Steinberg Cubase 4 Plug In Reference Manual

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The included VST Instruments
Effects (EFX) page
This page features three separate effect units: Distortion, 
Delay and Modulation (Phaser/Flanger/Chorus). The Ef-
fect page is opened by clicking the EFX button at the top 
of the lower half of the control panel.
The Effects page.
Each separate effect section is laid out with a row of 
buttons that determine the effect type or characteristic 
and a row of sliders for making parameter settings.
To activate an effect, click the “Active” button so that a 
dot appears.
Clicking again deactivates the effect.
Distortion
You can select between 4 basic distortion characteristics:
 Distortion provides hard clipping distortion.
 Soft Distortion provides soft clipping distortion.
 Tape Emulation produces distortion similar to magnetic tape 
saturation.
 Tube Emulation produces distortion similar to valve amplifiers.
The parameters are as follows:
Delay
You can select between 3 basic delay characteristics:
 Stereo Delay has two separate delay lines panned left and 
right.
 In Mono Delay the two delay lines are connected in series for 
monophonic dual tap delay effects.
 In Cross delay the delayed sound bounces between the ste-
reo channels.
The parameters are as follows:
Modulation
You can select between 3 basic modulation characteristics:
 The Phaser uses an 8-pole allpass filter to produce the classic 
phasing effect. 
 The Flanger is composed of two independent delay lines with 
feedback for the left and the right channel respectively. The 
delay time of both delays is modulated by one LFO with ad-
justable frequency. 
 Chorus produces a rich chorus effect with 4 delays modulated 
by four independent LFOs.
The parameters are as follows:
SR parameters
With these buttons you can change the sample rate. 
Lower sample rates basically reduces the high frequency 
content and sound quality, but the pitch isn’t altered. This 
is a great way to emulate the “lo-fi” sounds of older digital 
synths!
Parameter Description
Filter This parameter sets the crossover frequency of the dis-
tortion filter. The distortion filter consists of a lowpass fil-
ter and a highpass filter with a cutoff frequency equal to 
the crossover frequency. 
Tone This parameter controls the relative amount of lowpass 
and high-pass filtered signal. 
Drive Amplifies the input signal to set the amount of distortion.
Level This controls the output level of the effect.
Parameter Description
Song Sync This switches tempo sync of the delay times on or off.
Delay 1 Sets the delay time ranging from 0 ms to 728 ms. If MIDI 
sync is activated the range is from 1/32 to 1/1; straight, 
triplet or dotted.
Delay 2 Same as Delay 1.
Feedback This controls the decay of the delays. With higher set-
tings the echoes repeat longer.
Filter A lowpass filter is built into the feedback loop of the de-
lay. This parameter controls the cutoff frequency of this 
feedback filter. Low settings result in successive echoes 
sounding darker. 
Level This controls the output level of the effect. 
Parameter Description
Song Sync This switches tempo sync of the Rate parameter on or 
off.
Rate Sets the rate of the LFOs modulating the delay time. If 
Song Sync is activated the rate will be synced to various 
beat increments.
Depth This parameter controls the depth of the delay time mod-
ulation. 
Delay This parameter sets the delay time of the four delay lines. 
Feedback The feedback parameter controls the amount of positive 
or negative feedback for all four delay lines. The adjust-
able range is from -1 to 1.
Level This controls the output level of the effect.  
						

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The included VST Instruments
 If button “F” is active, the selected Part’s program will play 
back with the sample rate set in the host application.
 If button “1/2” is active, the selected Part’s program will play 
back with half the original sample rate.
 If button “1/4” is active, the selected Part’s program will play 
back with a quarter of the original sample rate.
A bonus effect of using lower sample rates is that it re-
duces the load on the computer CPU, allowing more si-
multaneous voices to be played etc.
Spector (Cubase only)
The synthesis in this synthesizer is based around a “spec-
trum filter”, which allows you to specify the frequency re-
sponse by drawing a filter contour in the spectrum display. 
Slightly simplified, the signal path is the following:
The starting point is the sound generated by up to 6 os-
cillators.
You can choose between different numbers of oscillators in different 
configurations (in octaves, in unison, etc.). The oscillators can also be 
detuned for fat sounds or extreme special effects.
Each oscillator produces two basic waveforms, labelled 
A and B.
You can choose between six different waveforms, independently se-
lected for A and B.
The two waveforms pass through separate spectrum 
filters (A and B).
You can draw different spectrum contours for the two filters, or select a 
contour from the included presets.
The Cut 1 & 2 parameters allow you to shift the fre-
quency range of the spectrum filter.
This makes it easy to create unique-sounding filter sweeps.
Finally, a Morph control lets you mix the output of spec-
trum filters A and B.
Since this can be controlled with envelopes, LFOs etc. you can create 
morphing effects.
You also have controllers and modulation parameters 
(two LFOs, four envelopes and three effects). See “Modu-
lation and controllers” on page 54.
ÖThe signal flow of the Spector synth is illustrated in the 
section “Diagrams” on page 73.
Sound parameters
Oscillator section
A/B waveform pop-ups
This is where you select basic waveforms for the A and B 
output of the oscillators. The options are especially suited 
for use with the spectrum filter.
Coarse and Fine
These parameters provide overall transposition and tuning 
of the oscillators (common for all oscillators, A and B 
waveforms). 
						

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The included VST Instruments
Oscillator pop-up
This pop-up menu is opened by clicking on the text below 
the centrally placed section (which illustrates the currently 
selected oscillator configuration). 
Click here to open the Oscillator pop-up.
The pop-up has the following oscillator configurations to 
choose between:
Detune
Detunes the oscillators (in all oscillator modes except 
“1Osc”). Low values will give gentle chorus-like detuning; 
raising the control will detune the oscillators by several 
semitones for clangorous special effects.
Raster
This parameter reduces the number of harmonics present 
in the oscillator waveforms in the following manner:
Portamento
This parameter makes the pitch glide between the notes 
you play. The parameter setting determines the time it 
takes for the pitch to glide from one note to the next. Turn 
the knob clockwise for longer glide time.
The “Mode” switch allows you to apply glide only when 
you play a legato note (when switch is set to Legato). Le-
gato is when you play a note without releasing the previ-
ously played note. Note that Legato mode only works with 
monophonic Parts.
Spectrum filter section
This is where you create the contours (frequency re-
sponse characteristics) for the two 128 pole resonant 
spectrum filters “A” and “B”.
You can use the Preset pop-up menu to select a preset 
contour if you like.
To change the contour, click and “draw” with the mouse.
Once you change the selected contour, it will be labeled as “Custom” in 
the Preset field above the display, indicating that you’re no longer using 
one of the presets.
Option Description
6 Osc 6 oscillators with the same pitch.
6 Osc 1:2 3 oscillators with base pitch and 3 pitched one octave down.
6 Osc 1:2:3 Three groups of two oscillators with the pitch ratio 1:2:3 (2 
oscillators with base pitch, 2 oscillators at half the frequency 
of the base pitch and 2 oscillators at a third of the frequency).
6 Osc 
1:2:3:4:5:66 oscillators tuned with the pitch ratio 1:2:3:4:5:6 (known as 
the “subharmonic series”).
4 Osc 1:2 2 oscillators with base pitch and 2 pitched one octave down.
3 Osc 3 oscillators with the same pitch.
2 Osc 2 oscillators with the same pitch.
2 Osc 1:2 One oscillator with base pitch and one pitched one octave 
down.
1 Osc A single oscillator. In this mode, the Detune and Cut II pa-
rameters are not active.
Setting Description
0 All harmonics present.
1 Only every second harmonic present.
2 Only every third harmonic present.
... ...and so on. 
						

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The included VST Instruments
If you want to random calculate a spectrum filter curve, 
you can choose the Randomize function from the Preset 
pop-up.
Each time you choose this function, a new randomized spectrum will 
appear.
Cut I and II
These work much like cutoff frequency controls on a con-
ventional filter: With the Cut controls at the maximum set-
ting, the full frequency range will be used for the spectrum 
filter; lowering the Cut controls will gradually move the en-
tire contour down in frequency, “closing” the filter. Note:
If a 2 oscillator configuration is used, you can set differ-
ent “cutoffs” for the two oscillators with Cut I and Cut II, 
respectively. Similarly, if more than two oscillators are 
used, they are internally divided in two groups, for which 
you can set independent “cutoffs” with Cut I and II. 
For example, in the “6 Osc” modes Cut I affects the sound of oscillators 
1, 3 and 5 while Cut II affects the sound of oscillators 2, 4 and 6. In the 
“1 Osc” mode, the Cut II control is not used.
If the Spectrum Sync (link symbol) button between the 
Cut controls is activated, the two knobs are synced and 
will follow each other and be set to the same value.
Morph
This controls the mix between the sound of spectrum fil-
ters A and B. When the Morph knob is turned fully left, 
only the “A” sound will be heard; when it’s turned right 
only the “B” sound will be heard. This allows you to seam-
lessly morph (manually or using an LFO or an envelope) 
between two totally different sounds.
Master Volume and Pan
The master Volume controls the master volume (ampli-
tude) of the instrument. By default this parameter is con-
trolled by Envelope 1, to generate an amplitude envelope 
for the oscillators.
The Pan dial controls the position in the stereo spectrum 
for the instrument. You can use Pan as a modulation 
destination.
Modulation and controllers
The lower half of the control panel displays the various 
modulation and controller assignment pages available as 
well as the effect page. You switch between these pages 
using the buttons below the Morph section.
The following pages are available:
The LFO page has two low frequency oscillators (LFOs) 
for modulating parameters – see below.
The Envelope page contains the four Envelope genera-
tors which can be assigned to control parameters – see 
“Envelope page” on page 56.
The Event page contains the common MIDI controllers 
(Mod wheel, Aftertouch etc. and their assignments – see 
“The Event page.” on page 58.
The Effect page has three separate effect types avail-
able; Distortion, Delay and Modulation – see “Effects 
(EFX) page” on page 58.
LFO page
This is opened by clicking the LFO button at the top of the 
lower half of the control panel. The page contains all pa-
rameters and the modulation and velocity destinations for 
two independent LFOs. Depending on the currently se-
lected Preset, there may already be modulation destina-
tions assigned, in which case these are listed in the “Mod 
Dest” box for each LFO – see “Assigning LFO modulation 
destinations” on page 55. A low frequency oscillator 
(LFO) is used for modulating parameters, for example the 
pitch of an oscillator (to produce vibrato), or for any pa-
rameter where cyclic modulation is desired.
The two LFOs have identical parameters:
Parameter Description
Speed This governs the rate of the LFO. If MIDI Sync is activated 
(see below), the available rate values are selectable as 
note values, so the rate will synced to the sequencer 
tempo in Cubase in various beat increments.
Depth This controls the amount of modulation applied by the 
LFO. If set to zero, no modulation is applied.
Waveform This sets the LFO waveform. 
Sync mode This sets the sync mode for the LFO (see below). 
						

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The included VST Instruments
About the sync modes
The Sync modes determine how the LFO cycle affects the 
notes you play:
About the waveforms
Most standard LFO waveforms are available for LFO mod-
ulation. You use Sine and Triangle waveforms for smooth 
modulation cycles, Square and Ramp up/down for differ-
ent types of stepped modulation cycles and Random or 
Sample for random modulation. The Sample waveform is 
different:
In this mode, the LFO actually makes use of the other 
LFO as well. 
For example, if LFO 2 is set to use Sample the resulting effect will also 
depend on the speed and waveform of LFO 1.
Assigning LFO modulation destinations
To assign a modulation destination for a LFO, proceed as 
follows:
1.Click in the “Mod Dest” box for one of the LFOs.
A pop-up appears with all possible modulation destinations are shown. 
All Sound parameters as well as most LFO and Envelope parameters are 
available as destinations.
The modulation destination pop-up.
2.Select a destination, e.g. Cut.
The selected modulation destination is now shown in the list. Beside the 
destination, a default value (50) has been set. The value represents the 
modulation amount. 
You can set positive and negative modulation values by 
clicking on the value in the list, typing in a new value and 
pressing the Enter key.
To enter negative values type a minus sign followed by the value.
3.Select a suitable LFO Waveform, Speed, Depth and 
Sync mode.
You should now hear the Cut parameter being modulated by the LFO. 
4.Using the same basic method, you can add any num-
ber of modulation destinations for the LFO.
They will all be listed in the “Mod Dest” box.
To remove a modulation destination click on its name in 
the list and select “Off” from the pop-up.
Parameter Description
Part In this mode, the LFO cycle is free running and will affect 
all the voices in sync. “Free running” means that the LFO 
cycles continuously and isn’t reset when a note is played.
MIDI In this mode the LFO rate is synced in various beat incre-
ments to MIDI clock.
Voice In this mode each voice in the Part has its own indepen-
dent LFO cycle (the LFO is polyphonic). These cycles are 
also free running – each key down starts anywhere in the 
LFO cycle phase.
Key Same as Voice except that it is not free running – for 
each key down the LFO cycle starts over. 
						

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The included VST Instruments
Assigning LFO velocity destinations
You can also assign LFO modulation that is velocity con-
trolled (i.e. governed by how hard or soft you strike a key). 
This is done as follows:
1.Click in the “Vel Dest” box for one of the LFOs.
A pop-up appears with all possible velocity destinations are shown. 
2.Select a destination. 
The selected velocity destination is now shown in the list. Beside the 
destination, a default value (50) has been set. The value represents the 
modulation amount. See below for an example of how velocity modula-
tion works.
You can set positive and negative values by clicking on 
the value in the list, typing in a new value and pressing the 
Enter key.
To enter negative values type a minus sign followed by the value.
3.Using the same basic method, you can add any num-
ber of velocity destinations for the LFO.
They will all be listed in the “Vel Dest” box.
To remove a modulation destination click on its name in 
the list and select “Off” from the pop-up.
LFO modulation velocity control – an example:
If you follow the steps above and select the Cut parameter 
as a Velocity destination, the following happens:
The harder you strike the key, the more the Cut parame-
ter will be modulated by the LFO.
If you should enter a negative value for the velocity mod-
ulation amount, the opposite happens; the harder you play 
the less the Cut parameter is modulated by the LFO.
Envelope page
The Envelope page is opened by clicking the ENV button 
at the top of the lower half of the control panel. The page 
contains all parameters and the modulation and velocity 
destinations for the four independent envelope genera-
tors. 
Envelope generators govern how a parameter value will 
change when a key is pressed, when a key is held and fi-
nally when a key is released.
The Envelope page.
On the Envelope page, the parameters for one of the four 
envelope generators is shown at a time.
You switch between the four envelopes in the section to 
the left.
Clicking on either of the four mini curve displays 1 to 4 will select it and 
display the corresponding envelope parameters to the right. The mini 
curve displays also reflect the envelope settings for each corresponding 
envelope.
Envelope generators have four parameters; Attack, De-
cay, Sustain and Release (ADSR).
See below for a description of these.
You can set envelope parameters in two ways; either by 
using the sliders or by click-dragging the curve in the En-
velope curve display.
You can also do this in the mini curve displays.
By default Envelope 1 is assigned to the master volume, 
and therefore acts as an amplitude envelope. The ampli-
tude envelope is used to adjust how the volume of the 
sound should change from the time you press a key until 
the key is released.
If no amplitude envelope were assigned, there would be no output. 
						

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The included VST Instruments
The Envelope parameters are as follows:
Attack
The attack phase is the time it takes from zero to the max-
imum value. How long this should take, depends on the 
Attack setting. If the Attack is set to “0”, the maximum 
value is reached instantly. If this value is raised, it will take 
time before the maximum value is reached. Range is from 
0.0 milliseconds to 91.1 seconds.
Decay
After the maximum value has been reached, the value 
starts to drop. How long this should take is governed by 
the Decay time parameter. The Decay time has no effect if 
the Sustain parameter is set to maximum. Range is from 
0.0 milliseconds to 91.1 seconds.
Sustain
The Sustain parameter determines the level the envelope 
should rest at, after the Decay phase. Note that Sustain 
represents a level, whereas the other envelope parame-
ters represent times. Range is from 0 to 100.
Release
Release determines the time it takes for the value to fall 
back to zero after releasing the key. Range is from 0.0 mil-
liseconds to 91.1 seconds.
Punch
When Punch is activated, the start of the decay phase is 
delayed a few milliseconds (the envelope “stays” at top 
level for a moment before moving on to the decay phase). 
The result is a punchier attack similar to a compressor ef-
fect. This effect is more pronounced with short attack and 
decay times.
Retrigger
When Retrigger is activated, the envelope will re-trigger 
each time you play a new note. However, with certain tex-
tures/pad sounds and a limited number of voices it is rec-
ommended to leave the button deactivated, due to click 
noises that might occur, when the envelope is ended up 
abruptly. This is caused by the incoming re-trigger that 
forces the envelope to start over again.
Assigning Envelope modulation destinations
To assign a modulation destination for an Envelope, pro-
ceed as follows:
1.Click in the “Mod Dest” box for one of the Envelopes.
A pop-up appears with all possible modulation destinations are shown. 
All Sound parameters as well as most LFO and Envelope parameters are 
available as destinations.
2.Select a destination, e.g. Cut.
The selected modulation destination is now shown in the list. Beside the 
destination, a default value (50) has been set. The value represents the 
modulation amount. 
You can set positive and negative modulation values by 
clicking on the value in the list, typing in a new value and 
pressing the Enter key.
To enter negative values type a minus sign followed by the value.
3.Select a suitable envelope curve for the modulation.
You should now hear the Cut parameter being modulated by the enve-
lope as you play. 
4.Using the same basic method, you can add any num-
ber of modulation destinations for the envelope.
They will all be listed in the “Mod Dest” box.
To remove a modulation destination click on its name in 
the list and select “Off” from the pop-up.
Assigning Envelope velocity destinations
You can also assign Envelope modulation that is velocity 
controlled (i.e. governed by how hard or soft you strike a 
key). This is done as follows:
1.Click in the “Vel Dest” box for one of the envelopes.
A pop-up appears with all possible velocity destinations are shown. 
2.Select a destination. 
The selected velocity destination is now shown in the list. Beside the 
destination, a default value (50) has been set. The value represents the 
modulation amount. See below for an example of how velocity modula-
tion works.
You can set positive and negative values by clicking on 
the value in the list, typing in a new value and pressing the 
Enter key.
To enter negative values type a minus sign followed by the value.
3.Using the same basic method, you can add any num-
ber of velocity destinations for the Envelope.
They will all be listed in the “Vel Dest” box. 
						

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The included VST Instruments
To remove a modulation destination click on its name in 
the list and select “Off” from the pop-up.
Envelope modulation velocity control – an example:
If you follow the steps above and select the Cut parameter 
as a Velocity destination, the following happens:
The harder you strike the key, the more the parameter 
will be modulated by the Envelope.
If you should enter a negative value for the velocity mod-
ulation amount, the opposite happens; the harder you 
play, the less the Cut parameter will be modulated by the 
Envelope.
Event page
The Event page is opened by clicking the EVENT button 
at the top of the lower half of the control panel. This page 
contains the most common MIDI controllers and their re-
spective assignments.
The Event page.
The following controllers are available:
To assign any of these controllers to one or several pa-
rameters, proceed as follows:
1.Click in the “Mod Dest” box for one of the controllers.
A pop-up appears with all possible modulation destinations are shown. 
All Sound parameters as well as most LFO and Envelope parameters are 
available as destinations.
2.Select a destination.
The selected modulation destination is now shown in the list. Beside the 
destination, a default value (50) has been set. The value represents the 
modulation amount when the controller is at its full range. 
You can set positive and negative modulation values by 
clicking on the value in the list, typing in a new value and 
pressing the Enter key.
To enter negative values type a minus sign followed by the value.
3.Using the same basic method, you can add any num-
ber of modulation destinations for the controllers.
They will all be listed in the “Mod Dest” box for the respective controller.
To remove a modulation destination click on its name in 
the list and select “Off” from the pop-up.
Effects (EFX) page
This page features three separate effect units: Distortion, 
Delay and Modulation (Phaser/Flanger/Chorus). The Ef-
fect page is opened by clicking the EFX button at the top 
of the lower half of the control panel.
Each separate effect section is laid out with a row of 
buttons that determine the effect type or characteristic 
and a row of sliders for making parameter settings.
To activate an effect, click the “Active” button so that a 
dot appears.
Clicking again deactivates the effect.
Distortion
You can select between 4 basic distortion characteristics:
 Distortion provides hard clipping distortion.
 Soft Distortion provides soft clipping distortion.
 Tape Emulation produces distortion similar to magnetic tape 
saturation.
 Tube Emulation produces distortion similar to valve amplifiers.
The parameters are as follows:
Controller Description
Modulation 
WheelThe modulation wheel on your keyboard can be used to 
modulate parameters.
Velocity Velocity is used to control parameters according to how 
hard or soft you play notes on your keyboard. A common 
application of velocity is to make sounds brighter and 
louder if you strike the key harder.
Aftertouch Aftertouch, or channel pressure, is MIDI data sent when 
pressure is applied to a keyboard after the key has been 
struck, and while it is being held down or sustained. Af-
tertouch is often routed to control filter cutoff, volume, 
and other parameters to add expression. Most (but not 
all) MIDI keyboards send Aftertouch.
Key Pitch 
TrackingThis can change parameter values linearly according to 
where on the keyboard you play.
Parameter Description
Filter This parameter sets the crossover frequency of the dis-
tortion filter. The distortion filter consists of a lowpass fil-
ter and a highpass filter with a cutoff frequency equal to 
the crossover frequency. 
Tone This parameter controls the relative amount of lowpass 
and high-pass filtered signal. 
Drive Sets the amount of distortion by amplifying the input sig-
nal.
Level This controls the output level of the effect. 
						

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The included VST Instruments
Delay
You can select between 3 basic delay characteristics:
 Stereo Delay has two separate delay lines panned left and 
right.
 In Mono Delay the two delay lines are connected in series for 
monophonic dual tap delay effects.
 In Cross delay the delayed sound bounces between the ste-
reo channels.
The parameters are as follows:
Modulation
You can select between 3 modulation characteristics:
 The Phaser uses an 8-pole allpass filter to produce the classic 
phasing effect. 
 The Flanger is composed of two independent delay lines with 
feedback for the left and the right channel respectively. The 
delay time of both delays is modulated by one LFO with ad-
justable frequency. 
 Chorus produces a rich chorus effect with 4 delays modulated 
by four independent LFOs.
The parameters are as follows:
SR parameters
With these buttons you can change the sample rate. 
Lower sample rates basically reduces the high frequency 
content and sound quality, but the pitch isn’t altered. This 
is a great way to emulate the “lo-fi” sounds of older digital 
synths!
 If button “F” is active, the selected Part’s program will play 
back with the sample rate set in the host application.
 If button “1/2” is active, the selected Part’s program will play 
back with half the original sample rate.
 If button “1/4” is active, the selected Part’s program will play 
back with a quarter of the original sample rate.
A bonus effect of using lower sample rates is that it re-
duces the load on the computer CPU, allowing more si-
multaneous voices to be played etc.
Parameter Description
Song Sync This switches tempo sync of the delay times on or off.
Delay 1 Sets the delay time ranging from 0 ms to 728 ms. If MIDI 
sync is activated the range is from 1/32 to 1/1; straight, 
triplet or dotted.
Delay 2 Same as Delay 1.
Feedback This controls the decay of the delays. With higher set-
tings the echoes repeat longer.
Filter A lowpass filter is built into the feedback loop of the de-
lay. This parameter controls the cutoff frequency of this 
feedback filter. Low settings result in successive echoes 
sounding darker. 
Level This controls the output level of the effect. 
Parameter Description
Song Sync This switches tempo sync of the Rate parameter on or 
off.
Rate Sets the rate of the LFOs modulating the delay time. If 
Song Sync is activated the rate will be synced to various 
beat increments.
Depth This parameter controls the depth of the delay time mod-
ulation. 
Delay This parameter sets the delay time of the four delay lines. 
Feedback The feedback parameter controls the amount of positive 
or negative feedback for all four delay lines. The adjust-
able range is from -1 to 1.
Level This controls the output level of the effect.  Parameter Description 
						

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The included VST Instruments
Mystic (Cubase only)
The synthesis method used by Mystic is based on three 
parallel comb filters with feedback. A comb filter is a filter 
with a number of “notches” in its frequency response, with 
the notch frequencies harmonically related to the fre-
quency of the fundamental (lowest) notch. 
A typical example of comb filtering occurs if you are using 
a flanger effect or a delay effect with very short delay time. 
As you probably know, raising the feedback (the amount 
of signal sent back into the delay or flanger) will cause a 
resonating tone – this tone is basically what the Mystic 
produces. As you will see, this astonishingly simple syn-
thesis method is capable of generating a wide range of 
sounds, from gentle plucked-string tones to weird, non-
harmonic timbres. 
The basic principle is the following: 
You start with an “impulse sound”, typically with a very 
short decay.
The spectrum of the impulse sound will largely affect the tonal quality of 
the final sound. To set up an impulse sound on the Mystic you use a 
slightly simplified version of the synthesis found on the Spector synth.
The impulse sound is fed into the three comb filters, in 
parallel. Each of these has a feedback loop.
This means the output of each comb filter is fed back into the filter. This 
will result in a resonating feedback tone.
When the signal is fed back into the comb filter, it goes 
via a separate, variable lowpass filter.
This filter corresponds to the damping of high frequencies in a physical 
instrument – when set to a low cutoff frequency it will cause high har-
monics to decay faster than the lower harmonics (as when plucking a 
string on a guitar, for example). 
The level of the feedback signal is governed by a feed-
back control.
This determines the decay of the feedback tone. Setting this to a nega-
tive value will simulate the traveling wave in a tube with one open end 
and one closed end. The result is a more hollow, square wave-like sound, 
pitched one octave lower.
A detune control offsets the fundamental frequencies of 
the three comb filters, for chorus-like sounds or drastic 
special effects.
Finally you have access to the common synth parameters 
– two LFOs, four envelopes and an effect section.
By default, envelope 2 controls the level of the impulse 
sound – this is where you set up the short impulse decay 
when emulating string sounds etc.
ÖThe signal flow of the Mystic synth is illustrated in the 
section “Diagrams” on page 73.
Sound parameters
The Impulse Control section
This is where you set up the impulse sound – the sound 
fed into the comb filters, serving as a starting point for the 
sound. The Impulse Control has two basic waveforms that 
are filtered through separate spectrum filters with adjust-
able base frequency; the output is an adjustable mix be-
tween the two waveform/spectrum filter signals.