HYDRASYNTH Deluxe Polytouch Keyboard Owner's Manual

The product by Ashun Sound Machines is a software program with associated data files that are licensed for use on ASM products and/or a single computer controlled by one person at a time. The software and data files are protected by international copyright laws.

Product Usage Instructions

Grant of License and Copyright

As the original purchaser, you have the nonexclusive right to use the licensed program on ASM products or a single computer under your control. You must not create derivative works or modify the software without authorization from ASM.

Restrictions

Avoid using third-party software or systems not authorized by ASM to access the software. Do not interfere with the software or its components. Any unauthorized acts are prohibited unless permitted by law or written permission from ASM.

Treatment for Breach of Agreement

Deleting copyright information, reverse engineering, copying, modifying, or any unauthorized use of the software is strictly prohibited. In case of violation, ASM reserves the right to take immediate action and penalize the user as deemed necessary.

FAQ

Q: Can I share my licensed program with others?
- A: No, the licensed program is for personal use only and should not be shared or distributed.
Q: What should I do if I suspect someone is violating the license agreement?
- A: Please report any violations or suspicious activities to ASM for appropriate action.

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Software Licensing Agreement

Thank you for choosing products by ashun Sound Machines!

THE FOLLOWING IS THE SOFTWARE LICENSING AGREEMENT BETWEEN YOU, THE END USER, (REFERRED TO IN THIS AGREEMENT AS “YOU” OR “YOUR”) AND ASHUN SOUND MACHINES, INC. (REFERRED TO IN THIS AGREEMENT AS “ASM”) FOR YOUR USE OF THE SOFTWARE IN THIS PRODUCT AND OUR SUPPORT SERVICES TO YOU (“SOFTWARE” MEANS ALL OF THE INFORMATION WITH WHICH THIS AGREEMENT IS PROVIDED, INCLUDING BUT NOT LIMITED TO ASM OR THIRD PARTY SOFTWARE FILES AND OTHER COMPUTER INFORMATION, MAC/PC SOFTWARE OR THE HYDRASYNTH FIRMWARE). THE ENCLOSED SOFTWARE PROGRAM IS LICENSED BY ASM TO YOU AS THE ORIGINAL PURCHASER FOR USE ONLY ON THE TERMS SET OUT HEREIN.
UNLESS YOU HAVE READ AND ACCEPT ALL TERMS SPECIFIED IN THIS AGREEMENT, YOU MAY NOT DOWNLOAD, INSTALL OR USE THE SOFTWARE AND RELATED SERVICES. ANY BEHAVIOR INCLUDING DOWNLOADING, INSTALLING, USING, OBTAINING AN ACCOUNT, LOGGING IN, ETC. SHALL BE DEEMED THAT YOU HAVE READ AND AGREED TO THE TERMS OF THIS AGREEMENT.

1. GRANT OF LICENSE AND COPYRIGHT
ASM grants you, the original purchaser, the nonexclusive right to use the program and the data file constituting this software and the upgrade program(s) as well as the data file(s) which may be distributed to you from time to time (hereinafter referred to collectively as “Licensed Program”) on associated ASM product(s) and/or a single computer under your control and used by only one person at a time.

create any derivative works by using plug-ins, add-ons or third-party tools/services unauthorized by ASM to access to the Software and related systems;
Add, delete, or change the functions or operating effects of the Software by modifying or forging the instructions and data, nor operate or disseminate to the public the software and methods used for the purposes described above, regardless of whether such acts are for commercial purposes;

The SOFTWARE and its copyrights are the property of ASM and are protected by all international copyright laws and treaties.
Therefore, you must treat the SOFTWARE like any other copyrighted material. All rights that are not provided for herein are reserved by ASM.
2. RESTRICTIONS

Login or use ASM Software and Services through any third-party software, plug-in, add-on or system that was not developed or authorized by ASM, nor produce, publish, or disseminate these tools;
Interfere with the Software and its components, modules, or data on your own, nor by authorizing others or third-party software to do so;

You shall not engage in any of the following acts in the course of using the Software except as permitted by law or by ASM’s written permission:

Other acts not expressly authorized by ASM. 3. TREATMENT FOR BREACH OF AGREEMENT

Delete the copyright information on the Software and its copies;
Conduct reverse engineering, reverse assembly and reverse compiling on the Software, or any other attempts to discover the source code of the Software;
Use, lease, lend, copy, modify, link, reproduce, compile, release, publish, or establish a mirror site for the content for which ASM owns the intellectual property rights;
Copy, modify, add, delete and mount the data stored in any terminal memory by the Software or during the operation of the Software, the interactive data between the client and the server during operation of the Software, and the system data necessary for operation of the Software, or

If ASM finds or receives a report or complaint from others against the user regarding a violation of this Agreement, ASM is entitled to take immediate action, and announce the results of treatment.
You understand and agree that ASM is entitled to, based on reasonable judgment, penalize any act violating relevant laws and regulations or provisions of this Agreement, take appropriate legal action against any user in violation of laws and regulations, and preserve relevant information in accordance with related laws and regulations to report to relevant departments etc. The user shall bear all the resulting legal responsibilities.
You understand and agree that you shall be solely liable for any claims, requests or losses arising out of or in connection with your breach of the

provisions of this Agreement or relevant terms of the Services. You shall also be liable for the compensation of any losses caused to ASM.
4. TERMINATION
This agreement takes effect on the date you have received the Licensed Program. The license granted in this agreement will terminate automatically without notice from ASM in the event that you breach any provision of this agreement or in any way infringe ASM’s copyright in the Licensed Program.
In such event you must destroy the Licensed Program and any backup copies immediately.
5. LIMITATIONS ON LIABILITY
In no event shall ASM be liable to end-users for any damages whatsoever, including but not limited to financial damages for any loss of profits or information arising from the use of or inability to use this product. The foregoing provision is effective even if ASM has been advised of the possibility of such damages. Even if the SOFTWARE has any material, verifiable, and reproducible program errors, ASM shall have no liability to modify such errors.
6. THIRD PARTY SOFTWARE
ASM may on occasion supply software programs, data files and/or documentation belonging to a third party or parties (hereinafter collectively referred to as “Third Party Software”).
If supplied in conjunction with any ASM instrument or equipment, such Third Party Software shall only relate to the non-essential functions of such instrument or equipment.
In the event that Third Party Software is supplied, you agree to be bound by and to observe any terms and conditions relating to the use of such Third Party Software.
ASM shall not be obliged to provide support services for any Third Party Software supplied (whether relating to operating methods, defects, or otherwise).
ASM provides no warranty in relation to any Third Party Software supplied, and all warranties whether express or implied as to the condition, quality, performance, merchantability, or fitness for purpose of the Third Party Software or any part of the same are (in so far as may be permitted by law) hereby excluded.
ASM furthermore disclaims all responsibilities for direct, derivative, collateral, or consequential damages caused by the use of or the inability

to use the Third Party Software (including but not limited to damage of data, lost commercial profit, interruption of work, or lost commercial information), regardless of the degree of damages, and even if ASM was aware of the possibility of such damages in advance.
7. SUPPORT SERVICES
Support services such as technical support or upgrade support for this product are provided according to the support service policies of ASM’s distributors applicable in each country.
ASM reserves the right to amend any such policies from time to time at its absolute discretion.
8. GENERAL
The license created by this agreement is personal to you, and you may not assign or otherwise transfer your rights or obligations under this agreement without the prior written consent of ASM.
If any part of this Agreement is found by a court of competent jurisdiction or other competent authority to be invalid, unlawful, or unenforceable then such part shall be severed from the remainder of this Agreement which will continue to be valid and enforceable to the fullest extent permitted by law.
This agreement is governed by and construed under the local law of the country where this product has been purchased.

Special thanks

DESIGN & DIRECTION
· Glen Darcey

PRODUCT MANAGER
· Dominic Au

ENGINEERING
· Chen Jiejun (engine) · Banner Xu (firmware) · Yang Zhihang (software) · Ye Haipeng (electronic) · Chen Si (electronic) · Luo Liangsheng (electronic) · Fu Jieming (Mechanics) · Liang Weiming (Mechanics) · Zhou Peng (Mechanics) · Fan Xiaoxian (Mechanics)

INDUSTRIAL DESIGN
· Gao Chao · Long Ping

· Zheng Wei Cheng

TESTING
· Ken “Flux” Pierce · Maria Zhang

· Randy Lee

· Leng An

· Drew Anderson · Dominic Au · Roger Austli

· Jim Cowgill · Glen Darcey · Daniel Fisher

SOUND DESIGN

· Mord Fustang · Ken “Flux” Pierce

· Boele Gerkes

· Matt Pike

· Rob Jervons

· Aquila Rift

· Ben Scheffler · Paul Schilling · Matia Simovich

MANUAL
· Randy Lee (author) · Nancy Lee (design & layout)

Information contained in this manual is subject to change without notice and does not represent a commitment on the part of Ashun Sound Machines. The software described in this manual is provided under the terms of a license agreement or non-disclosure agreement. The software license agreement specifies the terms and conditions for its lawful use. No part of this manual may be reproduced or transmitted in any form or by any purpose other than the purchaser’s personal use, without the express written permission of Ashun Sound Machines.
All other products, logos or company names quoted in this manual are trademarks or registered trademarks of their respective owners.

Important Safety Instructions

Save your ears!

The product and its software, when used in combination with an amplifier, headphones or speakers, may be able to produce sound levels that could cause permanent hearing loss. DO NOT operate for long periods of time at a high level or at a level that is uncomfortable.
If you encounter any hearing loss or ringing in the ears, please consult an audiologist.

precautions include, but are not Limited to, the following:

1. Read and understand all the instructions.
2. Always follow the instructions on the instrument.
3. Before cleaning the device, always remove the USB and DC cable. When cleaning, use a soft and dry cloth. Do not use gasoline, alcohol, acetone, turpentine or any other organic solutions; do not use a liquid cleaner, spray or cloth that’s too wet.
4. Do not use the device near water or moisture, such as a bathtub, sink, swimming pool or similar place.
5. Do not place the device in an unstable position where it might accidentally fall over.
6. Do not place heavy objects on the device. Do not block openings or vents of the device; these locations are used for air circulation to prevent the device from overheating. Do not place the device near a heat vent at any location with poor air circulation.

7. Do not open or insert anything into the device that may cause a fire or electrical shock.
8. Do not spill any kind of liquid onto the device.
9. Always take the device to a qualified service center. You will invalidate your warranty if you open and remove the cover, and improper assembly may cause electrical shock or other malfunctions.
10. Do not use the device with thunder and lightning present; it may cause electrical shock.
11. Do not expose the device to hot sunlight.
12. Do not use the device when there is a gas leak nearby.
13. Refer to all manufacturers’ instructions regarding the proper installation, use, and disposal of batteries.
14. Ashun Sound Machines is not responsible for any damage or data loss caused by improper operation of the device.

Specifications Subject to change

The information contained in this manual is believed to be correct at the time of printing. However, Ashun Sound Machines reserves the right to change or modify any of the specifications without notice or obligation to update the hardware that has been purchased.

Before requesting Service…

Please study this manual carefully and consult your dealer before requesting service. Service charges incurred due to a lack of knowledge relating to how a function or feature works (when the product is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owner’s responsibility.

Everyone at Ashun Sound Machines would like to thank you for choosing one of our Hydrasynth instruments. We’re very proud of what we have created, and are confident they will take you into musical realms that have never been explored.
Every aspect of these ground-breaking devices has been carefully considered, from the way the sounds are generated and processed, to the intuitive layout of the controls and displays. Everything from impulse to performance has been optimized to unleash the creative potential of these instruments in your hands.

Main features

This chapter will only list the main features of Hydrasynth Explorer. But there are many more, and each feature and its related parameters will be described in the pages ahead. Advanced users might find quick answers to important questions in Specifications (p. 97).

user interface

Sound engine

· Intuitive workflow, perceived at a glance · Top-panel controls for instant access to important features · Easy shortcuts for mod route construction · Two independent OLED displays · 4 Control knobs and 4 Control buttons around the Right display · 8 assignable Macros per patch, accessible on Home page · Arpeggiator: 8 modes with direction, octave, chord, and phrase options · Patch browser: Organize by Name, Category, or Patch number · Memorize / instantly recall up to 32 Favorites · Overflow mode can link two units for expanded polyphony
patch features
· 8 banks of 128 patches each · Mono and Unison voice modes, with unison detune · Glide and glissando with programmable time, curve, trigger mode · Mod Matrix with 32 routes per patch · Programmable Analog Feel emulates the behavior of analog circuits · Randomize function for individual modules or an entire patch

· 8 voices, with three oscillators per voice
· Analog modeling (Osc 1-3) and WaveScan synthesis (Osc 1+2)
· Select from hundreds of waveforms and then morph / mutate / warp them at will
· Preset scales with microtonal options and the ability to import custom scales
· Filter 1: 16 filter types, including vocal formant filters
· Filter 2: classic state-variable 12dB / octave with two modes
· Filters can be placed in series or parallel
· Loopable ADSR envelopes with Delay and Hold stages
· Curve and BPM value for each segment
· Each envelope can have up to 4 trigger sources
effects
· Delay: five types, including Left-Right-Center and reverse
· All delays can sync to tempo
· Reverb: four types, with pre-delay and damping parameters
· Reverb lengths to 90 seconds, plus “Freeze”
· Independent Pre/Post FX: Chorus, Flanger, Rotary, Phaser, Lo-Fi, Tremolo, EQ, Compressor, Distortion
· Global bypass of any or all FX modules

hardware
· MIDI In/Out · USB type B port, class-compliant · CV/Gate and outputs for integration with modular synthesizers · Headphone output · Stereo 1/4″ outputs (balanced) · Sustain pedal input (polarity-sensing) · LED Brightness controls for darkened rooms · Kensington lock port · 37 mini-key, semi-weighted Polytouch® keyboard with polyphonic aftertouch and velocity sensitivity (note on/off ) · Dedicated controls for Filter and Arpeggiator sections · Pitch bend strip and Modulation strip with LED depth indicator · Octave Down / Up buttons · Chord mode with dedicated button · Can be powered by 8 AA batteries for hours of portable creativity
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Quick Start guide

inside the Box

Your Hydrasynth Explorer was carefully packed at the factory with the following items:

· The Hydrasynth Explorer

· This manual

· The power supply (12VDC / 1A)

Save your receipt!
Ashun Sound Machines designed and constructed your Hydrasynth Explorer with extreme attention to detail. Our quality assurance personnel test each unit thoroughly before it goes out. But in the unlikely event of a hardware problem, you will need to present your original receipt in order to obtain warranty service. This will help the service center to confirm your warranty coverage. So please be sure to save your receipt in a safe location!
plug it in

power
Before switching the unit on, please lower the volume of your speakers or mute the input channels on your mixer. This will help prevent any damage to your speakers or ears.
There are two options for powering the Hydrasynth Explorer: the included power supply or 8 AA batteries (optional). In either case it is essential to use only the recommended sources:
· DC power: Use only the power supply that was in the box with your Hydrasynth Explorer (12 Volts DC, 1 Amp). Make sure the power switch is in the OFF position before making this connection.
· Batteries (optional): Use only 1.5V alkaline or 1.2V Ni-MH rechargeable batteries. An icon in the upper right corner of the Left display indicates the power source type and battery levels (when used). To ensure an accurate indication of battery level, be sure to specify the type of battery being used on Master: Page 4 (p. 79).
Important notes about using battery power:
· DO NOT MIX BATTERY TYPES; all 8 batteries must be the same type.
· A separate device must be used to recharge the Ni-MH batteries. Do not attempt to recharge alkaline batteries.
· Replace all batteries at the same time with new (or freshly recharged) batteries of the same type, model, and manufacturer.
· Insert all batteries according to the +/- polarity markings inside the battery compartment.

· Always remove the batteries once they are depleted, or if you do not plan to use the Hydrasynth Explorer for an extended period of time. (We know; that’s hard to imagine!)
audio
Using a mixer or audio interface
After muting the channel inputs or lowering the volume of your speakers, connect a pair of 1/4″ cables from the rear-panel output jacks of the Hydrasynth Explorer to the inputs of your mixer or audio interface. Then set the Hydrasynth Explorer power switch to the ON position.
Note: The USB connection is not an audio output.
Using headphones
If you plan to connect headphones to the Phone jack on the Hydrasynth Explorer, turn the unit on first and then connect the headphones. The headphone level is controlled by the Master Volume knob.
Master Volume control
The Master Volume knob controls the overall output level of the Hydrasynth Explorer. It’s an analog control, which means it does not communicate its position or movements digitally via USB or MIDI.
But Master Volume does respond to MIDI CC #7 via USB and MIDI. So if you are using the Hydrasynth Explorer with a computer, for example, remember that you’ll need to adjust its level using a MIDI track in your DAW.

uSB

MiDi

Hydrasynth Explorer is a USB class-compliant device, so there are no drivers to install. Just plug it into your computer and it will be available immediately as a MIDI input/output device.

The Hydrasynth Explorer has two 5-pin MIDI connectors to allow you to interface with other MIDI devices. MIDI Out sends data from the Hydrasynth Explorer and MIDI In receives data from other MIDI devices.

cV/gate

Your Hydrasynth Explorer has a row of connectors voltages and signal types of the most popular

that are used to interface with modular synthesiz- formats. For details, see The CV / Gate Section (p.

ers. Each one can be configured to match the

72).

Make Some noise!

By now you’ve already played the instrument and tweaked the controls. Now let’s take a quick tour of some of the main features.
To get started, press the Home button. This will exit any page and take the Hydrasynth Explorer to the top level of the patch.

Select patches
There are several ways to explore the patch banks inside the Hydrasynth Explorer. The simplest way is to turn the Patch knob (the big one in the middle). This will move you through the bank one patch at a time. You’ll see the patch name, bank, and number in the Left display.
You can also hold [SHIFT] and turn the Patch knob to jump between the banks. This can save a lot of scrolling if you know the location of the patch you’re looking for.
The Browse button opens the patch browser in the Right display. You’ll want to read the section Using the Browser (p. 74) to learn about things

like Categories, Favorites, and other search techniques.
Octave shift
If you want to hear a sound in a higher or lower range than the keys currently reach, you can shift the range quickly by one or more octaves. The Hydrasynth Explorer keyboard has dedicated buttons above the pitch/mod strips that flash faster as the range moves further from center; at maximum shift the buttons are lit solid. To reset the range, press both buttons.

arpeggiator basics

Arpeggiators can turn a great sound into a whole performance! So when you’re ready, press the Arpeggiator [ON] button to activate the arpeggiator. Then hold down two or more keys while experimenting with the other controls in the Arpeggiator section. Here’s a quick description of each.

control Mode Octave Division Swing On Latch
Triplet Tap Tempo

function Determines the arpeggiator direction and other behaviors. Sets the range of the arpeggiator. Selects the basic time division of the arpeggiator relative to the tempo. Eight settings allow you to add a certain amount of “shuffle feel” to the arpeggio. This toggles the arpeggiator on and off. Use it with [SHIFT] to enter Edit mode. Lets you take your fingers off the keys and use both hands to adjust parameters. It works whether an arpeggio is running or not. Subdivides the selected Division setting into triplets. Tap several times to set the tempo.

There are words in orange letters under two of the buttons: EDIT and SUSTAIN. These are used with the [SHIFT] button to access their secondary functions. We’ll describe those and the other arpeggiator features in The Arpeggiator Section (p. 62).

tweaking the sounds

The Right display provides information about what is happening and what the options are, no matter what you’re doing with the Hydrasynth. We’ll dig down into every parameter eventually, but for now let’s start at the top again. So please press [HOME] to make sure you’re seeing what we’re describing.

The Home page: Macro City
When Hydrasynth Explorer is on the Home page the Control knobs and Control buttons become modulation sources for the Macros. Each Macro can alter as many as eight parameters at one time by activating a single control. Every patch has eight Macros available.
Macros allow you to achieve complex results, but they’re easy to create. When you’re ready to try that, see Mastering the Macros (p. 66).
The rest of the Master Control section has buttons that will be useful in the near future. We’ll cover them in Master Control Section (p. 19).

The Filter section
This section has two buttons and three knobs. The buttons select which of the two filters the knobs will control, after which the knobs can do their thing.
Knobs 1 and 2 are the same for either filter: they control Cutoff and Resonance, respectively. If Filter 1 is selected the third knob controls the Drive amount for that filter; if Filter 2 is selected the third knob allows you to “morph” the characteristics of that filter.
Those descriptions barely scratch the surface, though. To delve more deeply into what the Hydrasynth Explorer filters can do, read The Filters and their Controls (p. 35).

Saving

In the process of tweaking a sound you will often create something you’d like to keep. If that has already happened, jump ahead to the Patch Management chapter and follow the instructions in Save the Patch (p. 76).

check for updates

Be sure to visit www.AshunSoundMachines.com soon, and often! It’s your source for important things such as:

· Firmware updates for your Hydrasynth Explorer

· Tutorial videos to help you master the intricacies of the Hydrasynth Explorer

· An interactive version of this manual

· The original factory banks

· Banks of new patches from our top-notch sound design team

· Our free patch librarian, Hydrasynth Manager · …and more!

that’s enough reading for now.
We’ve covered the basics. Now let your creativity go wild!

Overview

The Hydrasynth Explorer represents a perfect balance of instant access, intuitive workflow, powerful features, and great sound, all with a single aim: to make the creation and performance of mind-blowing music easier and more fun.

top panel: hydrasynth explorer

8 1
5
2 3

Section name 1 Master Volume 2 Pitch / Mod strips, Octave / Chord buttons 3 Keyboard 4 Arpeggiator section

Section name 5 Filter Controls section 6 Main Systems section 7 Master Control section 8 Module Select section

general concepts

access buttons
The Access buttons are located in several areas of the top panel. Many of the buttons in the Main Systems and Master Control sections and all of the buttons in the Module Select section are Access buttons. Their purpose:
· Press an Access button and the main parameter page for that feature appears in the Right display for editing. · If more pages exist, one or both Page buttons will point to the other pages. · Pressing an Access button repeatedly will also scroll through its pages.
function buttons
These are the white-lettered buttons, and they make instant changes (switch filters, toggle something, activate a Macro, etc.). It might help to remember that
· buttons with orange letters select things and · buttons with white letters do things. For example: To enable the Arpeggiator, press the [ON] button. To exit any page, press [EXIT] or [HOME].
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control knobs
There are two knobs on either side of the Right display. They are “endless encoders”: parameters are edited from their current value, rather than jumping to another value that was based on the position of the knob.
The Control knobs play different roles depending on the page that has been accessed:
· On the Home page they are used as Macro controls.
· On a parameter page they are used to adjust parameter values.
A vertical bar next to each Control knob indicates value and range; the bar can be unipolar or bipolar, depending on the parameter. If the parameter is bipolar, the middle point of the bar = 0.0; values above or below that show an increase or decrease in the value.
control buttons
Each Control knob is paired with a Control button. Their function also depends on the page that has been accessed.
· On the Home page they can affect a Macro in one of four ways (Toggle, Trigger, Switch, or Reset). This choice is made on System Setup Master: Page 3 (p. 79).
· On a parameter page they are used to:
· select a parameter value for editing
· toggle a value (Oscillator Solo on/off, for example), or
· enter a lower-level editing page (i.e., Wavelist Edit for a WaveScan oscillator).
A dot next to each Control button indicates the toggle status of certain items (Macro enabled/ disabled, Solo on/off, etc.).
Module Select buttons
These buttons access the parameter pages of the selected Module (Osc 1, Delay, LFO 5, etc.) The signal path generally moves from left to right, but vertical lines between two buttons indicate:
· a pre-wired connection (Env 1 / LFO 1 to Filters, Env 2 / LFO 2 to Amp), or
· the ability to be routed in Series or Parallel, as with the Filters, or
· order of operations, such as the output of the Delay is fed to the input of the Reverb.

The Module Select buttons can be used as a quick way to set up a Mod Matrix route, too (hold one, press another). For information about that, see The Mod Matrix (p. 69).
knob types
Selection knobs
These are only found in the Arpeggiator section. A “selection knob” clicks between positions to select a value. Of these four, only the Swing parameter can be set to intermediate values (see Swing (p. 62)).
Variable knobs
Hydrasynth uses two types of variable knobs: · 270° encoders: The range has an upper and lower limit. Examples: Master Volume, Filter Cutoff · Endless encoders: These have no range limits, so an edit always starts from the current value.
the displays
At the center of it all are two high-resolution OLED displays, also known as the Left display and the Right display. They serve different purposes:
· The Left display is for Patch selection and helpful graphics. · The Right display is for parameter selection and adjustment. Each quadrant shows the value and status of the current parameter:
· A vertical bar shows value and range; it can be unipolar or bipolar, depending on the parameter. If it is bipolar, the middle point = 0.0; values above or below that show an increase or decrease in the value. · A dot shows the status of certain items (Macro enabled/disabled, Solo on/off, etc.).
When an Access button is pressed, the Right display and its surrounding controls change functions to allow instant access to the most-used parameters. The Page up/down buttons put all other parameters within easy reach.

Main Systems

6 Patch selection One of the major functions of this section is patch selection. There are several methods, and you might use them all at different times depending on what you’re doing.
Patch knob
From the Home page you can select an adjacent patch by turning the Patch knob a single click in either direction. You can also jump between the banks if you hold [SHIFT] while turning the knob.
Browse

All Notes Off
Sometimes MIDI signals are disrupted and a note becomes stuck. If that happens, hold [SHIFT] and press [HOME] to transmit an “All Notes Off” command. This will silence any stuck notes.
the SaVe button
Whenever you’ve made an edit that you’d hate to lose, press [SAVE] to access the Save page. You’ll be able to select a new location for the edited patch, rename it, and choose a category for the sound (Bass, Pad, etc.). You can even decide which color the knob will be when the patch is selected.
There’s another feature that determines whether the positions of the Macro knobs will be stored as-is, returned to zero, or saved as edits to the parameters they control.
For details on each of these functions, see Save the Patch (p. 76).

This page lets you alter the way the patches are presented in each bank. There are three different sort orders: By Patch #, by Name, or by Category.
The Browse page also contains a robust Compare feature, as well as a sub-menu where you can designate a patch as a Favorite. You can stash up to 32 patches in your Favorites bank for instant access.
For details on each of these functions, see Using the Browser (p. 74) in the Patch Management chapter.

System Setup
This section has 18 pages. It holds all of the global settings for the keyboard, the knobs, MIDI functions, the CV/Gate section, etc.
[SAVE] and [SYSTEM SETUP] are used together to specify the boot-up patch for the Hydrasynth.
For details about each page, see The System Setup Pages (p. 78).
the init button

Favorites (Shift + Browse)
When you need to find your best sounds immediately you can jump straight to your Favorites bank from any other page.
· Hold [SHIFT] and press [BROWSE] to access your Favorites · Use the Page Down/Up arrows to move between the eight banks of Favorites · Press the Control button next to the patch name to select it.
the hOMe button

Reset a parameter
The INIT button will reset any parameter to its default value: just hold [INIT] and press the Control button next to that parameter’s value. The Control button will light up next to any parameter that has been edited, which helps you know which one to press.
Initialize a Module
You can reset the parameters for an entire Module using a similar method:
· Hold [INIT].

The Home button is in the center of the top panel. It provides instant access to the Home page. Four of the eight Macros are located here; press [Home] again to reach the second set of Macros.
18

· Press the Access button for the desired module.
· Confirm the decision by pressing [INIT] again.
· If you decide not the initialize, press [EXIT] to cancel the procedure.

Initialize a Patch
If you want to build an entire patch from scratch, press [INIT] twice in a row. This will erase the contents of the Edit buffer, so be sure to save any edits you don’t want to lose.
the ranDOM button
If you’re the adventurous type, you will love this button! It can randomize the value of any parameter, any module, or even an entire patch.
Randomize a parameter
To randomize a single parameter, hold [RANDOM] and press the Control button next to that parameter’s value. The Control button of every available parameter will light up, so you’ll know which ones not to press (the dark ones won’t do anything).
Randomize a Module
You can randomize the parameters for an entire Module using a similar method:
· Hold [RANDOM]. · Press the Access button for the desired module. · Confirm the decision by pressing [RANDOM] again. · If you decide not the randomize, press [EXIT] to cancel the procedure.
Random Patch generation
You can even randomize every value, including the Effects! There are two ways:
· Press [RANDOM] twice. The Left display shows “GENERATE” after the first press, and after the second press a random selection of values is generated. · Hold [SHIFT] and press [RANDOM] twice. The Left display shows “PATCHRND” after the first

press, and after the second press a random selection of values is pulled from other patches.
Sometimes the results can be strange, but that’s okay; just try it again. Once you get something interesting, you can save it like that or tweak it as needed.

Percent of Randomization
The Random feature can specify how much randomization happens in each module. Press [RANDOM] and use these three Pages to set the randomization limits for each.

page Modules

range

1 OSC 1-3, Mutant 1-4, Mixer, Filters
2 Macro, ModMtrx, ENV, LFO 3 Voice, Amp, FX, Arp

0-100%
0-100% 0-100%

Note: a limited Range means the randomization selects from a smaller range of values when you randomize a specific parameter (e.g., the OSC Wave).

the Shift button

The Shift button is used in combination with various buttons and knobs to access secondary functions. When these are available the secondary functions are indicated with a row of orange text under the control.
In some cases [SHIFT] is used to accelerate value selection. For example, if you hold [SHIFT] and turn the Patch knob you can jump between Patch banks, as opposed to the standard operation of +/- 1 patch.
You can also use [SHIFT] to help fine-tune a value that has a large range. For example, if you want to set a precise value for filter resonance, hold [SHIFT] and turn the appropriate Control knob.
For a complete list of the available Shift functions, see Control Combinations (p. 86).

Master control Section

7
If you like to make your own patches, you might 19

enjoy this top-panel section the most. When a Module is accessed the parameter values are shown in the Right display, selected with the Control buttons, and adjusted with the Control knobs. The Page Up/Down buttons provide access to more parameters whenever a Module offers more than four. We’ll cover the parameters of each Module in Understanding the Modules (p. 23).

The Master Control section is also a lot of fun when you’re on the Home page, thanks to the powerful Macro controls. For live performance or on-the-spot creativity, the Macros can kick everything into high gear. See Mastering the Macros (p. 66).
exit button
This button will light as soon as you enter any page. It will take you back to the previous page, and it can cancel a process if you decide not to do something (Initialize, Randomize, Save, etc.). The Home page is the only page where [EXIT] is not lit, because that’s the top level of the patch.
page up / Down buttons
These two buttons are lit if the selected module has more than one page. If one of those buttons is lit that means there are pages available in that direction. If both are lit then pages are available in both directions. If neither is lit, there are no additional pages to select.
Access buttons can be used to flip between pages too, which works great if there are only a few pages. But if the module has a lot of pages and the parameter you want is more than a few pages away, hold [SHIFT] and press one of the lit arrows to jump to the first or last page. Then use the Page Up/Down buttons to reach the desired page.
VOice button
This Access button takes you into a set of patch-level features like Pitch bend range, Vibrato settings, Mono/Poly/Unison voice modes, and the Glide settings. This is also where the Scale is defined for the keyboard.
Perhaps more subtle but equally important, the Voice module is also home to the Analog Feel and Random Phase settings. These can really bring a patch to life.

See The Voice Module (p. 55) for specific information.
MacrO aSSign button
This Access button opens a page that is like a hallway with eight doors, and behind each one is a lab that makes a powerful performance control called a Macro. You can define up to eight modulation routes for each Macro, and then use the Control knobs and Control buttons to manipulate the Macros from the Home page. Each patch has its own set of 8 Macros.
To learn more about what’s on the other side of those doors, see the chapter Mastering the Macros (p. 66).
MOD Matrix button
The Mod Matrix button reveals a digital patch bay that provides up to 32 sets of modulation routes per patch. These are in addition to the Macros, although they can be controlled by them (and vice versa).
· Potential sources for the modulation routes include LFOs, Envelopes, Velocity, the Sustain pedal, and any MIDI CC # (Continuous Control number).
· Destinations can be almost any Hydrasynth parameter, including any Mod Matrix route. Additional destinations include the Macros, the Mod 1 and Mod 2 CV outputs, and any MIDI CC #.
There’s a lot to say about this topic, so you’ll want to read The Mod Matrix (p. 69).

arpeggiator Section

The Hydrasynth Explorer provides a comprehensive,

cutting-edge set of arpeggiator features that you can enjoy

immediately.

If you’d like more information, there’s a chapter dedicated to the ins and outs (or “ups and downs”, if you will) of The Arpeggiator Section (p. 62).

filter controls

Sweeping the filter frequency of a sound is a great way to heighten the emotional impact of the music. This is

especially true during an arpeggio or a sequenced passage.

Hydrasynth Explorer offers several controls for exactly this purpose. You can sweep the filter frequency, adjust the resonance, and increase the drive amount of Filter 1, for example, and then switch to Filter 2 and perform similar actions. However, for Filter 2 the third knob does not control the drive amount; instead it “morphs” the filter between three states (Low Pass / Band Pass / High Pass or Low Pass / Notch / High Pass, depending on the selected Type). For details, refer to The Filters and their Controls (p. 35).

Module Select

8
The Module Select section has 26 Access buttons which are used to view and edit the parameters for each patch. Their placement provides a visual

reference for the signal flow, which starts with the Oscillators, moves through the Filters, proceeds through the effects, and is sent to the outputs.
Pressing a Module button will reveal the first page of parameters for that module. If more than one page exists, the Page buttons are used to access the other pages, as described earlier in PAGE Up / Down buttons (p. 20). Full details about the parameters of each Module are found in the chapters ahead.

performance controls

The Hydrasynth Explorer was designed to encourage the spontaneous exploration of sound and rhythm. Whether live or in the studio, the potential for unique performances is enhanced by the Macro controls on the Home page, as well as dedicated Filter and Arpeggiator controls. Along with those are a host of other interactive features, such as 37 PolyTouch® keys, pitch/mod strips, Octave buttons, Chord mode, and a headphone jack. And thanks to its portability and a healthy number of CV outputs, the outside world can join in on the fun!

To create a chord, hold [CHORD] and it will flash. Then play the notes you want the chord to contain. You can press them all at once or one at a time, which allows you to build chords that are outside your normal reach. The lowest note you enter will become the root note. When you’re done, release the button.
There are a few things to remember about Chord mode:
· A chord can contain between 2-8 notes; <2 notes are not stored; notes >8 are ignored.

We offer several models with identical voice architecture and editing methods. And if you will forgive the shameless plug, if you buy any one of the other models you can combine their polyphony by enabling Overflow (p. 83). It’s a very cost-effective way to multiply the creative potential of your system.
Twice the fun for less than twice the price!

· The chord is not saved with a patch, and will be erased when the Hydrasynth Explorer is power-cycled.
· Chord mode puts the keyboard into mono mode (last note priority).
· All notes in the chord will be quantized to notes within the selected scale. (See Select a Scale (p. 58) in The Voice Module (p. 55).)

chord mode
A single key can play up to 8 notes at once by activating the [CHORD] button. But a chord must be created before the button can be used.
21

· The chord is not transmitted over USB or MIDI. A slaved device will only receive the played note.

rear panel

8 10

Section name 1 CV / Gate connectors 2 Phones output 3 Outputs
4 Sustain pedal input 5 MIDI connectors 6 USB connector 7 DC power connector 8 Power cable guard 9 Power switch 10 Kensington lock

Description Interface with modular synthesizers Compatible with a wide range of impedance ratings Left (mono), Right (for stereo)
Polarity sensing on startup In, Out Type B for computer connection 12 volts DC, 1A Helps prevent accidental disconnection Gets the creative juices flowing! Helps prevent unwanted relocation

cV/gate connectors

MiDi

These five connectors allow the Hydrasynth Explorer to interface with the wild and wonderful world of modular synthesizers. There are five outputs (Pitch, Gate, Mod 1, Mod 2, and Clock), and each one sends voltages and signals that can control external devices.
The range of each voltage and what type of signals are sent are defined in The System Setup Pages (p. 78), and information about how to use them is in The CV / Gate Section (p. 72).
Outputs

The Hydrasynth Explorer has two MIDI connectors to let you interface with other devices that might not have a USB port or CV / Gate connectors.
· MiDi Out sends data from the Hydrasynth Explorer to another MIDI device · MiDi in receives data from another MIDI device
uSB
Use this port to connect to your computer.
power

Headphones
The headphone volume is controlled with the Master Volume knob.

Cable lock
The cable lock provides an additional level of protection for the power supply cord.

Stereo Outputs
Connect the Left output if monaural signal is desired; connect both outputs if stereo signal is preferred.

On/off switch
There are only two options here: O=Off and |=On.
kensington lock

Sustain pedal input
Connect a momentary footswitch here. Its polarity is detected on power-up, so any brand of pedal can be used.

Let’s face it: the music you make with your Hydrasynth Explorer will take people places! And just in case they get a bit carried away, we’ve included the Kensington lock system so you can keep your Hydrasynth Explorer from also being carried away.

Understanding the Modules

The orange-lettered Access buttons select particular modules for editing, and can also be used to create new mod routes. They are arranged in the order of signal flow, from left to right: [Osc] > [Mixer] > [Filter] > [Amp] > [FX]. The top panel graphics indicate this, and also show the interactions and independence of the modules.
The Voice module is the lone exception to the signal flow rule. Located in the upper right corner, it provides features such as the Unison modes and Scale.

Module groups

We’ll only touch briefly on the modules here; most have their own chapters. Their purpose here is to introduce operations that can be performed by any two modules from any module group.

Oscillator group
The Oscillator group includes Oscillators 1-3, the four Mutant modules, and the Ring-Noise module. After the waveforms are generated by Oscillators 1 and 2 they pass through their respective Mutant modules before heading to the Mixer module, where they are joined by the outputs of Oscillator 3 and the Ring-Noise module.
The modules that are in the Oscillator group are described in The Oscillator Group (p. 26).

Dotted lines connect ENV 1 to the Filter group and ENV 2 to the Amp module, which means they have pre-wired connections that show up as parameters in those modules. But all Envelopes can be used as modulation sources for any destination, and Envelopes 3-5 can be used as additional modulation sources for the Filters and the Amp module.
Note that Envelope 2 does not show up by name inside the Amp module, but its input level is controlled by the AmpLevel parameter.

Mixer module

LfO group

This module has some simple but important functions, including the relative levels and panning of the oscillators, how they are routed through the filters, and whether the filters are in a series or parallel configuration. Full details are in The Mixer Module (p. 33).
filter group
Filter 1 and Filter 2 are similar in name and function but their features are very different.
· Filter 1 has 16 different filter models, including Low- / High- / Band Pass and vocal formant options. · Filter 2 is a multi-mode filter with two types: Low Pass / Band Pass / High Pass and Low Pass / Notch / High Pass. Each type can “morph” between the three states.
The filters can be placed in parallel or series. Full details are in The Filters and their Controls (p. 35).
envelope group
All five Envelopes have identical parameters, and each can be triggered by up to four sources.

All five LFOs have identical parameters. Dotted lines connect LFO 1 to the Filter group and LFO 2 to the Amp module, which means they have pre-wired connections that show up as parameters in those modules. But all LFOs can be used as modulation sources for any destination, and LFOs 3-5 can be used as additional modulation sources for the Filters and the Amp module.
amp module
The Amp module contains only three parameters:
· LFO 2 Amount adjusts the amount and polarity of the effect LFO 2 has on the Amplitude of the patch.
· Velocity controls the velocity response of the Amplitude stage. Negative values invert the response: increased velocities reduce the amplitude.
· Amp Level can be used to compensate for quieter or louder output from the oscillators and filters.
For information about how these parameters interact, see The Amp Module (p. 39).

fx group

Voice module

Rounding out each patch is a healthy array of effects processors, from pitch effects to spatial emulations and much more. With these a raw sound can become sweet or angry, pure or distorted, straightforward or mangled.
Once the rest of the synth has had its way, the signal flow is [Pre-FX] > [Delay] > [Reverb] > [Post-FX] > Output. For specific details read The Effects (p. 50).

Though it isn’t located in the Module Select section, the Voice module has a significant impact on each patch. It determines how many notes are available, which ones will play, and how they sound, through parameters such as Polyphony, Detune, Analog Feel, Random Phase, Glide, and Scale. These are fully described in The Voice Module (p. 55).

Module Shortcuts

The top panel buttons can do a lot more than access parameters for editing. They can be used to create a mod route within seconds, for example, or to copy parameters between similar modules.
create Mod routes

First the Hydrasynth Explorer must be on the Macro Assign page, where the module buttons become shortcuts to select the parameters you want to control. This is significantly faster than scrolling through all of the other modules to reach the one you want.

There’s a shortcut to set up one or more mod routes very quickly. Instead of accessing the Mod Matrix through its button and navigating to the right page and field, try this from the Home page:
· Press and hold the module button for the desired Modulation Sources (p. 70)
· Press the module button for the destination you want to modulate. See Modulation Destinations (p. 71)
If you’ve chosen valid components for the route the Right display will jump directly into the Mod Matrix at the first empty modulation slot, with the first parameter of the destination module highlighted. From there you can select a different parameter within that module using Control knob 2 and set the modulation amount with Control knob 4. If the destination parameter has a top panel knob available, turning that will select it as the destination.

Everything you need to know about setting up Macros is in the chapter Mastering the Macros (p. 66).
copy / paste settings
Some modules are identical, and their parameter values can be copied from one module to another. For example, you can copy the settings from Oscillator 1 to Oscillator 2, or vice versa, because their data is interchangeable.
Some modules have unique features and capabilities and their data is not interchangeable. For example: you can’t copy the settings from Oscillator 3 to Oscillator 1 because their parameters are very different.
Copy / paste procedure
The process of copying the settings between compatible modules is simple:

This technique can also be used inside the Mod Matrix pages. The advantage to doing it there is that when you hold a source button, all of the potential mod route destinations will light up. They don’t do that from the Home page.
The Mod Matrix will be covered more fully in The Mod Matrix (p. 69).

· Press and hold the Save button: All modules that are potential copy sources are lit
· Select the copy source: Only potential paste destinations remain lit
· Select the paste destination. The process will execute and all buttons will become unlit, indicating success.

Select Macro Destinations
When Hydrasynth Explorer is on the Home page the Control knobs and Control buttons are capable of the simultaneous manipulation of up to eight parameters each. The module buttons make it easy to set these up.

Here’s a real-life example: Let’s say you want to copy the settings from Envelope 1 to Envelope 2, and then make some slight adjustments so Envelope 2 comes in more slowly and fades out sooner. It’s easy: Hold [SAVE], press [ENV1], and then press [ENV2]. Release the Save button and you’re ready to edit Envelope 2.
24

Modules that will
When the Save button is held some of the Module buttons are lit. These are the ones that can be copied and pasted. There are limitations, of course; the parameters of an Oscillator cannot be pasted to one of the Filters, for example. Here’s a chart that shows the possible combinations.

Modules Oscillators Mutants Envelopes LFOs

copy/paste is possible between… Oscillators 1 and 2 Mutants 1, 2, 3, or 4 Envelopes 1, 2, 3, 4, or 5 LFOs 1, 2, 3, 4, or 5

Modules that won’t
When the Save button is held some of the Module buttons are not lit. These have unique parameters and can not be copied and pasted.

Modules Oscillators Filters Effects Others

copy/paste nOt possible… Oscillator 3, Ring-Noise Filter 1, Filter 2 Pre-FX, Delay, Reverb, Post-FX Mixer, Amp

The Oscillator Group

Oscillators are the foundation of a patch. They generate the most basic component of the sound, which is then shaped by other components such as Mutants, Filters, Envelopes, etc.
Hydrasynth Explorer has 3 oscillators per voice. Oscillators 1 and 2 can operate in two different modes: Single and WaveScan. Oscillator 3 operates only in Single mode. The same waveforms are available in both modes, but the features of each mode are very different.
The Mutant modules affect an oscillator the same way a mask or lipstick affect a face: they change the way the underlying component is presented to the world. The Ring-Noise module does a similar thing: it produces a sound based on the sum and the difference of two input signals.
The Oscillator, Mutant, and Ring-Noise modules form the Oscillator group. We’ll cover them all in this chapter.
Settings can be copied between identical modules (Osc 1 and 2, Mutants 1-4): Hold [SAVE], press and release the source, and then press and release the destination. Then release [SAVE].

Oscillators 1 and 2

The features of these oscillators are identical, so the following descriptions apply to both. For a list of the available waveforms see the Waveform List (p. 32) at the end of this chapter.

Switching modes

To change an oscillator from Single mode to WaveScan mode or vice versa, access [OSC 1] or [OSC 2] and use Control knob 1.

Single mode

Single mode provides only a single waveform to the sound, hence the name. There’s a lot you can do with a single waveform, though: the Mutant modules and the Ring Modulator make sure of that.

page control parameter range

1 Mode

Single, WaveScan

2 Semi

+/- 36 semitones

3 Wave

219 options [2]

4 Cents

+/- 50 cents

2 BitRedux (various)

3 Keytrack 0200%

Description Select the oscillator mode Coarse tuning of oscillator pitch [1] Choose a waveform as the starting point Fine tuning of oscillator pitch Controls oscillator resolution; see Oscillator Bit Reduction (p. 27). Sets keyboard pitch tracking. [3] [1] Use [SHIFT] to jump by 12 semitones.

[2] See Waveform List (p. 32) [3] 0 = fixed pitch; at 200% a 1-octave difference on the keyboard changes the pitch by 2 octaves. Default = 100%.

waveScan mode

This mode offers all of the same waveforms found in Single mode, but then allows you to select up to eight of them in a Wavelist. WaveScan will morph gradually between the positions in the Wavelist, using an LFO or some other source through the Mod Matrix.
We’ll list the parameters first and describe them in detail later. Some are also present in Single mode:

page control parameter range

Description

1 Mode

Single, WaveScan

Select the oscillator mode.

2 Semi

+/- 36 semitones

Coarse tuning of oscillator pitch [1]

3 WaveScan 1.0 to 8.0 in steps of 0.1 Select the starting position of the WaveScan. [2]

4 Cents

+/- 50 cents

Fine tuning of oscillator pitch

1 Wavelist (access)

Edit…

Press Control button 2 to access the list. (See Wavelist Edit page below.)

2 BitRedux (various)

3 Keytrack 0-200%

Controls oscillator resolution; see Oscillator Bit Reduction below.
Sets keyboard pitch tracking. [3] [1] Use [SHIFT] to jump by 12 semitones.

[2] Hold [SHIFT] to jump by whole numbers. An intermediate value morphs between two waveforms, as seen in the Left display. [3] 0 = fixed pitch; at 200% a 1-octave difference on the keyboard changes the pitch by 2 octaves. Default = 100%.

Wavelist Edit page
This lower-level page lets you pick a waveform for each of the 8 WAV locations. Options include OFF, Silence, and any one of the 219 waveforms. Note: Wave 1 can’t be set to OFF or Silence.
The eight WAV slots correspond to the x.0 positions of the WaveScan parameter on page 1 of the upper level: WAV 1 = position 1.0, WAV 2 = position 2.0, etc. A WaveScan value of 1.5, for example, is derived by “morphing” halfway between WAV 1 and WAV 2.
Two additional features make waveform selection

and auditioning very easy:
· Press the corresponding Control button to solo that WAV position. The dot next to the Control button will flash slowly to indicate the wave being auditioned.
· Hold [SHIFT] and turn a Control knob to change that waveform and all that follow it. For example,
· Hold [SHIFT] and turn Control knob 3.
· As WAV 3 selects waveform X, WAV 4 selects waveform X+1, WAV 5 selects waveform X+2, etc.

When a WAV is set to OFF, any WAV after it is treated as if it were located in an earlier position. For example, if WAV 7 = OFF but WAV 8 = Pulse4, the Hydrasynth handles Pulse4 as if it were WAV 7.

Oscillator Bit reduction

Bit reduction degrades a digital signal by reducing its resolution. At its most extreme settings the original sound is unrecognizable. It’s like a pixelated photograph for the ears!
The Hydrasynth Explorer oscillator resolution can be reduced gradually to 2 bits, with many intermediate values. This can be done independently for each oscillator, but let’s try a simple example using only Oscillator 1:

3. Use Control knob 3 to set the Wave to Triangle.
4. Press the Down arrow to access page 2.
5. Hold a low note and use Control knob 3 to audition the BitRedux settings.
6. Note how the sound first becomes `crispy’, and then gradually degrades as the value approaches 2 bits.

1. Initialize the patch by pressing [INIT] twice. 2. Press [OSC 1] to access its module.

7. Experiment with different waveforms and BitRedux values. Every combination has its own character!

BitRedux includes standard binary values such as 16-, 8-, 4-, and 2 bits. But timbres ranging from the beautiful to the malevolent lurk in less-explored bit depths of 10, 7, and 3, etc. Apply BitRedux to your favorite patch and see what happens!

Oscillator 3
Oscillator 3 operates in Single mode only, so it does not have the Mode select option in edit field 1. See the description of Single mode in Oscillators 1 and 2 (p. 26).

While creating a patch it can be useful to solo an oscillator to see what it is contributing to the sound. This feature is located on the first page of The Mixer Module (p. 33). Ring & Noise can also be soloed.

Mutants 14

Each of the Mutant modules is identical so we will describe them all at the same time. They are arranged in pairs: two for Oscillator 1 and two for Oscillator 2. Depending on the selected mode, the output of one of the Mutants in a pair can be fed into the next Mutant and/or into any other Mutant, including itself. In some modes the Mutants are dedicated to the oscillators with which they are paired.
The first edit field of the Mutant module selects the mode. There are eight:

Mode FM-Lin WavStack OSC Sync PW-Orig PW-Sqeez PW-ASM Harmonic PhazDiff

Description Modulate the oscillator frequency with the selected Source Adds phase-shifted copies of the waveform; simulates many oscillators using only one Force the harmonics of the oscillator to synchronize with those of the selected Source Classic method of adjusting the pulse width of a waveform Time-compressed pulse width modulation method Customizable pulse width modulation via FM; targets specific sections of the waveform Emphasizes individual harmonics in the waveform, de-emphasizes all others Generates the difference of the source wave and an inverted, phase-shifted copy

fM-Lin

This module provides a type of synthesis known as Linear FM (Frequency Modulation). Each voice is the equivalent of a 2-operator stack, with a carrier and a modulator. Unlike the most famous synth of the mid-1980s, which used only sine waves, the Hydrasynth Explorer can use any of its 219 waveforms as both the carrier and the modulator. The FM Source can also be generated by the Mutant itself (Sine or Triangle), another Mutant module, or the Ring-Noise module.

page control parameter range

Description

1 Mode

8 species (focus: FM-Lin)

See list of Mutants in previous section

2 Ratio [1] 0.250-64.000; increments vary Relative tuning of Source & oscillator

3 Depth

0-128 in increments of ~0.1 FM input level to oscillator

4 Dry/Wet 0-100%

Osc/Mutant mix; 100% = pure Mutant

1 Source

11 options [2]

Selects FM source

3 Feedback 0-150%

Feeds FM output into itself

[1] Only visible when Source = Sine or Triangle. Hold [SHIFT] to jump by harmonics. [2] Potential modulators: Sine, Triangle, Osc 1-3, Ring Mod, Noise, Mutant 1-4

wavStack

This mode stacks five detuned copies of the waveform on top of itself, which makes for a fat sound using only a single oscillator. Pro tip: Spreading out multiple voices with the StereoWidth parameter ([VOICE] page 1) can make the sound HUGE.

Depth controls the amount of detuning between each of the five copies. Dry/Wet adjusts the balance between the unprocessed input and the mutated output.

OSc Sync

Oscillator Sync is a classic analog synthesizer technique where an oscillator is forced to align its harmonics with another oscillator. Traditionally this is done with simple waveforms, and with the second oscillator affecting the first. Hydrasynth Explorer provides many more options, including the use of all 219 waveforms in either position, the ability to sync Osc 1 and/or Osc 2, and the ability for any of the three oscillators to be used as the sync source.

page control parameter range

Description

1 Mode

8 species (focus: Osc Sync) See list of Mutants on previous page

2 Ratio

0.250-64.000; increments vary # of times wave resyncs in one cycle [1]

3 Depth

0-128 in increments of ~0.1 Controls strength of sync effect

4 Dry/Wet 0-100%

Mix raw waveform + sync result; 100% = pure Mutant

1 Source

Osc 1, Osc 2, Osc 3

Select sync source

2 Window 0-128 in increments of ~0.1 Applies Hann window to sync source

3 Feedback 0-150%

Feeds sync output into itself

[1] Hold [SHIFT] to jump by whole numbers.

The Ratio parameter is unusual for oscillator sync. Normally the sync operates at a 1:1 ratio: the synced oscillator conforms to a single cycle of the host waveform, and that’s that. But the Ratio parameter sets the number of times the oscillator will resync within that single cycle. See the next section for a more complete explanation.

about ratio

window

The Ratio parameter is part of what makes the Hydrasynth voice engine unique. It gives you control over how many times PWM or Oscillator Sync happens during a single waveform cycle, instead of happening only once per cycle as with other synthesizers. It may help to think of it like this:
· 1:1 = one process for one cycle of the wave.
· 2:1 = two processes for one cycle of the wave.
So at 2:1 the PWM is happening twice in a cycle instead of once (the way “normal” PWM does); the Oscillator Sync is happening twice in the cycle.
The ratio can be as high as 64:1 or as low as 0.250:1. This means that the mutation process can occur as many as 64 times in the space of one waveform cycle, or as few as one time in the space of four waveform cycles.

A Hann window applies a sort of “bell curve” filter to the Osc Sync source. It rolls off the high and low input frequencies at ~18dB / octave, which can help tame any harshness in the output
pulse width modulation
Pulse Width Modulation (PWM) alters the basic shape of the waveform by shifting its internal structure over time, making some areas narrower and others wider. This is usually done to square waves, but the Hydrasynth Explorer voice engine can apply PWM to any of its 219 waveforms.
And there’s more! Hydrasynth Explorer takes PWM in entirely new directions by providing not one, but *three* types of PWM. Each has the same parameters (with one exception as noted below), but the results of each type can be radically different!

page control parameter

1 Mode

2 Ratio

range
8 species (focus: PW-Orig / -Sqeez / -ASM [Warp])
0.250-64.000; increments vary

Description See list of Mutants on previous page
# of times PWM happens in one cycle. [1]

3 Depth

0-128 in increments of ~0.1 Controls harmonic range of PWM

4 Dry/Wet

0-100%

Mix raw waveform + PWM result; 100% = pure Mutant

3 Feedback 0-150%

Feeds sync output into itself

4 Custom Edit (access)

(PW-ASM

only)

Press Control button 7 to access Warp points. See PW-ASM [Warp] below.

[1] Hold [SHIFT] to jump by whole numbers.

pw-Orig
This is the “vintage” PWM used by many analog polysynths in the `70s and `80s: a waveform is fixed at its center and both of its edges are moved to compress or expand its width. The PWM source is often an LFO, though an Envelope or other sources can yield excellent results.
pw-Sqeez
This form of Pulse Width modulation grabs the start and end points of the modulation and then squeezes them to the right. It might help to think of this as “time-warping” a waveform: It makes the oscillator go slow at first and then go fast, all in the space of a single cycle.
pw-aSM [warp] PW-ASM mode divides the selected waveform into 8 sections that are framed by Warp points. The values chosen for each Warp point determine how warped each section of the waveform can become.
Here’s an example of PW-ASM mode in action.

1. Press the Page Down arrow to access page 2.
2. Press Control button 4 to access Custom Edit.
3. Hold the low C key and turn Control knob 2 slowly.
4. Listen and watch the display as Warp2 changes from 0 to 128 and back. Note how the waveform is affected only in one specific area (i.e., Warp point 2).
5. Press the Page Down arrow to access Warp points 5-8.
6. Repeat steps 7 and 8 with one or more Warp points at various values.
7. Also try different settings for Ratio, Feedback, and Dry/Wet. The sonic potential is nearly limitless.
PW-ASM mode is actually a form of Frequency Modulation (FM). It allows you to draw your own modulator waveform by selecting different values for each of the 8 Warp points. Construct a slope, a valley, a mound, jagged peaks, pseudo-random, etc.; your design will become an FM source (i.e., the modulator).

Each Warp point can be a destination in the Mod Matrix, so timbral changes can be as subtle or wild as you like. For example, use synced LFOs as mod sources and various Warp points as destinations.

harmonic

At its maximum Depth and impact (100% wet) the Harmonic mutator emphasizes individual harmonics in a waveform and de-emphasizes the others. Its effect is heard more obviously on waveforms rich in harmonics, like a sawtooth wave, than on a simpler waveform such as a sine wave.

page control parameter range

Description

1 Mode

8 species (focus: Harmonic) See list of Mutants 14 (p. 28)

2 Ratio

0.250-64.000; increments vary Selects emphasis harmonic. [1]

3 Depth

0-128 in increments of ~0.1 Controls harmonic range

4 Dry/Wet 0-100%

Mix raw waveform + harmonic; 100% = pure Mutant

3 Feedback 0-150%

Feeds harmonic output into itself

[1] Hold [SHIFT] to jump by whole numbers. 30

Try this experiment to see how the Harmonic mutator affects different waveforms:

1. Initialize the patch by pressing [INIT] twice. This provides a Single mode saw wave from oscillator 1.

6. Slowly increase the Depth to 128. Each of the frequencies in the harmonic series is emphasized.

2. Access [MUTANT 1] and turn Control knob 1 to select the Harmonic mode.

7. Return the Depth slowly to 0. Gradually all harmonics disappear, even the fundamental.

3. Set the Depth parameter to 0.0.

8. Release the note.

4. Set the Dry/Wet parameter to 100% so only the effect will be heard.

9. Access [OSC 1] and change the Wave to Square.

5. Hold the lowest C until step 8. You should hear almost nothing at this point.

10. Access [MUTANT 1] and repeat steps 5-8. You will hear a limited set of harmonics emphasized.

Here’s why they were different: As the depth increased the Harmonic effect revealed the harmonics that are present in each waveform. A sawtooth wave contains all harmonics, but a square wave contains only odd-numbered harmonics.

Try the experiment with other waveforms. It’s a good way to learn why the various waveforms sound different: each contains a different set of harmonics in varying strengths.

phazDiff

PhazDiff generates the difference of the incoming wave and a version that is inverted and phase-shifted.

parameter Depth Feedback Dry/Wet

range

Description

0-128 in increments of 0.1 Controls the phase of the output waveform

0-150%

Feeds the phase-shifted output back into itself

0-100%

Mix raw and phase-shifted waveforms; 100% = pure Mutant

Here’s how to explore this Mutant. But be careful with high Feedback values in step 5! The results can be very loud.

1. Initialize the patch by pressing [INIT] twice.

2. Press [MUTANT 1] to access that Mutant module.

3. Use Control knob 1 to select the PhazDiff mode.

4. Use Control knob 4 to set the Dry/Wet control to 50%. This provides an equal blend of the raw wave and its mutation.

5. Experiment with different values of Depth and Feedback to hear what they do.

6. Try step 5 with other waveforms, and try different Dry/Wet values.

This is especially fun to watch in the display as the waveform peaks are shifted and inverted. The changes are easier to see with simpler waveforms such as Horizon5 or Spect A1, but the results are always audible. Modulating the Depth via the Mod Matrix is a great way to introduce subtle shifts in the sonic landscape, too.

ring-noise Module

This module contains two additional sound

bell-like and pure, or it can be wiry, robotic, trashy,

sources that can be blended with the oscillators to and/or pleasingly unnatural.

make sounds that are even more interesting.

A noise generator produces random, simulta-

Ring Modulation (Ring Mod or RM) takes two

neous frequencies across a broad range. The

audio signals and generates a sound based on the different colors represent specific frequency

sum and the difference of their frequency content. ranges and power levels.

Depending on the sources the result can be

page 1 1 1 1 2 2

control 1 2 3 4 1 2

parameter Source 1 Source 2 RM Depth Ring Vol Noise Type Noise Vol

range Osc 1-3, Noise, Mutant 1-4 Same as Source 1 0-128 in increments of ~0.1 0-128 in increments of ~0.1 White, Pink, Brown, Red, Blue, Violet, Grey 0-128 in increments of ~0.1

Description Selects first input source Selects second input source Depth of Ring Modulation RM volume [1] Selects noise type Noise volume [2] [1] Parameter is shared with Mixer page 2, edit field 1; changing one also changes the other.

[2] Parameter is shared with Mixer page 2, edit field 2; changing one also changes the other.

waveform List

waveform group Classic
Pulse Horizon SyncLav Esquire ChriMey Spect A Spect X Klangor Induct Scorpio Belview Chendom Glefan Sqarbel Obob Ingvay

waveforms Sine, Triangle, TriSaw, Saw, Square Pulse 1-6 Horizon 1-8 SyncLav 1-5 Esquire 1-4 ChriMey 1-6 Spect A 1-7 Spect X 1-7 Klangor 1-5 Induct 1-3 Scorpio 1-9 Belview 1-5 Chendom 1-8 Glefan 1-7 Sqarbel 1-2 Obob 1-3 Ingvay 1-3

waveform group Particl
Vokz Flux Alweg Tronic Duotone Bobanab Melotic Cluster Micoten Orland Neuton Xfer Resyn Sano SquRoo Harmon

waveforms Particl 1-3
Vokz 1-6 Flux 1-5 Alweg 1-8 Tronic 1-6 Duotone 1-6 Bobanab 1-4 Melotic 1-7 Cluster 1-8 Micoten 1-5 Orland 1-8 Neuton 1-7 Xfer 1-7 Resyn 1-4 Sano 1-4 SquRoo 1-15 Harmon 1-23

The Mixer Module

This module has six pages of parameters which perform simple but important functions.

page control parameter range

1 Osc 1

0-128

2 Osc 2

0-128

3 Osc 3

0-128

4 Solo

On/Off

1 Ring

0-128

2 Noise

0-128

4 Solo

On/Off

Description
Osc 1 level Osc 2 level Osc 3 level First press: all 5 sources are active. Use Control buttons to solo a source. [1] Ring mod level Noise level First press: all 5 sources are active. Use Control buttons to solo a source. [1] [1] Pages 1 and 2 share this parameter; changing one also changes the other.

Setting Levels
To set the relative levels of the sources, access [MIXER]. Page 1 contains the levels for Oscillators 1-3, and the levels for Ring and Noise are on page 2. Use the appropriate Control knob to adjust the level of each item, and use [SHIFT] + Control knob X to fine-tune the level.

the Solo function

When creating a patch you may want to hear one of the sources on its own while making adjustments to that source. Rather than setting the other levels to zero temporarily and restoring them later, Hydrasynth Explorer includes a Solo function.
It’s easy to use:
· On pages 1 and 2, use Control button 4 to toggle Solo from Off to On. Those pages share this parameter, so changing it on one page changes it on the other.
· When Solo is engaged the Control buttons for all 5 sources will light on their respective pages. This means they are still active.
· Press the Control button of the source you want to hear. Its Control button will become brighter than the others.
· Press another Control button to solo that source. The first Control button will dim and the selected one will brighten.
· You can switch between pages 1 and 2 and solo any one source on either page.
· Press Control button 4 on either page 1 or 2 to defeat the Solo function.

Mixer parameters: pages 3-4

page 3 3 3 4 4

control 1 2 3 1 2

parameter Osc 1 pan Osc 2 pan Osc 3 pan Ring pan Noise pan

range -/+ 64 -/+ 64 -/+ 64 -/+ 64 -/+ 64

Description (as named) (as named) (as named) (as named) (as named)
33

Set the pan positions

Osc 1-3 Pan
To set the stereo placement of the oscillators, access [MIXER] and use the Page Down arrow to select page 3. Control knobs 1-3 contain the pan positions for Oscillators 1-3. Use the appropriate Control knob to adjust the pan position of each item, and use [SHIFT] + Control knob X to fine-tune the value.
Mixer parameters: pages 5-6

Ring + Noise Pan
To set the stereo placement of the Ring modulator and Noise generator, access [MIXER] and use the Page Down arrow to select page 4. Control knobs 1 and 2 contain the parameters Ring Pan and Noiz Pan, respectively. Use the appropriate Control knob to adjust the pan position of each item, and use [SHIFT] + Control knob X to fine-tune the value.

page control parameter range

Description

1 Osc1Filt

100:0 – 0:100 Ratio of Osc 1 fed to the two filters

2 Osc2Filt

100:0 – 0:100 Ratio of Osc 2 fed to the two filters

3 Osc3Filt

100:0 – 0:100 Ratio of Osc 3 fed to the two filters

4 Filter Routing Series, Parallel Places the filters in Series or Parallel configuration [1]

1 Ring Filt

100:0 – 0:100 Ratio of Ring mod fed to the two filters

2 Noise Filt

100:0 – 0:100 Ratio of Noise source fed to the two filters

4 Filter Routing Series, Parallel Places the filters in Series or Parallel configuration [1] [1] Pages 5 and 6 share this parameter with Filter 1 page 3; changing one also changes the other.

filter routing of Sources

Osc 1-3 Filter routing
To adjust the routing of each oscillator between Filter 1 and Filter 2, access [MIXER] and use the Page Down arrow to select page 5. Control knobs 1-3 contain the filter routing values for Oscillators 1-3. Use the appropriate Control knob to adjust the filter routing of each item:
· 100:0 sends the source only to Filter 1.
· 0:100 sends the source only to Filter 2.
· Intermediate values send the source to both filters in varying amounts.
Use [SHIFT] + Control knob X to fine-tune the values. Control knob 4 sets the Filter configuration (see below).

Ring + Noise Filter routing
To adjust the routing of the Ring modulator and Noise generator between Filter 1 and Filter 2, access the [MIXER] module. Hold [SHIFT] and press the Page Down arrow to jump to page 6. Control knobs 1 and 2 contain the parameters RingFilt and NoizFilt. Use the appropriate Control knob to adjust the filter routing of each item:
· 100:0 sends the source only to Filter 1.
· 0:100 sends the source only to Filter 2.
· Intermediate values send the source to both filters in varying amounts.
Use [SHIFT] + Control knob X to fine-tune the values.

filter configuration

This setting specifies whether the filters operate in Series or Parallel mode. When they are in Series, Filter 1 always passes through Filter 2. When they are in Parallel, sources can be routed so they pass through only one of the filters or through both filters in varying amounts (as described above in Filter Routing of Sources (p. 34)).
Pages 5 and 6 share this parameter with Filter 1 page 3, edit field 1; changing one also changes the other.

the fiLterS anD their cOntrOLS
Filters are second only to oscillators in defining the sound of a patch. If the oscillators were passengers in a car, for example, then the filters are the doors: Some open and close luxuriously to reveal the occupants; others have more grit and meet a different need. The Hydrasynth Explorer filters cover the range from a silky Lamborghini to a rugged Jeep, with all the sophistication and aggression implied by those extremes. You’re ready for any sort of musical journey with Hydrasynth Explorer.
There are two filters available, each with its own characteristics. They can be used in series, with Filter 1 feeding Filter 2, or used in parallel, where each filter has a direct path to the output.
filter 1
This filter is actually a collection of filter types. Each one has its own character, and some may be similar to analog filters you have encountered. But we didn’t want Hydrasynth Explorer to sound like a clone of any instrument, so we took some of the flavor of the original filters and made something new. As with the oscillators, you will find that the Hydrasynth Explorer filters add their own signature to the sound.
filter 1 types

name LP Ldr12 LP Ldr24 LP Fat12 LP Fat24 LP Gate LP MS20 HP MS20 LP 3-Ler
BP 3-Ler

Description 12dB Uncompensated Ladder filter 24dB Uncompensated Ladder filter 12dB Compensated Ladder filter 24dB Compensated Ladder filter Low Pass Gate filter Low Pass filter with an MS-20 flair High Pass filter with an MS-20 flair The Low Pass flavor of a boutique modular synth The Band Pass flavor of a boutique modular synth

name HP 3-Ler
LP Stn12
BP Stn12
HP Stn12
LP 1 Pole LP 8 Pole Vowel

Description The High Pass flavor of a boutique modular synth
Our version of a popular 12dB Low Pass filter
Our version of a popular 12dB Band Pass filter with dual 6dB slopes
Our version of a popular 12dB High Pass filter A gentle 6dB Low Pass filter A steep 48dB Low Pass filter Vocal formant filter

compensated vs. uncompensated filters

Filter compensation could be an unfamiliar concept. It’s another way in which ASM has adapted the sonic profile of various analog synthesizers. Here’s the difference:
· Uncompensated filters: As resonance increases the low frequency content of the sound is reduced.
· Compensated filters: The bass response is not reduced as resonance is increased.

filter 1 parameters: page 1

All of the Filter 1 types have the same parameters, with one exception as noted. Access [FILTER 1] and turn Control knob 1 to select the Type, then adjust these parameters as needed:

control parameter

range Description

1 Type

16 options See Filter 1 types above

2 Cutoff

0.0-128.0 Cutoff frequency for most; vowel control for Vowel filter

3 Control (type = Vowel only) 0.0-128.0 Formant control

4 Resonance

0.0-128.0 Controls resonance or Q

Control
This parameter is visible only when the Filter type is set to Vowel. It provides control over location and spread of the formants, which are certain peaks and nodes in the filter frequencies that help to approximate the resonance of the human vocal apparatus. Use this with the Cutoff, Resonance, and Vowel Order parameters for greater precision.

Resonance
This adjusts the resonance of the filter. When Filter 1 is selected on the top panel, the Resonance knob in the Filter Controls section also controls this parameter.

Cutoff
This controls the Cutoff frequency for every filter type except the Vowel filter, for which it becomes the vowel control. When Filter 1 is selected on the top panel, the Cutoff knob also controls this parameter.

filter 1 parameters: page 2

control parameter range 1 ENV 1 amount +/- 64.0 2 LFO 1 amount +/- 64.0

Description Sets amount & polarity of Env 1 effect on filter Sets amount & polarity of LFO 1 effect on filter

3 Vel Env 4 Keytrack

+/- 64.0 Allows velocity to set maximum range of filter envelope +/- 200% Scales filter response across keyboard; C2 = center note

ENV 1 amount
This parameter defines the amount and polarity of the effect Envelope 1 will have on Filter 1. There is a similar, separate parameter for Filter 2.
Envelope 1 has a pre-wired connection to the Filter section, which saves a mod route. But a different envelope can be used to control the filter if you want; just set this value to 0 and create a new route via The Mod Matrix (p. 69).
Keyboard model only: When Filter 1 is selected on the top panel, the ENV 1 knob in the Filter Controls section also controls this parameter.

Vel Env
This is an abbreviation for “Velocity to Envelope”. It adjusts the depth of the filter envelope based on note velocity: notes played at maximum velocity allow Envelope 1 to have maximum impact on the filter frequency, within the range set by the Env 1 amount parameter. It can be set negatively, so that higher velocities reduce the range of a positivegoing filter envelope or increase the range of a negative-going filter envelope.
There is a similar, separate parameter for Filter 2.

LFO 1 amount
This parameter defines the amount and polarity of the effect LFO 1 will have on Filter 1. There’s a similar, separate parameter for Filter 2.

Vel Env operates within the range set by the Env 1 Amount parameter; if you have no envelope amount set, the parameter will do nothing.

LFO 1 has a pre-wired connection to the Filter section, which saves a mod route. But a different LFO can be used to control the filter if you want; just set this value to 0 and create a new route via The Mod Matrix (p. 69).
Keyboard model only: When Filter 1 is selected on the top panel, the LFO 1 knob in the Filter Controls section also controls this parameter.

Keytrack
This parameter scales the filter response across the keyboard, with C2 as the center note. A positive value means that notes above the center note increase the filter cutoff frequency, and notes below the center note decrease the filter cutoff frequency. A negative value means that notes above the center note decrease the filter cutoff frequency, and notes below the center note increase the filter cutoff frequency. There is a similar, separate parameter for Filter 2.

filter 1 parameters: page 3

control 1 2 3
4

parameter
Filter Route Drive Vow Order (type = Vowel only) Drive Route

range Series, Parallel 0.0-128.0 8 orders

Description Places filters in Series or Parallel configuration Drive amount Changes formant order during frequency sweeps

Pre, Post

Drive placement in signal path

Filter Route
This setting specifies whether the filters operate in Series or Parallel mode. When they are in Series, Filter 1 always passes through Filter 2. When they are in Parallel, sources can be routed so they pass through only one of the filters or through both filters in varying amounts (as described in Filter Routing of Sources (p. 34)).
The setting is linked to the parameter on Mixer page 3, edit field 4; changing one also changes the other.
Drive
To add extra warmth or grit to a patch, try adjusting the Drive parameter. As the value climbs the waveform begins to clip, and at the highest settings the waveform can be radically distorted. The Drive route setting determines the point at which the overdrive is applied (see below).
When Filter 1 is selected on the top panel, the Drive parameter is shared with the Drive / Morph knob in the Filter Controls section.

Drive Route
There are two configurations for routing the Drive effect: Pre or Post. The difference is whether the waveform is boosted before it hits the filter or whether the filter output is boosted before it reaches the Amp stage.
· pre places the Drive effect between the waveform and the filter.
· post places the Drive effect after the filter.
Vowel Order
This parameter is only visible when the Vowel filter type is selected. It provides eight different arrangements of the vocal formants, ranging from AEIOU to UIEAO. Combined with creative use of the Cutoff and Resonance parameters, nearly any vowel or diphthong can be achieved.

filter 2

Filter 2 is our adaptation of a classic 2-pole state-variable filter. True to form, Filter 2 can toggle between two filter types: Low Pass / Band Pass / High Pass, and Low Pass / Notch / High Pass. Each provides a perfect complement to Filter 1.

The filters can be used in Series or Parallel. This setting is found on page 3 of Filter 1.

filter 2 parameters: page 1

control 1 2 3

parameter Type Cutoff Morph

range LP-BP-HP, LP-NO-HP 0.0-128.0 0.0-128.0

4 Resonance 0.0-128.0

Description
Selects filter type Cutoff frequency Adjusts filter: 0 = LP, 64 = BP or NO, 128 = HP, with gradual changes Controls resonance or Q

Filter 2 Types
Filter 2 provides two filter types, each with Low Pass and High Pass modes to process the high and low frequencies. The major difference is what happens in the middle, as Morph approaches a value of 64:
· Band Pass emphasizes the middle frequencies, in a range defined by the Resonance setting.
· Notch reduces the middle frequencies, in a range defined by the Resonance setting.
The differences are more pronounced with higher resonance values. You’ll also notice that the Band Pass and Notch filters affect the Low Pass and High Pass modes differently as you sweep the filter frequency. Between these two filter types the Hydrasynth can achieve an astonishing variety of sounds.

Morph
This parameter adjusts the filter between its various states, with a Low Pass filter at one extreme, a High Pass filter at the other, and a Band Pass or Notch filter at the middle setting. Along the way there are hundreds of intermediate settings. As the value changes, a graphic indicates the filter character.
When Filter 2 is selected on the top panel, the Morph parameter is shared with the Drive / Morph knob in the Filter Controls section.
The rest of the Page 1 parameters are identical in function to the same parameters in Filter 1 (Cutoff, Resonance, ENV 1 amount, LFO 1 amount, Velocity, and Keytrack). Please refer to Filter 1 parameters: page 1 (p. 35) for their descriptions.

filter 2 parameters: page 2

control 1 2 3 4

parameter ENV 1 amount LFO 1 amount Vel Env Keytrack

range +/- 64.0 +/- 64.0 +/- 64.0 +/- 200%

Description Sets amount & polarity of Env 1 effect on filter Sets amount & polarity of LFO 1 effect on filter
Allows velocity to set maximum range of filter envelope
Scales filter response across keyboard; C2 = center note

Set up mod routes quickly from an Envelope or LFO to the Filter: Hold the module button for the desired source, then press the module button for the destination.

the aMp MODuLe

The Amp module is relatively simple, and has only three parameters.

control 1 3 4

parameter LFO 2 amount Vel Env Amp Level

range +/- 64.0 +/- 64.0 0.0-128.0

Description Sets amount & polarity of LFO 2 effect on amplitude
Lets velocity set maximum range of Amp envelope Controls pre-FX level of patch

how the parameters interact

All three of the parameters in the Amp module work together. The LFO 2 amount and Velocity Envelope parameters operate within the limits set by the Amp Level setting.

LfO 2 amount
This parameter adjusts the amount and polarity of the effect LFO 2 has on the Amplitude of the patch. It uses the current value of the Amp Level parameter as its starting point.
A negative value for LFO 2 Amount literally inverts the phase of the LFO waveform. For example, if the LFO 2 wave is set to Saw Up, it will behave like a Saw Down wave when the LFO 2 Amount is set to a negative value.
The Amp Level setting also sets the upper limit of the amplitude modulation. In other words, a bi-polar LFO waveform will not cause the amplitude of the patch to rise higher than the Amp Level value. This helps prevent unwanted clipping of the signal as it heads into the Effects section.
Velocity envelope (Vel env)
The Vel Env parameter determines how much the amplitude envelope will respond to note velocity. Negative values invert the response, so that an increase in velocity reduces the amplitude envelope response.
When Vel Env is set to 0 the amplitude envelope will not respond to changes in velocity. However, other parameters might still respond to velocity, depending on the settings in the Mod Matrix and elsewhere in the signal path.

As the Vel Env value is increased the amplitude will decrease if a note is played at less than maximum velocity. What the Vel Env parameter does is create “headroom” for the velocity-toamplitude response.
In other words, the Amp Level parameter sets the upper limit for the velocity response. That way a note cannot push the amplitude of the patch higher than the Amp Level value. This helps prevent unwanted clipping of the signal as it heads into the Effects section.
amp Level
The Amp Level parameter is the boss, or at least “middle management”; it sets the maximum output level for the signal path before it heads into the Effects section. This helps prevent a situation that could cause the Amp Level output to exceed a value of 128 and cause clipping in the Effects.
Another way to think of the Amp Level parameter is that it can be used to compensate for quieter or louder output from the oscillators and filters.

The Envelopes

what’s an envelope?

An envelope defines the shape of a modulation: how it begins, how it ends, and how big it will be in the middle. Hydrasynth Explorer has 5 envelopes that can be used to shape any available parameter through the Mod Matrix. All 5 have identical parameters, so every description applies equally to all.

envelope features
ADSR plus
A Hydrasynth envelope provides the classic ADSR form factor (Attack, Decay, Sustain, and Release). But they’ve been enhanced with delay and hold stages, so technically the form factor is DAHDSR.
Adjustable curves
The Attack, Decay, and Release segments have curves that can be adjusted gradually from Logarithmic to Linear to Exponential. They can be snappy, lazy, or anything in-between. This allows you to specify exactly how you want the patch to proceed from start to finish.
Time-based segments
Envelopes can operate in one of two modes: synchronized or unsynchronized. If the BPM Sync option is On each segment can occupy a specific rhythmic value. If the BPM Sync option is Off the duration of each segment is measured in seconds (or milliseconds). Every envelope and segment will last exactly as long as you want.
Note that the BPM Sync setting affects all stages except Sustain, which is merely a level (i.e., a place, not an event).
The wonderful thing about triggers
Hydrasynth envelopes can be triggered by as many

as four sources once a voice is active. Once it is triggered an envelope can run freely (Freerun: On), reset with each new note (Reset: On), or reset only if all other notes have been released (Legato: On).
It’s easier to hear an envelope reset with a monophonic patch than with a polyphonic patch. For an example see the description of Reset (p. 42).
Looping envelopes
Hydrasynth envelopes can loop a specific number of times or indefinitely.
Modulation and interaction
An envelope can be used as a modulation source for any destination, and individual envelope segments can be modulated (shortened or lengthened) by LFOs or by other envelopes.
Thanks to the Mod Matrix, envelopes and LFOs can interact and evolve in a nearly infinite number of ways. For a quick tip on how to do this, see Envelope Shortcuts (p. 43) at the end of this chapter.
envelopes 1 and 2
Hydrasynth Explorer has pre-wired connections linking ENV 1 to the Filters and ENV 2 to the Amp module. This is because every sound has amplitude and timbre, even if a distinct pitch is not present. More envelopes can be routed to these destinations as needed through The Mod Matrix (p. 69).

envelope parameters: page 1

control parameter range

Description

1 Attack

[1]

After delay period, the time Env takes to reach full amplitude

2 Decay

[2]

After hold period, the time Env takes to reach sustain level

3 Sustain 0.0 to 128.0 The resting level prior to note off

4 Release [2]

The time Env takes to reach the zero point after note off

[1] BPM = Off: 0 ms to 36.0 seconds; BPM = On: 0, 1/64T to 64′ (16 measures) [2] BPM = Off: 0 ms to 60.0 seconds; BPM = On: 0, 1/64T to 64′ (16 measures)

To set the length of an envelope segment quickly: While on page 1, hold [SHIFT] and press the appropriate Control button for the desired length of time. This works with BPM On or Off.
40

envelope parameters: page 2

control parameter 1 Delay 3 Quantize 2 Hold 4 BPM Sync

range [1] (various) [2] Off, On

[1] BPM = Off: 0ms – 32.0s; BPM = On: 0, 1/64T – 64′

Description The time before onset of attack segment Reduces envelope resolution The time between attack and decay segments Toggles all segments from seconds to beats/bars
[2] BPM = Off: 0ms – 36.0s; BPM = On: 0, 1/64T – 64′

Envelope Quantize
The Quantize option can add a stepped effect to the Envelope output. For example, it can make a complex attack very easily.
1. Press [INIT] twice.
2. Press [FILTER 1] and set Cutoff to 20.
3. Press [FILTER 1] again and set ENV1amt 64.
4. Press [ENV 1] and set Attack to 272 ms.
5. Play a midrange note below middle C. You’ll hear a basic brass sound.
6. Press [ENV 1] again to reach page 2.
7. Use Control knob 3 to set Quantize to 9.
8. Play staccato notes and listen to the attack. It has a bit of “spit”, like a real trombone.
9. Back on Env page 1, set Attack to 1.53 seconds.
8. Hold the note and listen. The quantized attack is easier to hear.
9. Try different Quantize values. OFF is completely smooth; other values have steps.

BPM Sync settings
When the BPM Sync parameter is set to On, all of the segments with durations are measured in rhythmic values. This includes the Delay, Attack, Hold, Decay, and Release stages of the envelope. A duration can be set to 0, which means it happens instantly and therefore has no rhythmic value.
All other settings have a quantized duration ranging from 1/64T (a sixty-fourth note triplet) to 64′ (64 quarter notes, or 16 measures in 4/4 time). Dotted values are also available. The chart on the right has examples of how the values are shown:

Value Duration

1/16 Sixteenth note

1/16Dot Dotted sixteenth note

1/16T Sixteenth note triplet

1/1

Whole note, or one measure

8′

Eight quarter notes, or two measures

64′

Sixty-four quarter notes, or sixteen

measures

envelope parameters: page 3

control parameter

range

1 AtkCurve

[1]

2 DecCurve

[2]

4 RelCurve

[2] [1] Exp (-64) > Lin (0) > Log (64)

Description Sets attack segment curve Sets decay segment curve Sets release segment curve
[2] Log (-64) > Lin (0) > Exp (64)

Envelope curves

Adjacent logarithmic curves look like a mound:

segments start falling quickly and decelerate until

The attack segment rises quickly and its rate

they reach the resting state.

of change slows as it nears the peak; the decay and release segments start falling slowly and accelerate until they reach the resting state.

A linear curve rises and falls at the same rate throughout its duration. However, linear changes seem less natural or “musical” to the human ear

Exponential curves are the opposite of logarithmic than the other curves.

curves: The attack segment starts rising slowly

and accelerates upward; the decay and release 41

envelope parameters: page 4

control parameter 1 Legato [1] 2 Reset [2] 3 Freerun

range Off, On Off, On Off, On

4 Env Loop Off, 2-50, Infinite

Description
On = Env won’t reset until all notes are released On = Env resets when polyphony is exceeded On (note held): Env runs from Delay to Sustain stage On (note released): Env runs from Delay through Release stage Toggles Env looping, sets # of loops

[1] Legato is hidden if Voice mode = Poly. [2] If Legato = On the Reset parameter is hidden.

Legato
When sheet music uses the term “Legato” it means to play a passage smoothly, with no rests between the notes. Likewise, when this parameter is set to On, the envelope will not retrigger if previous voice has not been released. This allows a filter envelope to remain at its sustain stage when a series of notes are played, for example, which can help a solo or a bass line to be more expressive.
Reset
The Reset parameter is only available when Legato is Off. When Reset is On an envelope will reset when a new note is played, even if the previous note has not been released.
The difference between Reset On and Off is easy to hear with a monophonic patch. But with a polyphonic patch the behavior is more obvious after the available polyphony has been exceeded. You’ll need a sustain pedal for the following example.
1. Set speaker/headphone levels low; this could be loud.
2. Press [INIT] twice to initialize the patch
3. Access [FILTER 1] and set Type to HP MS20
4. Set Cutoff to 50, Resonance to 100, and ENV1 amount to 64
5. Access [ENV 1] and set Attack and Decay to ~1 second
6. Hold down the sustain pedal
7. Play 7 notes on the lowest C
8. Wait for the filter to reach the sustain level for all 7 voices
9. Play the 8th note and listen as the filter sweeps through all frequencies

10. Wait until the filter stabilizes for voice 8, then play C again.
11. Listen as the filter sweeps from the sustain level, not the lowest frequencies.
12. Release the pedal.
13. Press the Page Down arrow and set Reset to On.
14. Repeat steps 6-12.
15. The difference: The filter sweeps through all frequencies for all notes, not just the first 8.
In summary, here’s what to expect with a polyphonic patch:
· reset = On: The 9th voice starts the envelope from its beginning.
· reset = Off: The 9th voice starts the envelope from the sustain level.
Freerun
An envelope set to Freerun passes through all segments, even if the note is released before the end of the decay segment. If the note is held then the envelope proceeds to the sustain level and remains there until the note is released, after which the envelope proceeds through the release segment.
Envelope loop
This parameter enables an envelope to loop a specific number of times (between 2 and 50), and when set to Infinite it can loop forever. This means an envelope can even be used as a complex LFO (if 5 LFOs aren’t enough!). The loop includes the attack, hold, and decay segments.

envelope parameters: pages 5-6

page 5 5 5 5 6

control 1 2 3 4 3

parameter TrigSrc1 TrigSrc2 TrigSrc3 TrigSrc4 Tap Trigger

range OFF [1], Note On, LFO 1-5, Rbn On, Rbn Release, SusPed On OFF, Note On, LFO 1-5, Rbn On, Rbn Release, SusPed On OFF, Note On, LFO 1-5, Rbn On, Rbn Release, SusPed On OFF, Note On, LFO 1-5, Rbn On, Rbn Release, SusPed On Tap button to trigger envelope. It does not sustain while the button is held.

[1] In order for audio output to be possible, TrigSrc1 of Envelope 2 is set to Note On and cannot be changed. All four TrigSrc values can be changed for the other envelopes.

envelope Shortcuts

These are described in greater detail in other chapters, but they’re so easy and useful we’ve included them here too.

copy env a to env B

create a direct Mod route

1. Hold [SAVE] 2. Press and release the source (Envelope A)
3. Press and release the destination (Envelope B)
4. Release [SAVE].

To set up a mod route to a specific parameter from inside a module:
1. Hold [ENV X] to select the source
2. Press the Control button for the desired destination parameter, then release both buttons
3. Those items appear in the first open Mod Matrix slot as the source and destination, respectively
4. Set the modulation amount with the lower Control knob.

the LfOs

what’s an LfO?

LFO is an abbreviation for Low Frequency Oscillator. LFOs are the cause of familiar effects like vibrato and tremolo, but they can be used in very complex ways (as the presets will attest). Hydrasynth Explorer has 5 LFOs that can modulate any available parameter through the Mod Matrix. All 5 have identical parameters, so every description applies equally to all.

LfO features
These LFOs might be more flexible than any you have encountered. Here are some highlights:
· Delayed onset through the Delay and Fade-in parameters · Adjustable phase: start the modulation from any point in the LFO waveform · Synchronized or unsynchronized modes

· A wide range of rates, from slow to audio
· Independent LFO per voice
· LFOs can modulate themselves, each other, and/or anything else
· Trigger an LFO once or loop it indefinitely.
· Design your own LFO, arpeggio, or minisequence with the Step LFO features

The Vibrato feature is a sixth LFO dedicated to the mod strip. It is not available as a source or destination in the Mod Matrix. For details, see the Vibrato settings (p. 57) of the Voice module chapter.

LfOs 1 and 2
Hydrasynth Explorer has pre-wired connections linking LFO 1 to the Filters and LFO 2 to the Amp module. More LFOs can be routed to these destinations as needed through The Mod Matrix (p. 69).
LfO parameters: page 1

control 1
2
3 4

parameter Wave
Rate
Phase Level

range

Description

Sine, Triangle, Saw Up, Saw Down, Square,

Selects LFO waveform. “Step”

Pulse27%, Pulse13%, S&H, Noise, Random, Step is user-defined

BPM = Off: 0.02 to 150.0 Hz BPM = On: 0, 64′ to 1/64T
0° – 360°

Sets duration of LFO cycle Defines starting point of LFO

0.0 – 128.0

Maximum amplitude of LFO

There’s a quick way to set the LFO rate: While on page 1, hold [SHIFT] and then hold Control button 2 for the desired period of time. This works with BPM On or Off.

Phase
An LFO doesn’t need to start at a zero-crossing point. This parameter allows you to specify the exact point at which it will begin, as measured in degrees from zero to 360.
Level
You may wonder why this parameter is needed, when the Mod Matrix allows you to set a level for

each modulation route. That’s a good question with a great answer.
For example, imagine that an LFO is routed to multiple destinations in the Mod Matrix (which is often the case). This parameter makes it possible to adjust all of those routes with a single edit, rather than needing to adjust each mod route separately. The LFO Level parameter is a fine-tune control that allows you to dial in a modulation amount with precision.

LfO parameters: page 2

control parameter range

Description

1 Delay

BPM = Off: 0 ms to 32.0 seconds The time before LFO begins BPM = On: 0, 1/64T to 64′ (16 bars)

2 Fade In

BPM = Off: 0 ms to 5943 ms

The time LFO takes to reach full amplitude

BPM = On: 0, 1/64T to 64′ (16 bars)

3 BPM Sync Off, On

Toggles LFO rate from Hz to beats/bars

4 TrigSync Poly, Single, Off

Poly: independent LFO per voice Single: One LFO affects all voices; each new note retriggers that LFO Off: One LFO affects all voices & runs freely

BPM Sync option
When the BPM Sync parameter is set to On the LFO rates are represented by rhythmic values. These range from 1/64T (a sixty-fourth note triplet) to 64′ (64 quarter notes, or 16 bars in 4/4 time). Dotted values are also available. Here are some examples of how the values are shown:
Value Duration
64′ Sixty-four quarter notes, or 16 bars 8′ Eight quarter notes, or two bars 1/1 Whole note, or one bar 1/16Dot Dotted sixteenth note 1/16 Sixteenth note 1/16T Sixteenth note triplet

TrigSync
This parameter governs whether an LFO resets with each new note or operates independently per voice.
· poly: Each new note triggers its LFO independently. Use this for lush pads, etc.
· Single: One LFO affects all voices; each new note retriggers that LFO.
· Off: The LFO runs freely and affects all voices. It could be anywhere in its cycle when it appears.

LfO parameters: page 3

control parameter range

Description

1 Smooth 0-127

Slows waveform changes [1]

2 One-Shot Off, On, Step On = LFO runs 1 cycle and stops, Step = advance LFO by one step per trigger [2]

3 Quantize (various)

Reduces LFO resolution

[1] When One-Shot = Step the Smooth setting has no effect. It is applied when One-Shot = ON or OFF. [2] The Step option is only visible when Wave = Step on page 1.

Smooth
Also known as “slew”, this parameter softens the transitions from one amplitude of an LFO to the next. When a waveform with abrupt changes is selected (Saw, Square, S&H, Step) the Smooth parameter makes the LFO “glide” between adjacent values. At the highest setting the square and triangle LFO waveforms are identical.
One-Shot
An LFO will run its course only once if this

parameter is set to On. For example, it could:
· allow a single warble from a sine wave LFO
· give a short burst from the Noise waveform
· When One-Shot = Step, the Step LFO sequence will advance by one step with each trigger.
“Step LFO sequence?” For an explanation, see The Step LFO (p. 46). To learn how One-Shot mode and Step LFOs work together, see One-Shot LFOs: Step Advance (p. 47).

LfO parameters: page 4

Page 4 is only visible when the LFO wave is set to Step.

control 1 3 4

parameter Steps SemiLock Step Edit..

range 2-64 Off, On (access)

Description Sets # of steps within the LFO On = use semitone values in Step Edit pages Enters the Step Edit page

LFO Quantize
The Quantize option can add a stepped effect to the LFO output. For example, it can turn a sine wave into a complex LFO.
1. Press [INIT] twice.
2. Hold [LFO 1] and press [OSC 1] to create a mod route.
3. Set the mod depth to 120.0 with Control knob 4. Hold [SHIFT] to fine-tune the value.
4. Press [LFO 1] to access that module.

8. Use Control button 4 to access the Step Edit page
9. Notice that steps 1, 2, and 3 are set to 60.0, -60.0, and 0.0, respectively. Note: Multiples of 5 provide specific pitches, but intermediate values can be used.
10. Hold a note. Three octaves of the same pitch will play. The third pitch is longer because the last six steps are set to the same value.
11. Keep holding the note and notice that the 8-step sequence repeats.

5. Use Control knob 2 to set Rate to 0.50 Hz.
6. Press [LFO 1] twice to access page 3.
7. Hold a note and turn Control knob 3 slowly through the Quantize values.
8. When Quantize = 9 the LFO becomes a 2-octave diminished arpeggio.
9. Try other Quantize values, waveforms, and rates. The results can be very complex!

12. Enter values on the other steps to see how that affects the Step LFO output.
Let’s dive deeper into the Step LFO.
SemiLock
SemiLock displays the steps inside the Step Edit page in semitone values. This makes it easy for an LFO to play standard 12-tone pitches. Let’s try an example with SemiLock On this time.

the Step LfO
Page 4 of the LFO module only appears when the LFO wave is set to Step. This page contains the Step LFO parameters, which let you define up to 64 stages through which the LFO will pass.

1. Press [INIT] twice to initialize the patch
2. Hold [LFO 1] and press [OSC 1] to create a mod route
3. Use Control knob 4 to set Depth to 128.0
4. Access [LFO 1]

There are three parameters on page 4: Steps, SemiLock, and Step Edit. Those are described briefly in the previous chart, and we’ll cover SemiLock more thoroughly in a later section. Let’s work with SemiLock Off for now.
1. Press [INIT] twice to initialize the patch
2. Hold [LFO 1] and press [OSC 1] to create a mod route
3. Use Control knob 4 to set Depth to 128.0
4. Access [LFO 1] 5. Use Control knob 1 to select the Step wave

5. Use Control knob 1 to select the Step wave
6. Hold [SHIFT] and press the Page down arrow to reach page 4
7. Leave the Steps value at 8 for now.
8. Use Control knob 3 to set SemiLock to On
9. Use Control button 4 to access the Step Edit page
10. Notice that steps 1, 2, and 3 are set to +12semi, -12semi, and 0semi, respectively. These are the chromatic equivalents of the non-SemiLock values.

6. Hold [SHIFT] and press the Page down arrow to reach page 4

11. Hold a note. Three octaves of the same pitch will play.

7. Leave the Steps value at 8 for now.

12. Enter values on the other steps to see how that affects the Step LFO output.
46

But what if a step value isn’t a multiple of 5? Continuing with the previous example:
1. Press [EXIT] and use Control knob 3 to set SemiLock to Off
2. Access the Step Edit page via Control button 4 and set any step to a value that is not a multiple of 5 (e.g., 9.9)
3. Press [EXIT] and use Control knob 3 to set SemiLock back to On
4. Access the Step Edit page again (Control button 4). The non-multiple step has an asterisk (e.g., +1semi*)
5. As the related Control knob is turned the value changes to exact semitone values and the asterisk disappears.
Now let’s try a Step LFO with more than 8 steps.
1. Press [EXIT] and use Control knob 1 to select a different number of Steps
2. Enter the Step Edit page via Control button 4
3. Use the Page up/down buttons to access steps 5-8, 9-12, etc.
4. Select semitone values for each step as needed.

Documents / Resources

Polytouch HYDRASYNTH Deluxe Polytouch Keyboard [pdf] Owner's Manual
HYDRASYNTH Deluxe Polytouch Keyboard, HYDRASYNTH, Deluxe Polytouch Keyboard, Polytouch Keyboard, Keyboard

References

User Manual

HYDRASYNTH Deluxe Polytouch Keyboard

Product Information

Product Usage Instructions

FAQ

Software Licensing Agreement

Important Safety Instructions

Main features

Quick Start guide

Overview

Understanding the Modules

The Oscillator Group

The Mixer Module

The Envelopes

Documents / Resources

References

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