Velocity Zones ...............................................................................................................................................................................................47

iii
Performance Pitch & Scale.........................................................................................................................................................................47
Mod List page.......................................................................................................................................49
Modulation Sources ............................................................................................................................51
Vector andVector Envelope................................................................................................................54
Overview .........................................................................................................................................................................................................54
Position ............................................................................................................................................................................................................55
Graphic Editor................................................................................................................................................................................................55
Duration...........................................................................................................................................................................................................55
Loop ..................................................................................................................................................................................................................56
Vector Volume ...............................................................................................................................................................................................56
Envelopes .............................................................................................................................................57
Filter/Amp/Pitch Envelope........................................................................................................................................................................57
Filter/Amp/Pitch Envelope Curve ...........................................................................................................................................................57
Filter/Amp/Pitch Envelope Trigger.........................................................................................................................................................58
LFOs ......................................................................................................................................................59
Filter/Amp/Pitch/Pan LFO..........................................................................................................................................................................59
Key Track...............................................................................................................................................62
Filter Key Track ...............................................................................................................................................................................................62
Amp Key Track................................................................................................................................................................................................63
Modulation Processors........................................................................................................................65
Overview .........................................................................................................................................................................................................65
Gate ...................................................................................................................................................................................................................65
Oset ................................................................................................................................................................................................................66
Quantize ..........................................................................................................................................................................................................67
Scale..................................................................................................................................................................................................................68
Curve.................................................................................................................................................................................................................68
Smooth.............................................................................................................................................................................................................70
Sum ...................................................................................................................................................................................................................70
Eects page..........................................................................................................................................72
Overview .........................................................................................................................................................................................................72
Mini Editors.....................................................................................................................................................................................................73
Pre FX ................................................................................................................................................................................................................73
Mod FX .............................................................................................................................................................................................................74
Delay .................................................................................................................................................................................................................75
Reverb & EQ page.................................................................................................................................76
Master Reverb................................................................................................................................................................................................76
Master EQ ........................................................................................................................................................................................................76
Librarian page......................................................................................................................................77
Librarian contextual menu........................................................................................................................................................................78
Import and export........................................................................................................................................................................................79
Set Lists................................................................................................................................................. 81
Set List window .............................................................................................................................................................................................81
Using Set Lists ................................................................................................................................................................................................82
Editing Set Lists .............................................................................................................................................................................................82
Set List contextual menu ...........................................................................................................................................................................83

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Troubleshooting ..................................................................................................................................85
No sound .........................................................................................................................................................................................................85
The sound has clicks, pops, or noise.......................................................................................................................................................85
Sound is delayed...........................................................................................................................................................................................85
Can’t control the software synthesizer from a MIDI device connected to the computer.....................................................85
Specications.......................................................................................................................................86
Operating requirements ...........................................................................................................................................................................86
Support and service.............................................................................................................................87
Before you contact us..................................................................................................................................................................................87
Information to provide when contacting us .......................................................................................................................................87

Introduction
1
Introduction
ank you for purchasing Korg’s wavestate native soware synthesizer. To help you get the most out of your new
instrument, please read this manual carefully.
Main Features
Wave Sequencing 2.0
wavestate native features Wave Sequencing 2.0, a new synthesis engine inspired by Korg’s classic Wavestation.
Wave Sequencing 2.0 is a dynamic system. Instead of each Step being a matched set of sample, pitch, duration, etc., the
dierent parameters are separated into “Lanes.” Each Lane can have a dierent number of Steps, and its own start, end,
loop start, and loop end.
ese points (and other parameters in the Lanes) can in turn be modulated on a per-note basis, using velocity, LFOs,
envelopes, etc. Each time the sequence moves forward, values from the individual Lanes are combined to create the
output. e result can be either ever-changing rhythmic patterns or smooth, organic, crossfading timbres. Individual,
modulatable Step probabilities provide additional variation. Make Wave Sequences using the gigabytes of built-in
samples, or import your own using Korg’s free Sample Builder soware.
Filters
Add vintage character to your sounds with the aggressive MS-20 Lowpass or Highpass lters, or the strong, sweet
Polysix Lowpass. Shape and rene with a full collection of resonant 2-pole and 4-pole Lowpass, Highpass, Bandpass,
and Band Reject lters. Or, step outside the box with Korg’s unique Multi Filter, which creates modulatable blends of
multiple modes simultaneously.
Modulation
Most parameters can be modulated, with up to 4,000 modulation destinations per Performance, and no xed limit on
the total number of modulation routings. You can even modulate settings for individual Wave Sequence Steps! Each
modulation routing includes a primary modulation source, an intensity, and a secondary modulation source; the three
are multiplied together to create the modulation amount. A single destination, such as Filter Cuto, can have up to 31
incoming modulation routings.
Mod Knobs put macro transformations under your ngertips, making it easy to explore the sonic worlds inside
each Performance. Tweaking an existing sound? Quickly identify modulation sources using real-time displays of all
envelopes, LFOs, and other primary modulation sources. Easily create modulation routings using drag-and-drop,
and get an overview of all routings via the Mod List. Mod Processors let you transform modulation signals using
quantization, smoothing, curvature, and more.
Layers and Eects
For even more rich and complex results, layer up to four Programs together in a Performance–each with their own
eects and arpeggiator. e Vector Envelope and Joystick mix the individual voices of the four Layers, and can also
modulate any other parameters.
e wavestate native’s superb eects deliver production-ready sounds. Each Layer has three dedicated eects (Pre,
Mod, and Delay); additionally, the Performance has a Master Reverb and Master EQ.
Presets and Randomization
wavestate native comes with more than 250 factory Performances, and many more Programs, Wave Sequences, and
Eects Presets. Smooth Sound Transitions let previously-played voices and eects ring out naturally when you change
sounds.
Looking for even more inspiration? e “dice” icon at the top of the window generates new sounds via intelligent
randomization. Randomize the entire sound or just a part of it, such as the lter, the Sample Lane, or the eects. Use the
results directly, or as a jumping-o point for your own creations.
Fully compatible with the hardware wavestate synthesizer
wavestate native is the fully-compatible soware counterpart to the hardware wavestate synthesizer.

Introduction
2
You can seamlessly exchange sounds between hardware and soware. Produce in your DAW with wavestate native,
and then play the same sounds onstage using the wavestate hardware. Create sounds with the hardware’s hands-on
interface, and then share them with a computer-based collaborator.
Structure
wavestate native plays one Performance at a time.
A Performance has four Layers, A…D, a Vector Envelope, and a master reverb and EQ.
Each Layer contains an Arpeggiator, a Program, and other settings such as MIDI channel, key and velocity zones, etc.
A Program includes a Wave Sequence or a single Multisample, a Filter, an Amp, a per-voice Vector Envelope, a set of
modulators, a modulation matrix, and three eects: Pre FX, Mod FX, and Delay.
Wavestate Structure
Performance
Layer D
Layer C
Layer B
Layer A
Arpeggiator
Program A
Voice
Wave
Sequence Filter Amp
ADSR 1-3
ADSR
3x Envelopes
ADSR 1-3
ADSR 1-3
ADSR
4x LFOs
Pre FX Mod FX Delay Reverb
Mod Matrix
EQ
Vector Env
(per voice)
+
Voice Assign
Volume
MIDI Channel
MIDI Rx Filters
Key & Vel Zones
Vector Env
parameters
Vector Env
(Performance)
Scales
Tempo
Step Seq
Key Track
Key Track
ADSR
2x Mod
Processors
Pitch
Portamento, Slope Mod Knobs
Performance Mod Knobs
User Interface Elements
Knobs and sliders
To edit knob values, drag vertically, or use the mouse wheel or drag on the trackpad.
To edit slider values, drag in the direction of the slider. Most sliders also support the mouse wheel or dragging on the
trackpad; parameters that appear in scrolling lists (such the Wave Sequence editor) are an exception.
Double-click knobs and sliders to center them.
Graphic editing
Envelopes, LFOs, Key Track generators, Key & Velocity Zones, Filters, and the Master EQ can be edited directly in their
respective graphics. To do so:
1. Hover the cursor over the graphic to show a colored handle.
In most cases, this is either a dot or a line. For LFOs, the entire waveform serves as a “handle.”
2. Drag the handle to edit the value.
To edit Envelope Curve settings, use the yellow handles in the middle of the A/D/R segments.
To edit the Fade ranges of Key & Velocity Zones, use Option-drag (macOS) or Alt-drag (Windows).
Conventions in this manual
In this manual, the following text styles indicate:
• Parameter Names
• Parameter Values

Getting Started
3
Getting Started
Installation and updates
wavestate native uses the Korg Soware Pass application for installation and updates. Your soware license is registered
to your Korg ID. You can download the Korg Soware Pass application and manage your Korg ID at
https://id.korg.com.
Where are sounds stored?
e sound database and factory Multisamples are stored in a dedicated folder structure. is can be created anywhere
during the installation process, but as defaults we recommend:
• macOS: /Users/Shared/KORG/wavestate native/System
• Windows: \Users\Public\Public Documents\KORG\wavestate native\System
User Multisamples can be stored anywhere.
Edit page layout
1: Performance Select 2: Main Editing Area
7: Main Menu
8: Perf. Hold
9: Mod
Inspector
3: Edit/Librarian select 4: Randomize 5: Sync & Tempo 6: Volume
10: Mod Knobs
11: Page Tabs
12: Layer
Select
13: Mod
Sources
e Overview, Synthesis, Wave Seq, Setup, and Eects pages all follow this basic layout, and the other pages under Edit
also include most of these elements.
1: Performance Select
e Performance, with its four Layers, is the main way of selecting, editing, and saving sounds.
is shows the currently selected Performance. Use the < and > arrows to step through Performances one by one, or
click on the name to bring up a browser window (see “Sound Browser” on page 6). Note that the sounds available
via the arrows may be ltered by settings made in the Sound Browser, such as selected Categories or Collections. Right-
click/control-click (macOS) on the name to bring up a contextual menu for saving and renaming.

Getting Started
4
2: Main Editing Area
e parameters for the current Page will appear here. is includes the Overview (shown above), synthesis parameters,
Wave Sequence, detailed eects settings, and so on.
3: Edit/Librarian select
e buttons in the upper right of the main window select whether you’re working with the Editor or the Librarian. For
the most part, you can simply switch between the two without thinking about it. It’s important to note, however, that
some menu commands may be available only in one mode, and that undo is handled separately for each mode.
Menu commands
Menu commands for le operations, such as importing, backing up, and restoring, are available only when the
Librarian is active.
Undo/Redo
wavestate native supports multiple levels of undo and redo for most actions, including importing data, deleting,
renaming, editing Set Lists, editing parameters, and so on. For instance, you could import a bundle le containing a
thousand objects, edit Filter Cuto, rename all of your Programs, and nally add a new modulation routing to Amp
LFO Frequency, and safely undo all actions in turn.
Undo/redo history is maintained separately for the Librarian and Edit modes. e names of the undo/redo commands
change to reect this; for example, “Editor Undo: Value Change: Cuto” or “Librarian Undo: Update Name.”
4: Randomize
is can randomize the entire sound, or selected elements of the sound. For details, see “Randomize” on page16.
5: Sync & Tempo
When Sync To Host is On, all tempo-related parameters will synchronize to the tempo from the DAW. When it is O,
they will use the tempo saved in the Performance.
When running as a stand-alone application, this changes to the Clock parameter, which lets you choose the MIDI clock
source (Internal, External, or Auto).
Tempo
[40…300]
is is the stored tempo for the Performance. It applies only if Sync To Host is O (when running as a plug-in) or when
Clock is set to Internal or Auto (when running stand-alone); otherwise, it is grayed out.
6: Volume
is controls the overall volume of the Performance.
7: Main Menu
is menu gives access to overall settings such as CC assignments and the User Sample Bank, undo/redo, user interface
size scaling, “About” information, and Librarian-specic commands. For details, see “Main Menu” on page 8.
8: Perf. Hold (Performance Hold)
[O, On]
Use Performance Hold to hold notes or chords, leaving your hands free for knobs and modulation. is works
dierently from the Damper Pedal and the Program-level Hold parameter. When Performance Hold is On, notes or
chords are held indenitely until you play a new note or chord, at which point the previous notes are cut o and the new
ones will sound.
Performance Hold applies only to Layers on the Global MIDI Channel.
9: Mod Inspector
is shows the modulation routings for the selected parameter. You can add or delete routings from the list, adjust
modulation intensity, and change the selected Mod Sources (including adding a second Mod Source for routings
created by drag-and-drop).

Getting Started
5
10: Mod Knobs
You can use the Mod Knobs in real-time performance, and also save the results as new sounds. e names are
suggestions; they will do dierent things depending on the specic sound. e values are stored, and can themselves be
modulated. Each Layer’s Program has its own set of Mod Knobs, and a set of Performance Mod Knobs can control any
or all Layers at once.
Sometimes, one knob (such as Master) may enable the functionality of other knobs. You can drag from the Mod Knob
numbers (1…8) to modulate parameters in the main part of the screen, or even other modulation parameters; see
“Drag and drop modulation routings” on page 13. You can also assign MIDI CCs to control the Mod Knobs; see
“MIDI Learn” on page 14.
Each Mod Knob can be either unipolar (+) or bipolar (+/-); to change this, right-click/control-click (macOS) on the
knob to bring up a contextual menu.
-100 +100
0
0 +100
+ (Unipolar) -/+ (Bipolar)
11: Page Tabs
ese select the page shown in the Main Editing Area.
12: Layer Select
For the Synthesis, Wave Sequence, Setup, and Eects tabs, these select which of the Layers is shown in the Main Editing
Area. You can also select Programs for the Layers, adjust the Layer volumes, and turn them on and o.
Volume
[-Inf, -84.9…+6.0 dB]
is controls the volume of the Layer. Note that this is saved in the Performance, but not with the Program—so it’s a
good choice when balancing levels between Layers.
13: Mod Sources
All of the main mod sources and programmable modulation sources are shown here, including the Vector Envelope
and Joystick, Pitch and Mod Wheels, Velocity and Aertouch, LFOs, Envelopes, Key Tracking, Mod Processors, and
the Step Sequencer Lane. Graphics show the mod source outputs, making it easy to gure out what’s creating a specic
modulation eect. You can drag from the mod sources here to modulate parameters in the main part of the screen, or
even other modulation parameters; see “Drag and drop modulation routings” on page 13.

Getting Started
6
Sound Browser
1: Filters Panel 3: Metadata Columns2: Data List
4: Inspector
6: Search
7: Categories
8: Collections
5: OK/Cancel
Overview
e Sound Browser is used for selecting any type of sound data, such as Performances, Programs, Wave Sequences,
Wave Sequence Lanes, Multisamples, etc.
1: Filters Panel
e selections here help you narrow down the number of items in the Data List. Set the Search, Categories, and/or
Collections as desired. e Filters Panel can be resized by dragging its right edge, to show one, two, or three columns of
Categories and Collections.
Important: e Search, Categories, and Collections settings continue to aect data selection, even aer the Sound
Browser is closed. Each individual sound selector remembers these settings for as long as wavestate native is open
and unless a new parent sound is selected (for example, the Program is the parent sound of the Wave Sequence). e
previous/next buttons (< and >) select sounds from the ltered list.
2: Data List
is shows the list of selectable sound data (Performances in the example above), as ltered by the Search, Category,
and Collection settings in the Filters Panel. Click on an item in the list to select it for auditioning, or use the keyboard
up/down arrows to browse through items one by one. Double-click (or press OK) to select and close the browser.
3: Metadata columns
For each item, the list shows the Name, Collection, Category, Author, and Notes, as well as whether or not the item is
locked factory data. You can drag the tops of the columns to re-arrange them, or to resize the columns.
Click on a column heading to sort; click again to reverse the sort order. e triangle icon shows which column is
selected for sorting, and the direction of the triangle (up or down) shows the sort order.
4: Inspector
is panel lets you view the metadata for the selected items, including the Name, Collection, Categories 1 & 2, Author,
and Notes. e Inspector panel can be resized by dragging its le edge.
5: OK/Cancel
Press OK to conrm the selection and close the window, or Cancel to revert to the previous selection.

Getting Started
7
6: Search
Type into this eld to lter the list by searching for text in any of the metadata elds. Click on the “X” to clear the eld.
7: Categories
Categories let you lter by the type of sound, such as basses, leads, bells, etc. Each sound can be assigned to two
Categories, and each data type—Performances, Programs, etc.—has its own list of Categories. Click on a Category
name to lter by that Category; click on the “X” to deselect all Categories.
When searching by Category, a sound will be shown if either of its Categories match the search criteria.
8: Collections
Categories let you lter sounds by group, such as factory sounds, expansion packs, or your own projects. Each sound
can be assigned to one Collection. Click on a Collection name to lter by that Collection; click on the “X” to deselect all
Collections.
Saving Sounds
e Performance, with its four Layers, is the main way of selecting, editing, and saving sounds. While you can save
Programs, Wave Sequences, and Wave Sequence Lane Presets, you don’t have to do so: all data is contained in the
Performance.
Similarly, when you load any of these data types into a Performance, a new copy of the data is created in the
Performance. Any edits aect only the local copy inside the Performance, and not the original data. is lets you edit
freely without worrying about aecting other sounds.
To save:
1. Press the Save icon, or right-click/control-click (macOS) on the name and select the Save or Save As New com-
mand in the contextual menu.
To overwrite the existing sound, use Save. To make a new copy and leave the existing sound unchanged, use Save As
New. Factory sounds may be write-protected, in which case only “Save As New” is available.
Important: changing the name does not automatically make a new copy of the sound! Always use Save As
New when you want to make a copy.
Renaming sounds
As described above, Performances store all of the data for their Programs, Wave Sequences, Wave Sequence Lanes, and
Eects Presets. is also includes the names of those elements. Because of this, you can rename any of these elements
without saving them separately, as long as you then save the enclosing Performance. To do so:
Right-click/control-click (macOS) on the name and select the Rename… command in the contextual menu.
2. Select Rename.
3. Enter the new name, and press OK to conrm.
Names can be up to 24 characters long.
4. Make sure to save the Performance once you’re done.

Getting Started
8
Main Menu
is menu gives access to overall settings such as CC assignments and the User Sample Bank, undo/redo, user interface
size scaling, “About” information, and Librarian-specic commands. Open the main menu by clicking on the three
vertical dots at the top-right of the window:
Main Menu
Settings
is opens the Settings dialog, which includes Set List and User Sample Bank selection, Global Scales, CC assignments,
and more. See “Settings” on page9,
Audio/MIDI Settings (standalone only)
is includes audio output and MIDI input/output settings for the stand-alone application.
Size
[50%…150%]
is scales the entire user interface to be smaller or larger.
Import…
is is available only when the Librarian is active. It imports one or more les from disk. For more information, see
“Importing data” on page79.
Export Bundle of All User Sounds…
is is available only when the Librarian is active. It exports a bundle of all non-write-protected data, for backing up or
transferring all of your custom sounds at once.
Undo
Returns to the state prior to the previous operation. is applies to any edits made in the Editor windows - for instance,
editing synthesis parameters, Wave Sequences, or eects, creating modulation routings, and so on. In the Librarian, it
applies to edits of metadata (such as names and categories), Set List edits, creation of new Set Lists, object duplication
and deletion, and data Import. e system supports multiple undos, so that you can step backwards and forwards
through a series of actions.
Undo/redo history is maintained separately for the Librarian and Edit modes. e names of the undo/redo commands
change to reect this; for example, “Editor Undo: Value Change: Cuto” or “Librarian Undo: Update Name.”
Redo
Returns to the state prior to executing the “Undo” command. e system supports multiple redos, so that you can step
backwards and forwards through a series of actions.
Open Online Manual
is opens the latest version of the PDF manual in your browser.
Open Help Center
is opens the Korg app Help Center (https://support.korguser.net) in your browser.
About
is shows the soware version number and abbreviated credits. wavestate native is the result of a team eort, built
through the talents of many more people than can be listed on-screen!

Getting Started
9
Settings
Open this dialog using the Settings selection in the Main Menu.
Set List
[List of Set Lists]
is selects the active Set List. You can store many Set Lists, and change between them as you like. You can also set this
by using the Make Active command in the Librarian’s contextual menu.
User Sample Bank
[File Path]
is selects the current User Sample Bank, for use in Wave Sequence Sample Steps and Single Multisamples. is
selection is stored with the DAW session, and applies to all open instances of wavestate native–even if the instances are
in dierent hosts. You can have many dierent User Sample Banks stored on your computer, but only one can be used at
a time.
User Sample Banks are created by the separate Sample Builder application, which is available as a free download from
www.korg.com. For more information, please see the documentation included with the download.
Velocity Curve
[1 (Heavy), 2, 3, 4 (Normal), 5, 6, 7, 8 (Light), 9 (Wide)]
is controls how the volume and/or tone responds to variations in keyboard playing dynamics (velocity). Choose the
curve that is most appropriate for your controller, playing strength and style.

Getting Started
10
Velocity curve
1
MAX
127
1
8
654
32
7
9
MIDI Velocity
Velocity
eect
1 (Heavy), 2, 3: ese are for heavy playing; most of the variation occurs in the upper velocity range.
4 (Normal): is is the default.
5, 6: ese are for lighter playing.
7: is is for very light playing, at the expense of control in the middle of the range.
8 (Light): is curve produces the most uniform output, for when velocity sensitivity is not desired.
9 (Wide): is curve is designed for the heavier touch of weighted keyboards.
Aftertouch Curve
[1 (Heavy), 2, 3 (Normal), 4, 5(Light), 6 (24-step), 7 (12-step), 8 (Random)]
is setting controls how the sounds respond to variations in pressure applied to the keyboard while playing a note
(aertouch). Choose the curve that is most appropriate for your controller, playing strength and style.
Aftertouch curve
1
01
27
3
4
5
7
2
6
8 (Random)
MAX
MIDI Aftertouch
Aftertouch
eect
1 (Heavy), 2: ese are for heavy playing; most of the variation occurs with stronger pressure.
3 (Normal): is is the default.
4, 5 (Light): ese produce changes even with light pressure.
6 (24-step), 7 (12-step): ese curves result in 24 or 12 steps, respectively. If Aertouch is modulating pitch with an
intensity of one octave, 7 (12-step) lets you use Aertouch to play a chromatic scale. (For similar results, you could also
use a Mod Processor set to Quantize.)
8 (Random): is is a random curve. Use this to create special eects, or for applying unpredictable modulation.

Getting Started
11
SST Hold Time
[0 ms…60 sec]
is controls the duration of Smooth Sound Transitions. It sets how long reverbs, delays, and note releases continue
to ring out aer a new sound has been selected. e timer starts aer all notes from the previous sound are no longer
being held down, and the sustain pedal is released.
Transpose
[Transposes Scale, Within Scale]
is parameter determines how the Performance and Program Transpose parameters interact with the Scale and Key.
Within Scale means that transposition uses intervals within the current scale. is option works well if you are using
non-equal-tempered scales and want to build parallel intervals (such as “fat hs”) into your sounds. For example, let’s
say that you are using Just Intonation in the key of C. If you transpose one of the Programs up by 7 semitones and play a
C, the result will be two notes: C, and G 2 cents sharp (the Just Intonation h).
Transposes Scale means that the Scale’s Key changes to match the transposition. is option is useful if you play in non-
equal-tempered scales and transpose entire songs—to accommodate singers, for example. In other words, let’s say that
the Key is set to C, and the third note of the scale (E) is 50 cents at. If you transpose up by 2 semitones, and play an E,
the result will be an F# 50 cents at—still the third note of the scale.
Master Tune
[–50 (427.47Hz)…+50 (452.89Hz)]
is adjusts the overall tuning in one-cent units, over a range of ±50 cents. (A cent is 1/100 of a semitone.) At the
default of 0, A4 = 440 Hz.
e value shown for A4’s frequency assumes that the scale is set to Equal Temperament. If a dierent scale is
selected, the actual frequency of A4 may be dierent.
Global MIDI Channel
[1…16]
is is the basic MIDI channel for wavestate native. It applies to:
• MIDI received by any Layer with Use Global MIDI Channel enabled
• MIDI CCs received by and sent from the Program Mod Knobs, for any Layer with Use Global MIDI Channel
enabled
• Program Change (via Set Lists)
• Other global functionality, such as modulation of Master Reverb, Vector Envelope, and System Exclusive
Global Scale
[O, On]
On: e settings on this page control the instrument’s scales. Performance scales are ignored.
O: e scale settings on this page are ignored.
Note: If both Global Scale and Performance Scale are O, the system simply uses equal temperament.
Active Scale, 1 (Scale 1), (Key), 2 (Scale 2), (Key)
When Global Scale is On, these control the scale being used. For details on the scale parameters, see “Active Scale” on
page 48.
CC Assign
You can control Scale Select and each Mod Knob directly from MIDI CCs. Unlike normal modulation, this works by
directly editing the Scale Select parameter and the Mod Knob values, and any changes will be saved with the sound. To
modulate a parameter with variable intensity, and without causing edits to the sound, use modulation instead. For Mod
Knobs, you can use MIDI Learn to assign the CCs; see “MIDI Learn” on page 14.
Function Default CC assignment
Scale Select 9
Performance Mod Knobs 1…8 24…31
Layer A Mod Knobs 1…8 80…87
Layer B Mod Knobs 1…8 88…95

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Function Default CC assignment
Layer C Mod Knobs 1…8 102…109
Layer D Mod Knobs 1-8 110…117
Defaults
Pressing the Defaults button resets the CC assignments to the defaults, as shown above.
Copy and Paste
ese buttons let you copy and paste the CC assignments between plug-in instances.

Getting Started
13
Modulation
Modulation Overview
Most parameters can be modulated. Each modulation routing includes a primary modulation source, an intensity,
and a secondary modulation source; the three are multiplied together to create the modulation amount. A single
destination, such as Filter Cuto, can have up to 31 incoming modulation routings. ere is no xed limit on the total
number of modulation routings. For descriptions of all of wavestate native’s modulation sources, see “Modulation
Sources” on page 51.
How are mod routings shown?
Modulated values are shown as orange dots on knobs and sliders. If a parameter is shown only as a text or numeric box,
and it is modulated, then the text is shown in orange.
e modulation inspector on the right side of the window shows the modulation routings, if any, for the selected
parameter. You can also use the inspector to add new modulations or delete existing ones.
Drag and drop modulation routings
To create a modulation routing using drag and drop:
1. In the Mod Sources footer, click and hold on the name of any of the following: the Mod or Pitch wheel, Vector
Envelope A/B/C/D, Envelopes, LFOs, Filter or Amp Key Track, or Mod Processors.
For the Mod Knobs, click and hold on the number labels 1-8. For the Vector Joystick, click on A or C for Joystick X, or B
or D for Joystick Y.
2. Drag to a modulation destination.
Most parameters are modulatable. Newly-created modulation routings will appear in the Mod Inspector.
Note: If a parameter cannot be modulated, a message will appear to that eect. If the message “Channel Sources Only”
appears, the parameter cannot be modulated from per-voice sources such as LFOs, envelopes, the Step Seq Lane, and
Key Track. (e Vector Env can be used, since there is a separate Performance-level version of this envelope.) In this
case, choose a dierent modulation source.
3. In the Mod Inspector, set the Intensity as desired.
e maximum Intensity is typically +/- the full range of the parameter, so that regardless of the programmed value,
modulation can always reach the minimum or maximum values.
4. Optionally, assign a second modulator (the Intensity Mod Source), whose value will multiply that of the main
Source.
For example, you could route the Step Sequencer to Multi Filter Crossfade, with the overall amount of the step
sequencer modulated by the Pan LFO.
Note: Once a modulation routing is created, you can change either of the sources, but you cannot change the
destination.
Manually adding modulation routings
You can also manually add modulation routings using the Mod Inspector. is can be convenient if you want to create
a routing using more esoteric mod sources not available via drag-and-drop, such as Prog #of Notes or arbitrary CCs. To
do so:
1. Click on the desired destination parameter.
Provided that it is modulatable, its name will appear at the top of the Mod Inspector.
2. In the Mod Inspector, click on the “+” button.
A new modulation routing will appear.
3. Select mod sources and set Intensity as desired.
Modulating one mod source with another
You can also drag-and-drop to modulate one mod source with another. To do so:
1. Click and hold on the name of the mod source, as above.
2. Drag and hold over the tab for the desired modulation destination.
For example, to modulate the Filter LFO, hold over the LFOs tab.
Aer a moment, the tab will open.

Getting Started
14
3. Once the tab opens and displays its contents, drag to the desired destination.
Filter/Pitch Env Intensities, LFO Intensities, and KeyTrack Intensities
Modulation works slightly dierently for these “Intensity” parameters. When you select them as a destination:
• e modulation destination is set to the main parameter: Filter Cuto, Amp Level, Pitch Tune, or Pan
• e Source is set to the Envelope, LFO, or Key Track generator.
• e Intensity Mod Source is set to the selected modulation source.
Filter and Pitch EnvVelocity Intensity
Filter and Pitch Envelope Velocity Intensity cannot themselves be modulated.
Deleting a modulation routing
To delete a modulation routing:
1. In the Mod panel, click on the “minus” button to the right of the routing.
MIDI Learn
You can use your controller to automatically select MIDI CCs as modulation sources, and to directly control the
Performance and Layer Mod Knobs.
Using MIDI Learn to control the Mod Knobs
e Performance and Layer Mod Knobs can be controlled directly from MIDI CCs. Unlike normal modulation, this
works by directly editing the Mod Knob values, just like turning the knobs on the screen.
Important: Any changes made this way will be saved with the sound. To modulate a parameter with variable
intensity, and without causing edits to the sound, use modulation instead.
To use MIDI Learn with the Mod Knobs:
1. Route a MIDI controller to wavestate native.
2. Right-click/control-click (macOS) on the desired Mod Knob.
A contextual menu will appear.
3. Select MIDI Learn from the contextual menu.
4. On the MIDI controller, move a knob, wheel, slider, etc. to generate a CC.
e CC will be assigned to control the Mod Knob; when you send the CC from a MIDI controller, the knob will move
in response. You can conrm this assignment, or edit it manually, in the CC Assign section of the contextual menu. If a
dierent Mod Knob had previously been assigned to the same CC, the older assignment will be removed. Note that any
xed CC assignments (CC#1 for Mod Wheel, CC#s 16 & 17 for the Vector Joystick, etc.), and any modulation routings
which use MIDI CCs, will continue to work as they did before–so it’s best to use CCs that aren’t being used for other
purposes.
Using MIDI Learn to assign CCs as modulation sources
CCs can also be used as modulation sources for any modulatable parameter, and you can use MIDI Learn to assign
them. To do so:
1. Route a MIDI controller to wavestate native.
2. Click on the desired destination parameter.
Provided that it is modulatable, its name will appear at the top of the Mod Inspector.
3. In the Mod Inspector, click on the “+” button.
A new modulation routing will appear.
4. Right-click/control-click (MacOS) on one of the Source selectors.
A contextual menu will appear.
5. Select MIDI Learn from the contextual menu.
6. On the MIDI controller, move a knob, wheel, slider, etc. to generate a CC.
e source will be set to the CC. Note that there are two sets of CC modulators, CC+ and CC +/-; for more information,
see “CC +” on page 52. When using MIDI Learn, the CC + version is assigned.
7. Set the Intensity as desired.

Getting Started
15
Automation
Automation from the plug-in host is supported for most, but not all, modulatable parameters. Even if a parameter is not
directly available for automation, you may be able to create a modulation routing from a Mod Knob or Eect Edit knob,
and then modulate the knob. Most non-modulatable parameters cannot be automated, including modulation routings
themselves (sources and intensities), lter and mod processor types, Multisample selection, and so on.
For Eects, only controls shown in the “Mini Editors” can be automated. is includes Edit 1/2/3, Wet/Dry, and level
controls. For individual Wave Sequence Steps steps, automatable parameters include Timing Lane Duration, Pitch
Lane Transpose, Shape, Gate Length, and Step Seq Value.
Copy/Paste
You can use copy/paste with:
• Layers
• Programs
• LFOs
• Envelopes
• Vector Envelope
• Filter & Amp Key Track
• Mod Processors
• Individual eects (Pre FX, Mod FX, Delay, Reverb, and Master EQ)
• Filter settings
• Arpeggiator settings
• Wave Sequence Steps
For example, you can copy from one LFO to another in the same Program, or copy the Filter or Arpeggiator settings
from one Layer to another.
Using Copy/Paste
To use copy and paste with anything other than Wave Sequence Steps:
1. Right-click (or control-click on MacOS) on the title of the section that you’d like to copy, such as Filter LFO,
Arpeggiator, or Mod Processor 2.
A contextual menu will appear.
2. Select Copy from the contextual menu.
3. Right-click (or control-click on MacOS) on the title of the section to which you’d like to Paste.
Note that this has to be the same type as the copy source; for instance, you can’t copy an LFO to an Envelope.
4. Select Paste from the contextual menu.
Copy/Paste for Wave Sequence Steps
Wave Sequence Steps support Copy and Paste, as well as Cut, Insert Before, Insert Aer, and Delete. Shi-click to
select a range of Steps, or select multiple non-continuous items by holding down the Command key on MacOS, or the
Ctrl key in Windows. Once you’ve selected the desired step(s), right-click (or control-click on MacOS) to bring up the
contextual menu and choose the desired copy/paste operation. For details, see “Wave Sequence Steps contextual menu”
on page39.

Getting Started
16
Randomize
Randomize uses a combination of preset selection and select value randomization, rather than direct randomization of
all parameters.
To use Randomize:
1. Press the (Randomize) button at the top right of the window.
e Randomize dialog will appear.
2. Set the Scope as desired.
Scope controls the parts of the sound that will be randomized. It’s set to Performance by default, but can be set to
Program Select, Layer, Wave Sequence Select, Arpeggiator, Filter, and so on.
Depending on the Scope, additional settings may appear:
Fx/Mod Knob Values randomizes the Mod Knobs (Program and/or Performance, according to Scope) and Eects
Edit 1/2/3 by the specied percentage.
Modulation Intensities randomizes the standard LFO and Envelope intensities for Filter, Amp, Pitch, and Pan.
Randomize Fx Enables controls the On/O settings for the Eects (with probability weighted towards On).
Speed randomizes Wave Sequence Speed.
3. Press the Randomize button to randomize the selected Scope.