nave-manual.pdf

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Content

Nave User Manual 2

ont ntForeword ................................................................................ 3Hint ................................................................................ 3Nave Development Team................................................ 4We would like to thank ................................................... 4Introduction ............................................................................ 5About this Manual ........................................................... 5Symbols .......................................................................... 5Highlighted Control Features and Parameters .................. 5Basic Operation ..................................................................... 6Audio Output .................................................................. 6MIDI Input ...................................................................... 6Preset Patch Selection ..................................................... 6Control Elements ............................................................. 6

The Controls ...................... ...................... ...................... ......... 9Overview of Functions .................................................... 9The Top Section .............................................................. 9The Wave Menu Page ................................................... 12The Wavetable Display ................................................. 15

The Oscillator Module ................................................... 20

Filter and Envelope Menu Page (Filter & Env) ................. 24Modulation and Keyboard Menu Page (Mod & Keys) ..... 30

Effect and Arpeggiator Menu Page (FX & Arp) ................ 38

Tape and System Menu Page (Tape & Sys) ..................... 47

Sound Synthesis Basics ..................................................... 54Wavetable Synthesis in Nave ......................................... 54

Oscillators Introduction ................................................. 55

Filter Introduction .......................................................... 59Appendix .............................................................................. 61MIDI Controller Numbers .............................................. 61

Nave Modulation Sources .............................................. 61

Nave Modulation Destinations ...................................... 62

Nave Wavetable List ...................................................... 63

Knowledge about the iTunes Folder ............................... 65

Glossary ........................................................................ 66Product Support ............................................................. 71


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Foreword

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ForewordThank you for purchasing the Waldorf Nave Advanced

Wavetable. You now own a synthesizer with one of themost progressive sound synthesis. Nave raises the Wave-table synthesis to a higher sonic level which leads tocompletely new and fresh sounds.

If you decide to read the following manual, we promiseyou a lot of fun while reading about and working withthe Nave.

Your Waldorf Team

Hint

Waldorf Music GmbH is not liable for any erroneousinformation contained in this manual. The contents ofthis manual may be updated at any time without priornotice. We made every effort to ensure the informationherein is accurate and that the manual contains no cont-radictory information. Waldorf Music GmbH extends noliabilities in regard to this manual other than those requi-red by local law.

This manual or any portion of it may not be reproduced

in any form without the manufacturers written consent.

Waldorf Music GmbH, Landskroner Strae 52, D-53474Bad Neuenahr, Germany


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Foreword

Nave User Manual 4

Nave Development Team

Software: Stefan Stenzel,Rolf Whrmann

Design: Axel Hartmann

Manual: Holger Steinbrink

Version: 1.0, June 2013

Please visit our website www.waldorfmusic.deHere you will find information of all our products.

We would like to thank

Christian Bacaj, Karsten Dubsch, Willie Eckl, JoachimFlor, Michael von Garnier, Frdric Meslin, FrankSchneider, Kurt "Lu" Wangard,.


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Introduction

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IntroductionAbout this Manual

This manual was written to help you to become familiarwith the Nave synthesizer. It will also aid experiencedusers with routine tasks.

To avoid confusion, the terminology in this manual isbased on the Nave parameter names. You will find thevarious terms explained in a glossary at the end of thismanual.

We also used a uniform set of symbols to show you to-pics of particular interest or significance. Important termsare highlighted in bold letters.

Symbols

Caution The comments that follow this symbolwill help you avoid errors and malfunctions.

Info Additional information on a given topic.! Example Real-world examples to try out.

Highlighted Control Features and Parameters

All of the Naves buttons, controls and parameters arehighlighted in bold letters throughout the manual.

example:

Tip on Mod Source Tip and hold the CutoffdialThe Naves different parameter pages are illustrated in adepiction of the display.


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Basic Operation

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Basic OperationAudio Output

Use the volume buttons of your iPad to control the over-all level. We recommend to use a suited Class CompliantAudio interface, a headphone or a connected amplifier /loudspeaker system to receive the best sound quality.

MIDI Input

Nave can be played via the internal keyboard. Werecommend to connect a suited MIDI keyboard via aCore MIDI iPad interface. You can also send MIDI datavia WIFI MIDI as well as a virtual MIDI connection.Please read more in the chapter "Tape & Sys Menu Page".

By using the iPad Camera Connection Kit you canalso connect USB Class Compliant keyboards asthe Waldorf Blofeld Keyboard or the Zarenbourg.

Preset Patch Selection

Tap on the name of a preset in the center of the NaveTop section to open the Preset list. Here you can choose

your favorite Bank as well as the included Patches. Addi-tionally you can filter sounds by category.

More about loading and saving of Patches can befound onpage 10 of the manual.

Control Elements

To edit a sound patch you have to change its parameters.Therefore, Nave offers different types of control elements:

DialsTo set a value, tap on the dial, hold down anddrag your finger up or down.

Buttons

A simple tap on a button activates or deactivatesits function. Buttons light up in blue when theyhave been used.


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Pop-up Menus

Tap on the corresponding parame-ter to open a pop-up menu where

you can choose the desired optionby tapping. Tap on Close to closethe pop-up menu.

FaderTap on the corresponding fader and hold it. Moveyour finger to the left or the right to change thevalue. Some faders need to move vertically tochange values.

Selection Symbols

Selection symbols can be easily tapped.The corresponding symbol lits, when acti-

vated. Tapping on another symbol deacti-vates the first selected. The Filter and Drivetypes can be deactivated by tapping again.

Switches

Switches can be simply tapped. The switch ofthe corresponding function switches to therespective position. Keep in mind that someswitches can have up to three positions.

Graphical ElementsTap on the corresponding gra-phic and slide it vertical or hori-zontal to change values. This isvalid for the 3D representationof the wavetables, the envelo-pes, the filter graph as well asthe equalizer.


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Nave User Manual 8

Wheels

To change the value, tap on thewheel and drag it up or down. The

Pitch bend wheel snapsautomatically back into its centerposition as soon as you release yourfinger.

The Virtual Keyboard

Nave provides a virtual keyboard with 77 keys. Tap on akey to hear the corresponding note. The vertical positionof the initial touchdown of the key determines the veloci-

ty. You can also use different play modes. Please readmore about this on page 35 of this manual.

X-Y Pad

Tap on the illuminated buttonwithin the X-Y pad and move your

finger. A double tap will center thebutton exactly in the middle of thepad. A single tap on any positionwithin the pad will set the button tothis position.

Additional Controls

Double tap a parameter to open an additional window.The corresponding parameter can be routed to incoming

MIDI controller data. You can also set the parameter toits default value (Default Value) or cancel the process(Cancel).

Routed MIDI controller can be checked and dele-ted with the MAP parameter on the Tape & Sysmenu page.


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The Controls

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The Controls

Overview of Functions

Nave consists of numerous sound-shaping components.

Is this your first synthesizer? Are you curiousabout sound synthesis? If so, we recommend toread the chapter "Sound Synthesis Basics" in thismanual.

You should know that Nave consists of two differenttypes of components for sound generation and sound

shaping: Sound synthesis: (Wavetable-)Oscillator, Filter,

Amplifier, Effects: These modules represent the audiosignal flow. Sound generation actually occurs withinthe Oscillator. It produces wavetables and otherwaveforms. The Filter then shapes the sound byamplifying (boosting) or attenuating (dampening)certain frequencies. The Amplifier is located at theend of the signal chain. It setss the overall volume of

the signal and can add some saturation. Additionally,effects can be added to the signal.

Modulators: The Modulators are designed to manipu-late or modulate the sound generating components toadd dynamics to the sound. The Low-frequency Os-cillators (LFO) are designed for periodic or recurring

modulations while the Envelopes are normally usedfor modulations that occur once.

The Top Section

The Top section provides the global overview and inclu-des the following options:

Menu Page Selection

Tap on the desired menu page (Wave, Filter & Env,Mod & Keys, FX & Arp or Tape & Sys) to open it. Theactual menu page will be shown with a blue selection.

Preset Selection

Tap on the Preset name to open the preset pop-up menu.Here you find three columns for selection sound (Bank),sound categories (Category) and Patches.

Tap on the desired bank. The patch list will be up-dated automatically with the included sounds.


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Tap on the desired sound category. The patch listautomatically shows all sounds which belong to thiscategory. To set back the category list tap on --- all ---.

Tap on the desired patch to load it.

The right section of this window offers additional func-tions:

Some patch functions are only available for Userpatches and User banks.

Rename Patch(only for User patches) opens the inputkeyboard to rename the actual patch.

Delete Patch(only for User patches) deletes the actu-al patch after a security confirmation. Email Patch (only for User patches) opens the stan-

dard email editor. Here you can send the actualpatch to a desired email adress.

Import Patchimports a patch from your iTunes Folderto Nave. A separate selection window opens automa-tically to proceed.

A deeper explanation of the iTunes Folder can befound inthe manual appendix.

New Bank creates a new bank with the standardname "User (number)".

Rename Bank (only for User banks) opens the inputkeyboard to rename the actual bank.

Delete Bank (only for User banks) deletes the actualbank with all included patches after a security con-firmation.

Email Bank(only for User patches) opens the standardemail editor. Here you can send the actual bank to adesired email adress.

Tap on Closeat the bottom of the window to close it.

Compare

Tap on Compare to compare the actual edited patchwith the original one (the Comparebutton will lit, whenactivated). Tap the button to deactivate the comparefunction.

The Save Function for Patches

Tap on Saveto save the actual patch:

Tap on the patch name to change it before finallysaving the patch.


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Tap on a Bank name to allocate the patch to thisbank.

Tap on Category to allocate the patch to a desiredsound category.

Tap on Saveto finally save the patch. Tap on Cancel to cancel the process. You can transfer User patches and banks from

your iPad to your computer and vice versa byusing the iTunes Folder. A deeper explanation ofthe iTunes Folder can be found in the manual ap-pendix.

Init

Tap on Init to initialize the actual patch. All parameterswill be set to default values. To avoid accidently initiali-zation you have to confirm this process before.


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The Wave Menu Page

This is the heart of Nave. Nave offers two Wave modulesas well as an Oscillator module with up to eight oscilla-

tors.

An explanation of wavetable synthesis can befound in the chapter"Sound Synthesis Basics".

Use the slip field to the left and right side of theWave menu page to switche between Wave module1 and 2. The number above the Wave and Spectrumparameter shows the selected wave module.

Detune -50c...+50c

Fine-tunes the oscillator in steps of1/100th of a semitone. The audible result

of detuned oscillators is a chorus or flan-ger effect. Use a positive setting for oneoscillator and an equivalent negativesetting for another

! A low value of 1results in a slow and soft flangereffect.

! Mid-ranged settings of 5 are perfect for pads andother fat sounding programs.

! High values of 12 or above will give a strongdetune that can be used for accordions or effectsounds.

Semitone -24...+24

Sets the pitch of the wavetable oscillator insemitone steps. The standard setting for thisparameter is 0, but there are cases wheredifferent values are interesting as well.


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! Organ sounds often include a fifth, therefore oneoscillators semitone parameter must be set to +7.

! Lead and Solo sounds might sound interesting whenyou set one Oscillator to a fourth (+5 semitones).

! When making ring modulated sounds, try to usedissonant values, e.g. +6or +8.

Wave 0.0...64.0

This parameter defines the startpoint of theselected wavetable. A setting of 0 selectsthe first wave, the maximum setting sel-

ects the last wave of the wavetable. Theactual wave position will be marked as athin red line within the display.

Wave Modulation diverse functions

Activate this parameter by tappingon the button. Then select a Wavemodulation source by tapping onthe Modulation list. Amount

determines the amount of modula-tion that is applied. A commonsource for Wave modulation is anLFO or an envelope.

Travel -1.00...+1.00

Travelallows the cyclic moving through awavetable. Positive values allow a forward

movement, negative values a backwardmovement. Lower values slow down themovement speed, higher values speed itup. Cyclic means, that a wavetable startsautomatically again from beginning when the end isreached. If you dont wish a cyclic modulation, use theWaveparameter modulated with an envelope, a LFO orany other modulation source.

! Use Travelwith a value setting of 0.20to becomean impression of the sound diversity of the wave-tables.

Clocked / Sync

Here you can set up the synchronisati-on of the Travelparameter:

There is no synchronisation inthe center setting (off).

If Clocked is activated, Travel is controlled by theinternal tempo of Nave (adjustable with ArpeggiatorSpeed on the FX & Arp menu page) or an inco-


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ming synchronisation signal by another App, MIDIor WIST. If so, you can set up Travelin musical va-lues. The highest amount is 1024, where one turnneeds 1024 beats. Keep in mind that Travel can

have positive or negative values. If Clockedis acti-ve, Travelreacts also as described below (Sync).

If Sync is activated, all triggered notes of a patchbehave as a single triggered note. Travel is startedsimultaneously for all triggered notes.

Wavetable Selection diverse Wavetables

Tap on the wavetable name to

open a pop-up menu with allavailable factory wavetablesas well as your own custom wavetables. Here you canselect the desired wavetable by tapping. Subsequentlytap on Closeto close the pop-up menu.

A list of all Nave wavetables can be found in theAppendix of this manual.

The Spectrum Section

Here you find novel functions regarding the wavetablesound editing. The spectral envelope of a sound can be

controlled independant from the pitch. Further the Waveoscillator can produce perfect a periodic sound up tonoisy components.

Spectrum -1.00...+1.00This parameter transposes the spectrumof a sound, specifically the spectralenvelope. Negative values move thespectrum down, higher values moves itup. The default setting is 0, where notransposition happens. This is thebehaviour of the classic wavetable synthesis.

Spectrum Modulation diverse functions

Activate this parameter by tappingon the button. Then select a Spect-rum modulation source by tappingon the Modulation list. Amountdetermines the amount of modula-tion that is applied to the transposi-tion of the spectrum.


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Noisy 0.00...1.00

This parameter adds a noisy sound characterto the Wave oscillator. The spectrum is

unaffected by the setting of this parameter.

Brilliance 0.00...1.00

A setting of this parameter is only audible,when Spectrum is transposed relative tothe original pitch of a sound. Highersettings result in narrow peaks. This canlead to the effect, that the perceived pitchcomes from the sound spectrum instead ofthe oscillators pitch. Sometimes value changes of thisparameter are partially subtle.

You can modulate Noisy and Brilliance. Pleaseuse the modulation matrix(see page 32).

Keytrack 0%...100%

The default setting is 100%, so that thespectrum is in conjunction with the pitch ofa sound. The pitch doesnt affect thespectrum, when Keytrackis set to 0%. This

setting is recommend for speech or singing, so that theformants are not influenced by the pitch. Based on this,we have included a speech synthesizer for wavetables.Keytrack can also be set to other values, so that the

spectrum is transposed to the pitch.

The Wavetable Display diverse functions

The Wavetable display shows a 3D representation of theselected wavetable. The position of the Waveparameteris shown by a thin red line.


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You can use the following gestures:

Tap with one finger on the display and move it intothe corresponding direction to turn the wavetablerepresentation in all three dimensions.

Move two fingers together or apart to decrease orincrease the 3D representation.

Double tap leads to the initial dimension and posi-tion of the representation.

Tap with a spread thumb and index finger on therepresentation and twist it to rotate the display.

The Wavetable display offers some additional functions:

Now you go down to the basic of the wavetablesynthesis where you can also create own wave-tables.

Tap on the Wave button to open a window withadditional presentation options for the wavetablerepresentation.

Tap on the Spec button to open a window withadditional presentation options for the spectrum re-presentation.

Tap on the

full button to open the wavetable re-presentation in fullscreen mode. Read more about

this on the following pages.

Tap on cut peaksto open a fader for smootheningthe peaks in the representation.

Tap on color to open a fader for colouring thepeaks in the representation more intensively.

The wavetable display offers a fullscreen mode (full

button).


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Beside the additional representation options there aremore interesting functions:

Pay attention! You have now entered the mostcreative section of Nave!

The Tools Buttons

Tap on tools to open a pop-up menu for creating andexporting your own wavetables. The following options

are available: Talk allows you to enter one or more words with

the virtual input keyboard of your iPad. Thesewords will be automatically synthesized as a newwavetable.

Analyze Audio from: enables you to select and im-port a WAV file with any sample rate and bit ratefrom the Beatmaker pasteboard (BM Pasteboard),the Sonoma pasteboard (Sonoma Pasteboard) or

your iTunes Folder. This audio file will be automa-tically synthesized as a new wavetable.

Export Wavetable exports the current wavetable toyour iTunes Folder. This enables you to exchangeyour own created wavetables with other Naveusers. By using Rename you can rename yourwavetable before the export process. A deeper ex-planation of the iTunes Folder can be found in themanual appendix.


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The Edit Button

Tap on edit to open the Edit section of the wavetabledisplay. The following options and functions are availab-

le:The Ribbon Band

The Ribbon Band easily enables you to play and hear thecurrent wavetable.

Move your finger from left to right on the centersection of the Ribbon band to go forward throughthe wavetable. Moving your finger from right to leftplays the wavetable backwards.

Tap on any location of the center section of theRibbon band to play the corresponding singlewave.

The last selected wavetable position on the Rib-bon band will be automatically assigned to the

Waveparameter when the editor is closed.

Tap on the right section of the Ribbon band to startthe Travel function. The more right you tap, the mo-re faster the wavtable will be go through forward.

Tap on the left section of the Ribbon band to startthe Travel function. The more left you tap, the morefaster the wavetable will be go through backwards.

By using the Dry / Wet switch you can hear thewavetable without any other oscillator, filter, driveand effects (Dry).

The Octave Down/ Up button sets the playbacksignal of the Ribbon band one octave up or downwith any tap.

3D Editing with the Selection Sliders

In the Edit section you can use three sliders to edit thespectrum of the current wavetable in a 3D space. Thisgives you unlimited sound changing possibilities.

Use the Frequency slider to select a frequencyarea. Tap on front or the back section of the sliderto limit the frequency area. Tap on the middle sec-

tion of the slider to move the selected frequencyarea at once.


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The Oscillator Module

Beside the Wave modules, Nave offers an additionalOscillator module to create typical analog waveforms.

You can use this additional oscillator as sub oscil-lator in addition to the wavetable oscillators.

Shape Tri/ Pulse/ Saw/ Noise Types

Tap on the corresponding symbol to select the desiredwaveform. The following waveforms are available:

Triangle selects the triangle waveform. The trianglemainly consists of the odd harmonics with very low

magnitudes.

Pulse selects the pulse waveform. A pulse wave-form with a pulse width of 50% has only the oddharmonics of the fundamental frequency present.This waveform produces a hollow / metallic sound.

If the Pulse waveform is selected, the parameterPulsewidthis used to change the pulsewidth of thewaveform.

Saw selects the sawtooth waveform. A Sawtoothwave has all the harmonics of the fundamental fre-quency in descending magnitude.

White Noiseis a fundamental source for any kind ofanalog-type percussion. It offers the same level overthe complete frequency range. Also, wind and othersound effects can be created by using noise.

Pink Noise This special kind of noise produceshigher levels in the deeper frequency range. It mat-ches more with the human hearing as the unfilteredwhite noise.


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berwave Active On/ Off

Activates the berwave function. This module can gene-rate up to 8 oscillator signals simultaneously (only withselected triangle, pulse or sawtooth shapes)

berwave Density 0...8

Determines the number of played oscillators, whenberwaveis activated.

berwave Spread 0.00...1.00

Detunes the oscillators, when berwaveis activated.

Semitone -24...+24

Sets the pitch of the oscillator in semitonesteps. The standard setting for this parameter is0, but there are cases where different valuesare interesting as well, e.g. with values of -12or -24 you can use the oscillator as a suboscillator.

Pulsewidth 0.01%...50%

Sets the pulse width of the Pulse waveform(when selected). The minimal value isequivalent to a pulse ratio of


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on list. Amount determines the amount of modulationthat is applied. Common sources for pulsewidth modula-tions are a LFO or an envelope.

! To create a thick oscillator sound, use a triangularLFOas Modulation Sourcewith full Amountanda Pulsewidth of around 40. This basic setting isuseful for very big string and lead sounds.

Glide diverse functions

Enables or disables the Glideeffect. "Glide" or "Portamento"describes the continuous gliding

from one note to another. Thiseffect can be created on fretlessstringed instruments or some brassinstruments (e.g. trombone). It is very common on syn-thesizers and used throughout all music styles. Pleasenote that Glide affects the pitch of all oscillators.

Glide works only with legato played notes.Activate this parameter by tapping the corresponding

button. Use Glide to determine the glide time. Low valu-es will give a short glide time in a range of millisecondsthat gives a special character to the sound. High values

will result in a long glide time of up to several secondswhich can be useful for solo and effect sounds.

Pitch Modulation diverse functions

Selects the source of the pitch modulation for all oscilla-

tors. Activate this parameter by tapping on the button.Then select a modulation source by tapping on the Mo-dulation list. Amountdetermines the amount of modu-lation that is applied. A common source for pulswidthmodulation is an LFO.

Mix diverse functions

The different Mix faders control the volume of each mo-dule as well as the ring modulation levels.


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Wave 1 controls the volume of the first Wave mo-dule.

Wave 2 controls the volume of the second Wavemodule.

W1*W2 controls the volume of the ring modulationbetween Wave module 1 and 2. For more informa-tion about ring modulation please read the follo-wing section.

Osc 1 controls the volume of the Oscillator modu-le.

Osc*W1 controls the volume of the ring modulationbetween Wave module 1 and the Oscillator modu-le. For more information about ring modulationplease read the following section.

What is ring modulation? From a technical pointof view ring modulation is the multiplication oftwo oscillators signals. The result of this operationis a waveform that contains the sums and the dif-

ferences of the source frequency components.Since the ring modulation generates disharmoniccomponents, it can be used to add metallic distor-ted sound characteristics. Please note that in acomplex waveform all harmonic components be-have like interacting sine waves, resulting in a wi-de spectral range of the ring modulated sound.

! Ring modulation can be very interesting when aslow pitch modulation is applied to one oscillator.

This creates spacy effect sounds.

! For an E-Piano sound, you might apply ring modu-lation when one high pitched oscillators Keytrackis lowered to i.e. 50%.

! If you turn down the pitch of one oscillator marked-ly, you can get an effect very similar to Amplitudemodulation. Use this for sounds with a periodicelement if you wish.

! Crooked pitch intervals of both Wave modules ge-nerate very interesting ring modulation sounds.


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Filter and Envelope Menu Page (Filter & Env)

Nave offers a mutlimode filter with additional settings.

There is also a flexible drive parameter as well as threeenvelopes.

Filter Modulation diverse functions

Activate this parameter by tapping on the button. Thenselect a modulation source for the filter cutoff frequencyby tapping on the Modulation list. Amount determinesthe amount of modulation that is applied. For positive

settings, the filter cutoff frequency is increased by themodulation of the filter envelope, for negative settings,the cutoff frequency is decreased. Use this parameter tochange the timbre of the sound over time. Commonsources for filter frequency modulations are a LFO or anenvelope.

Keytrack -200%...+200%

Determines how much the cutoff fre-

quency depends on the MIDI note num-ber. The reference note for Keytrack is E3,note number 64. For positive settings, thecutoff frequency rises on notes above thereference note, for negative settings thecutoff frequency falls by the same amount, and viceversa. A setting of +100% corresponds to a 1:1 scale, soe.g. when an octave is played on a keyboard the cutofffrequency changes by the same amount.

! On most bass sounds lower settings in the rangeabout +30% are optimal to keep the soundsmooth at higher notes.


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Envelope -1.00...+1.00

Determines the amount of influence thefilter envelope has on the cutoff frequency.For positive settings, the filter cutoff fre-quency is increased by the modulation ofthe envelope, for negative settings, thecutoff frequency is decreased. Use thisparameter to change the timbre of the sound over time.Sounds with a hard attack usually have a positive enve-lope amount that makes the start phase bright and thencloses the filter to get a darker sustain phase. Stringsounds, on the other hand, usually use a negative enve-lope amount that gives a slow attack before the cutoff

rises in the sustain phase.

Env Velocity -1.00...+1.00

Determines the amount of influence thefilter envelope has on the cutoff frequency,based on key velocity. This parameter workssimilarly to the Envelope parameter withthe difference that its intensity is velocitybased. Use this feature to give a more ex-

pressive character to the sound. When you hit the keyssmoothly, only minimal modulation is applied. Hittingthem harder, the modulation amount also gets stronger.

The overall modulation applied to the filters cutofffrequency is calculated as the sum of both the Enve-lope and Env Velocity parameters. Therefore youshould always bear this total in mind, especially

when the filter does not behave as you expect. Youcan also create interesting effects by setting one pa-rameter to a positive and the other to a negativeamount.

Filter Response Graph

Tap into the graphic display to simultaneously edit Cutoff(horizontally) and Resonance (vertically).


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Filter Type LP / BP / HP

Selects the filter type. You can decidebetween filter types with a 24dB or a12dB slope. Filter types can also deacti-vated by tapping again on it.

LP (Lowpass) removes frequenciesabove the cutoff point.

BP (Bandpass) removes frequencies both belowand above the cutoff point. As a result, the soundcharacter gets thinner. Use these filter types whenprogramming effect and percussion-like sounds.

HP (Highpass) removes frequencies below thecutoff point and is useful to thin out a sounds bassfrequencies. This may also give interesting results inconjunction with cutoff frequency modulation. Bydoing this you can e.g. "fly-in" a sound starting at itshigh harmonics and then coming up to its full fre-quency range.

Cutoff 12.25...19912 Hz

Controls the cutoff frequency for the low pass and highpass filter types and the center frequencyfor the band pass

When a low pass type is selectedvia the Type parameter, all fre-quencies above the cutoff fre-quency are damped.

When a high pass type is selected, all frequenciesbelow the cutoff frequency are damped.

When a band pass type is selected, only frequen-cies near the cutoff setting will be passed through.

You can bring more movement into the sound by modu-lating the cutoff frequency via the LFOs, the filter enve-lope or the Keytrack parameter of the filter. MediumCutoff values and a maximum Resonance setting, thefilter self oscillates with a sine wave.

Resonance 0.00...1.00

Controls the emphasis of the frequenciesaround the cutoff point. Use lower valuesto give more brilliance to the sound. Athigher values the sound gets the typical


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filter character with a strong boost around the cutofffrequency. When the setting is raised to maximum, thefilter starts to self-oscillate, generating a pure sine wave.This feature can be used to create analog-style effects

and percussion-like electronic toms, kicks, zaps etc.

Drive Amount 0.00...1.00

Determines the amount of saturation that isadded to the signal. If set to 0, no saturationwill be added or, in other words, the signalwill remain clean. Lower values will addsome harmonics to the signal, resulting in awarm character. Increasing the value will

bring in more and more distortion, suitable for harderlead sounds and effects.

Drive Curve diverse functions

Determines the character of the drive. Youcan also deactivate the drive curves comple-tely. The following drive curves are available:

PNPgenerates a distortion based on abipolar transistor.

Tube simulates the asymmetric distor-tion of a tube circuit.

Pickupsimulates an electrostatic pickup. This dri-ve type sounds very interesting, when the audiosignal level is modulated.

Diodegenerates a typical transistor distortion. Crunch is a sinusoidal waveshaper. It generates

FM-like sounds that can be distorted very ext-remly.

Drive Location diverse functions

Determines, where Drive is located in the audio signalpath:

Pre Filter routes the drive directly be-fore the filter.

Post Filterroutes the drive directly af-ter the filter.

Pre EQ distorts the signal before it isrouted in the equalizer. Because thisis a sum distortion, the played voicescreate additional intermodulations,which leads to more sound sharpness.

Post EQ routes the drive directly after the equali-zer.


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The Envelopes

The Nave envelopes allow you to manipulate soundparameters via rate or time modulations. Nave offersthree independent programable envelopes:

Filter Envelope (Filter Env). This envelope is fi-xed to control the filter but can also be used forother modulations.

Amplifier Envelope (Amp Env). This envelope isfixed to control the sound volume, but can alsobe used for other modulations.

Additional Envelope (Free Env). This envelopecan be used freely to perform additional modula-tions on any module.

The parameter controls of the envelopes arenearly similar. Only the Free Envelope comeswithout the Linear/ Exponential switches for theenvelope phases.

Filter Env / Free Amp / Amp Env

Attack determines the attack rate or amount oftime it takes for a signal to go from zero to maxi-mum level.

Decay determines the decay rate or amount oftime it takes for a signal to reach the Sustain le-vel.

Sustain determines the sustain level which isheld until a note ends.

Release begins, when a note has ended. Duringthis phase, the envelope fades to zero at the ratedetermined by the Release value.

The envelopes also contain a loop function:

AD Loop repeats the phase between AttackandSustain until a note is hold and Attack phase


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was once run through. After releasing the note,Releasephase of the envelope starts.

ADSR Loop is identical to AD Loop. As soon asthe Releasephase starts, the loop will go on.

The Filter and Amp envelopes offer a switchable charac-

teristic for every single phase. Sustain does not offerphase characteristic because it would not make sense fora rate based parameter.

Linear (Lin) switches the corresponding envelo-pe phase to linear.

RC (only Attack phase) simulates an analoguecircuit and delivers a convex attack envelopephase.

Exponential (Exp) switches the correspondingenvelope phase to exponential.

The envelopes offers a single trigger function(Sngl Trig). It works in Mono mode only,which can set up on the "Mod & Keys" menupage:

When Mono mode is deactivated,every note starts the envelope of its own voice,also when played legato.

When Mono mode is activated, the envelopes ofall voices of a selected patch behave like a singleenvelope. This common envelope starts as soonas the first note is played. The sustain levelremains until the last note is released. Afterwardsthe release phase is active.


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Modulation and Keyboard Menu Page (Mod &Keys)

Nave offers two LFOs, a programmable modulation mat-rix with 10 slots as well as numerous settings for key-board, wheels and pads.

The LFOs

In addition to the main oscillators, Nave is equipped withtwo low frequency oscillators (LFO) that can be used formodulation purposes. Each LFO generates a periodicwaveform with adjustable frequency and shape.

LFO Shape diverse waveforms

Sets the type of waveform generated by the correspon-ding LFO.

The Sineshape is bestsuited for Wave orpan modulations.

The Triangle shape isperfect for smoothpitch, filter or volume modulations.

The Squareshape can be interesting for hard panmodulations or special effects.

The Sawtooth down shape can generate interes-ting filter or volume changes.

The Sawtooth up shape can generate interestingfilter or volume changes.

S&H (Sample & Hold) samples a random valueand holds it until the next value is generated. IfSpeed is set to 0, a random value is generated oneach new note.


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Modulation Matrix diverse functions

A modulation can be described as a signal-generatingunits influence upon a sound parameter. The terms usedin this context are "Source" and "Destination". Nave

offers 10 independent modulation assignments (slots)each with individual settings of source, destination andamount.

Use the slip field to right side of the modulationmatrix to switch between the slots. Four slots aredisplayed at once. The numbers to the left of thematrix show the current slot numbers.

Tap on theActive button to switch a modulationslot on or off. An active slot is shown with a blueswitch.

Source opens a pop-up menu with all modulationsources. A complete list of all available sourcescan be found in the Appendix of this manual.

Amount determines the amount of modulationapplied to the destination. Since the modulationis in fact a multiplication of the source signal andthis parameter, the resulting amplitude dependson the type of modulation source you select. Forthe so-called unipolar modulation sources, the re-sulting amplitude lies within the range of 0+1,

if Amount is positive or 0-1, if Amount is ne-gative. These sources are for example envelopes,Modwheel and Velocity. For the so-called bipolarmodulation sources, the resulting amplitude lieswithin the range of -10+1. These sources arefor example the LFOs, Keytrack and Pitchbend.

Destination opens a pop-up menu with all modu-lation destinations. A complete list of all availabledestinations can be found in the Appendix of this

manual.

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The Wheels diverse functions

Nave offers a virtual pitch bendas well as a modulation wheel.You can set up both wheels as

follows:

Pitchbend Range deter-mines the intensity of thepitchbend via MIDI pitchbend messages in semi-tones from 1 to 24.

Mod Wheel Modulation determines the behaviourof the Mod Wheel. Select a modulation destinati-

on for the Mod Wheel by tapping the ModSourcelist. Mod Wheel Amountdetermines theamount of modulation that is applied.

X-Y Pad diverse functions

Nave provides three X-Y pads, a two dimensional con-troller based on two selected sound parameters. One X-Ypad is always present on the Mod & Key menu pagewhile the others can be show via the Control / Size

function. Please read also page 35.

A double tap will center the button exactly in themiddle of the pad. A single tap on any positionwithin the pad will set the button to this position.

X-Mod determines the behaviour of the horizontalX axis. Select a modulation destination by tappingthe Mod Destination list. Amount determinesthe amount of modulation that is applied.

Y-Mod determines the behaviour of the vertical Yaxis. Select a modulation destination by tappingthe Mod Destination list. Amount determinesthe amount of modulation that is applied.

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Unisono Voices Off / 2...4

Controls how manyvoices are triggeredwhen a note is played.

Unisono Off meansthat a note triggersone voice. This is the standard mode.

Unisono 2means that a note triggers two voices. Unisono 3 bzw. 4means that this number of voices

is triggered when a note is played.

Unisono Spread 0.00...1.00Controls the detuning of the Unison voices and spreadsall voices automatically within the stereo panorama.Higher values will alternate the voices between a left andright panorama position and offers a deeper detuning. Isthe Voices parameter set to Unisono Off, UnisonoSpreadhas no functionality.

Keyboard Setting Scroll / Glissando / XY-Touch

This pop-up menu offers all set-tings regarding the behaviour ofthe virtual keyboard:

Scrollmeans, that you can move the keyboard rangeup and down while holding and moving a finger on-to the virtual keyboard. This enables you to play inhigher or lower keyboard ranges.

Glissandomeans, that you can touch and hold a keyand move to the right or to the left to get a glissandoeffect.

XY-Touch fixes the virtual keyboard so that there isno range selection possible. This enables the XY-touch modulation (when assigned, see also page36).

The Y-Mod ever works, regardless of the Keyboardsetting mode.

Keyboard Allocation diverse settings

This pop-up menu offers settingsthat have influence on the playbehaviour of the virtual keyboard.

Polymeans that each note triggers its own voice orvoices, as on a piano.

Monomeans that only the last played note sounds.All other notes are stored in an internal list but arent

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played. As soon as you release the note that is cur-rently played, the highest note from the list is play-ed. When you play legato, only the first note thatwas played triggers the envelopes. All later notes usethese envelopes, but sound in the pitch youve play-ed. This mode is for sustained sounds like typical1970s solo sounds

Poly Hold means, that a short tap on one or morekeys will hold the played notes until they are tappedagain.

Mono Hold is identical to the Mono mode, exceptthat a short tap on a key will hold this note untilanother key is played.

Chord Holdmeans, that a short tap on two or morekeys will hold the played notes until a new chord istriggered.

All Keyboard settings will be saved with the cur-rent patch. So you can set up chords for theBlades.

Mini Keyboard

Tap on the blue keyboard area to move the virtual key-board to the range you need. Keep in mind: If you have

selected the Pads under Control / Size, this function isnot available.

Control / Size diverse Einstellungen

Here you can change therepresentation of the virtualkeyboard and its width.

The Keyboard symbolswitches to the well-knownpiano with ebony and ivorykeys.

The Blade symbol switchesto the Blade keys (see nextpage).

ThePad symbol switches to two additional and freeprogrammable X-Y pads (see after the next page).

With Size you can set up the width of the virtual key-board. You can choose between Big, Mid and Small.Sizeis not available when the Pads are displayed.

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The Blades

This virtual keyboard is different from the regular pianokeyboard. The Blades are activated with the Controlsparameter. It allows normal playing but you can tap andhold a blade and move it vertically or horizontally to

release additional modulations. This will be displayed bya yellow indicator bar. Besides this there are additionalparameters in the left section.

Scales and Chord Settings

Here you can set up chordplaying with the Blades.

Scale opens a pop-up menuwith numerous musical sca-les, e.g. chromatic, major,minoror lydian dominant.

Key determines the tonic keynote for the chordwhich is selected in the Chordmenu (see next).

Chord opens a pop-up menu with numerous chordconnections, e.g. simple 1-3-5 connections up com-

plex chords.

What does 1-3-5 mean? Basic chords with threevoices contain notes always at a distance of twosemitones. A C-major chord is then C (1), E (3 -two semitones distance to C) and E (5 - again twosemitones distance to E). Nave also provideschords with four voices (e.g. 1-3-5-7). Experimentwith the different chord connections and listen tothe results.

X-Y Touch Modulations

Here you can set up modulation destinations for the X(horizontal) axis and the Y (vertical) axis of the TouchKeys and Blades.

Select a modulation destinationfor the X or the Y modulation bytapping the Mod Destination

list. The corresponding Amountdetermines the amount of modu-lation that is applied.

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The Additional X-Y Pads

Nave provides two additional X-Y pads, a two dimensio-nal controller based on two selected sound parameters.They can be activated via the Control / Size function.

Please read also page 35. The parameter settings of bothpads are identical.

X-Mod determines the behaviour of the horizontalX axis. Select a modulation destination by tappingthe Mod Destination list. Amount determinesthe amount of modulation that is applied.

Y-Mod etermines the behaviour of the vertical Yaxis. Select a modulation destination by tappingthe Mod Destination list. Amount determinesthe amount of modulation that is applied.

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Effect and Arpeggiator Menu Page (FX & Arp)

Nave offers an extensive effect units with an additionalEqualizer, a Compressor as well as an Arpeggiator.

Tap on one oft he effects or the Arpeggiator to activate it.The corresponding button will lit blue.

Mod EFX diverse Effects

This effect unit can produce either a Phaser, a Flanger ora Chorus effect.

Based on the choosen Mod EFX effect, differentediting parameters are available.

! A Dry / Wet setting of 50%produces the stron-gest effect because both the unaffected signaland the processed signal are mixed together.

Phaser diverse Parameters

A Phaser effect is generated by adding a second signalwith a different phase. This generates an effect withequally spaced frequency peaks or throughs. The phasechanging is controlled by a LFO.

Speed 0.01...5.0

Sets the LFO speed of the Phaser effect.

Color 0.001.007

Controls the phase position of the Phaser signal. Lowersettings produce a more resonant Phaser effect.

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Phase 0.001.00

Sets the phase offset of the modulation oszillator betweenleft and right audio channel. Higher values lead to awider stereo range.

Depth 0.001.00

Sets the modulation depth of the Phaser effect.

Feed -1.00...+1.00Controls the feedback amount of the signal.

Dry / Wet 0100%This parameter controls the volume ratio between the

original signal and the effect output. If set to 0%, the drysignal is sent to the output only so that no effect can beheard. Higher values will increase the effect signal. Atmaximum setting of 100%, the pure effect signal will beheard.

For the typical Phaser effect sound, the Dry / Wetparameter should be set to 50%.

Flanger diverse Parameters

The Flanger effect is very similar to the Chorus effect, butfeatures feedback circuitry to feed the generated signalback into the comb filter. This generates a deeper

detuning and colorizes the signal. With extreme settingsyou can hear a whistling sound which is very characteris-tic of a Flanger effect.

Speed 0.01...10.00

Sets the LFO speed of the Flanger effect.

Phase 0.001.00

Sets the phase offset of the modulation oscillator betweenleft and right audio channel. Higher values lead to awider stereo range.

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Depth 0.001.00

Sets the modulation depth of the Flanger effect.

Feed -1.00...+1.00

Controls the feedback amount of the Flanger signal.

Dry / Wet 0100%This parameter controls the volume ratio between theoriginal signal and the effect output. If set to 0%, the drysignal is sent to the output only so that no effect can beheard. Higher values will increase the effect signal. Atmaximum setting of 100%, the pure effect signal will beheard.

Chorus diverse Parameters

A Chorus effect is generated by using comb filters thatgenerate slightly detuned copies of the input signal andmix it into the output signal. The result sounds like anensemble of several simultaneous sounds, like a choir asopposed to a single voice; hence the name Chorus. Thedetuning is generated by an internal LFO that can becontrolled in speed and depth.

Speed 0.10...20.0

Sets the LFO speed of the Chorus effect.

Depth 0.001.00

Sets the modulation depth of the Chorus effect.


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Delay diverse Parameters

A Delay is an effect that produces echoes of the inputsignal.

Delay L 0 ms2.00 sSets the length of the Delay tap for the left channel in

milliseconds or rather seconds. If Sync is activated, thedelay lenght can be entered in musical values.

Delay R 0 ms2.00 s

Sets the length of the Delay tap for the right channel inmilliseconds or rather seconds. If Sync is activated, thedelay lenght can be entered in musical values.

Hi Cut 0.001.00

Dampens the high frequencies produced by the Delayeffect. This filter is routed before the feedback circuitry

meaning that adjacent taps of the Delay will be dampe-ned further. This creates the typical "high frequency loss"that often happens in natural echoes. A minimal settingmeans that the signal isnt filtered, while higher settingsfilter the high frequencies of the feedback signal.

Decouple 0.001.00

This parameter delays the synced delay for the right andthe left channel dissimilar. This leads to a less static delaysound.

Sync Off / On

Sync synchronizes the delay to the internal tempo of

Nave (adjustable with ArpeggiatorSpeed

on the FX &Arp menu page) or an incoming synchronisation signalby another App, by MIDI or WIST. If activated, you canset up Delay L and Delay Rin musical values.

Feed 0.001.00

Controls the amount of signal that is routed back into theDelay line. Lower values therefore produce fewer echoesthan higher values.

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X-Feed 0.001.00

Controls the feedback send from the left channel to theright one and vice versa.


Reverb diverse Parameters

The Reverb effect is probably the most widely used effectin music production. Naves reverb effect is an additionto the sound to make it more 3 dimensional and expres-sive.

Time 0.0...1.00

Determines the reverb time. Lower settings simulate anormal room while higher settings simulate a big hall orchurch.

Color -1.00...+1.00

Determines the spectral colorization of the reverb sound.Negative values dampen the higher frequencies whilepositive settings dampen the deeper frequencies.

Predelay 0.001.00Determines the delay between the direct sound and thereverb effect output. Lower settings connect the reverb

more to the original signal while higher settings separatethe effect signal to produce a more spatious sound.

Dry / Wet 0100%This parameter controls the volume ratio between theoriginal signal and the effect output. If set to 0%, the drysignal is sent to the output only so that no effect can beheard. Higher values will increase the effect signal. Atmaximum setting of 100%, the pure effect signal will be

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Equalizer (EQ) diverse Parameters

Nave offers a parametric equalizer to adjust the soundfrequencies to your needs. The equalizer contains threebands with the following parameters:

Equalizer Active tap on this button to activate ordeactivate the EQ.

Tap on the band Low, Midor Highto activate it. Anactivated band is colorized.

Gain (for all three bands) raises or lowers the volu-me of the selected frequency.

Frequency (for all three bands) sets the frequencyin Hz (Hertz) respective kHz (Kilohertz) at which the

tones will be affected. Q (Filter Quality) (only Mid band) widens or shor-

tens the frequency range.

You can edit the EQ settings directly in the EQgraph. Tap on the desired EQ band and changethe Frequencywith horizontally moving and theGainwith vertical moving.

Compressor diverse ParametersThe compressor compensates differences in the level of asound signal by automatically raising lower levels.

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Threshold 0.001.00

Determines, to which signal level the compressor will beworking. If the signal falls below the threshold, theamplification takes place.

Ratio 0.0...20.0 dB

Ratio defines the maximum amplification of the signal indB.

Arpeggiator diverse functions

An Arpeggiator is a device that splits an incoming chordinto its single notes and repeats them rhythmically. Diffe-rent sequence modes can be defined for the Arpeggiator

to cover a wide range of applications. In addition to thesynthesis features, Nave offers a programmable Arpeggia-tor. It can play a wide range of different rhythm patterns.

The following parameters are available:

Arpeggiator Active tap on this button to activateor deactivate the arpeggiator.

With the settings in the pop-upmenu Sort Order you can deter-

mine, how the notes you originallyplay are split up for the arpeggio:

If As Played is selected, the notes are sorted inthe exact order you played them.

If Reversed is selected, the notes are sorted tothe reverse order in which you played them. Ifyou e.g. press E1, G1 and C1, the note list issorted to C1, G1 and E1.

If Key Lo>Hi is selected, the notes are sortedfrom the lowest note to the highest note. If youe.g. press E1, G1 and C1, the note list is sortedto C1, E1 and G1.

Key Hi>Lo is the opposite of Key Lo>Hi. Theexample would be sorted as G1, E1 and C1.

If Vel Lo>Hi is selected, the notes are sortedfrom the softest to the loudest velocity.

Vel Hi>Lois the opposite of Vel Lo>Hi. If Chord is selected, the arpeggiator plays a

chord based on all notes oft he note list.

With the settings in the pop-upmenu Velocity Mode you candetermine, how velocity is in-terpreted in the arpeggio:

If Each Noteis selected, each note of the arpeg-gio is played back with the velocity that youoriginally played.

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If First Noteis selected, the first note you playedsets the velocity for all arpeggio steps.

If Last Noteis selected, the last note you playedsets the velocity for all arpeggio steps.

TheMode switch sets theway the Arpeggiatorworks:

If Normal is selected,the arpeggiator works as follows: When youpress a note or a chord on the keyboard, it issplit up and repeated rhythmically. As soon asyou release a note, it is removed from the ar-peggio rhythm. Conversely, as soon as you add

another note to the existing chord, it is insertedinto the arpeggio. When you release all notes,the arpeggiator stops.

If 1 Shotis selected, the arpeggiator splits up allplayed notes and plays back one arpeggio. Afterthe arpeggio rhythm is played once, it is stop-ped automatically unless you hit a new chord.This mode is especially useful in a live perfor-mance where you might have to "synchronize"yourself. Just hit a chord at each new bar.

Wenn Holdis selected, the arpeggiator splits upall played notes and generates a continuous ar-peggio even when the chord is released.

Speed sets the basic tempo of the ar-peggiator in BPM (beats per minute). Set-tings form 40 up to 320 BPM are possib-le. Speed takes affect of the Clocked /Speedfunctions from Travel, both LFOsand the Delay effect.

With the settings of the pop-up menu Clock you candetermine the note value for thesteps of the rhythm pattern in arange from whole notes to triplet

notes. With the settings of the pop-up menu Gate you can

determine the note length depen-ding on the original length. Thelower the value, the shorter theplayed notes.

Direction sets the direction that is used to play backthe arpeggio. This parameter works in conjunction

toOctave Range

andSort Order

:

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If Up is selected, the note list is played forwardand the octaves are transposed upward. The ar-peggio starts in the original octave and goes upto the highest octave (determined withOctaveRange). Then the arpeggio is repeated.

If Alt Up is selected, the note list is first playedforward and the octaves are transposed upward.After reaching the last note of the note list in thehighest octave to play, the note list is playedbackward and the octaves are transposed

downward down to the first note of the note listin the original octave. Then the arpeggio isrepeated

If Randomis selected, the note list will be play-ed randomly.

If Down is selected, the note list is playedbackward and the octaves are transposeddownward. The arpeggio starts in the highestoctave (determined with Octave Range) andgoes down to the original octave. Then the ar-peggio is repeated.

IfAlt Downis selected, the note list is first play-ed backward and the octaves are transposeddownward. The arpeggio starts in the highestoctave (determined withOctave Range). Afterreaching the first note of the note list in the ori-

ginal octave, the note list is played forward andthe octaves are transposed upward up to the lastnote of the note list in the highest octave toplay. Then the arpeggio is repeated.

If Funnelis selected, the note list will be playedalternately from the highest and the lowest noteof the note list.

With the pop-up menuPattern you can selectone of the internalROM rhythm andaccent patterns.

Timing determines how much thetiming affects an arpeggio step. IfTiming is set to 50%,the arpeggiois played back without any shuffledtiming. Settings from 51% to 95%increase the shuffling of the notes and creates a typi-cal swing.

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Octave Range determines therange of the single notes in octa-ves. When it is set to 0, the notelist will be played back in thesame octave as originally entered. Greater values

mean that the note list is repeated in higher or loweroctaves. The octave in which the arpeggio starts isdetermined by the Directionparameter. If you playnotes that span more than one octave, they are stillkept in the note list and played back before the notelist is transposed.

Reset can set up a limit for theplayed notes. This is useful tocreate inclined measures. Set Re-

set to 8or 16to start an arpeggioat the beginning of a measure.

Tape and System Menu Page (Tape & Sys)

This menu page provides recording facilities as well asthe global settings of Nave.

4-Track Waveform Display diverse functions

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Here you can see and edit your recording events with thecorresponding waveform. The following functions areavailable:

Tap and hold on a recorded event to move it to theright or to the left.

Tap and hold on the left or the right end of an eventfor nearly half a second and move it to shorten theevent or extend it again.

Double tap on an empty track area to open a clipmenu with the following options:

Import from iTunes Folder opens a pop-upwindow with a list of all audio files of your Na-

ve iTunes folder. Select the desired audio file toimport it at the current song position. Import from Sonoma Pasteboardopens the So-

noma clipboard. Select a desired audio file toimport it at the song current position.

Import from Beatmaker Pasteboard opens theclipboard of the Beatmaker App. Select a desi-red audio file to import it at the current songposition.

Double tap on an event to open a clip menu withthe following options:

Duplicatecreates a copy of the current event di-rectly after the existing one.

Split divides an event exactly in the center (ifthe song position pointer doesnt strike theevent) or at the song pointer position (if the song

pointer strikes the event). Emailopens the standard email editor. Here you

can send the actual audio event to a desiredemail adress.

Open in another Appopens a window with allyour iPad Apps that can import and play audiodata. The corresponding App will start after tap-ping.

Copy to Sonoma Pasteboard opens a windowfor copying the audio event to the Sonoma clip-board. If wished, you can enter a name for thefile. Tap on Copy Audioand confirm with Do-ne. Now you can open the audio file with a So-noma compatible App.

Copy to Beatmaker Pasteboardopens a windowfor copying the audio event to the internal clip-board of the Beatmaker App (if installed).

Save to iTunes folder saves the current audioevent to your iTunes Folder.

Delete deletes the current audio file irrecover-able.

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The timeline ruler offers additional settings:

Tap onto the ruler to move the song position pointerto this position. Alternatively you can directly tap onthe pointer in the timeline ruler and move it to thedesired position.

Use two fingers to stretch the timeline ruler horizon-tally.

Tap on an empty track area and move your finger tothe left or the right to scroll through the song.

If the Loop is activated, it will be displayed in thetimeline ruler. Tap on the left loop marker and moveit to change. Same is for the right loop marker. Tapon the center of the loop to move the complete loopto the left or to the right.

Double tap in the timeline ruler to open a clip menuwith the following options:

Secondsswitches the ruler display to seconds. Beatsswitches the ruler display to seconds.

Snap ON/ OFF activates/ deactivates the auto-matic positioning of events, loop markers andthe song position pointer.

Tracks Mix 1-4 + Synth Vol diverse functions

Here you can make settings for all four tracks:

Volume (above the Pan knobs) opens a fader tochange the volume of the corresponding track.

Pan changes the panning for the correspondingtrack.

Synth Vol opens a fader to change the overall vo-lume of Nave.

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Click diverse functions

Nave offers controls to activate and configure the metro-nome click:

Click Active activates or deactivates the metronomeclick.

Tempo determines the metronome click tempo inBPM (beats per minute) form 40 up to 320 BPM.

Tape only If activated, the metronome click willonly hearable, when record is activated in the TapeControlsection.

Pre Roll 1 beat...8 beats

Select a desired preroll value so that your recording startsaccordingly to that value. To get a preroll of 2 bars, sel-

ect 8 beats.

Tape Controls diverse functions

The tape simulation of Nave offers 4-track audiorecording and playback.

The following parameters are available:

Record Arm activates the recording mode for thecorresponding track. Tap on the desired track but-ton. An activated track is lit red. You can only arm

one track at time.

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Tap on Record to start recording. Tap this buttonagain to stop recording.

Tap on Stop to end recording or playback. If youtap again on Stop, you can set the song position

pointer to the left loop marker (if Loop is activated)or tot he song start.

Tap on Playto start playback. Tap this button againto stop playback.

Tap on Loopto activate the loop function. The looparea will be displayed in the time line ruler.

Tap on Solo to solo the track that is selected withRecord Arm.

You can additionally save and load audio files by usingthe Save & Load Filesfunction.

Tap on it to open menu with the following options:

New creates a new empty project and deletes theexisting one irreversibly. You have to confirm this

process. Loadloads an existing project. Savesaves the current project. You can also enter a

desired name.

Rename opens the input keyboard to rename theactual selected project.

Duplicate creates a copy of the current selectedproject.

Deletedeletes the current selected project.

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Mixdown creates a stereo WAV file of the currentproject and saves it into your iTunes Folder.

Master Tune 414 Hz...466 Hz

Controls the Naves overall pitch in Hertz.The value specified here is the referencepitch for MIDI note A3. The default setting is440Hz, which is commonly used by mostinstruments.

Transpose -12...off...+12

Allows a global pitch transposition for thetone generator. Incoming MIDI notes are

shifted by the number of semitones.

Background Audio On / Off

If activated, Nave reacts on incoming MIDIdata when the App is in background. UseBackground Audiowhen you want to workwith another App while Nave should keep on

playing. Keep in mind: Running idle in back-ground still consumes CPU and batterypower. So, if you dont need it, switch it off.

MIDI diverse functions

The MIDI section offers functions regardingthe MIDI controls of Nave.

DEV opens a window for checkingconnected MIDI devices. Here you canset up for each device, if MIDI notes (IN:Notes) or MIDI clock (IN: Clock) is sentto Nave. You can also set up, if MIDI da-ta (notes, Pitch bend data und ModWheel data) is sent from Nave to the device (OUT:Notes). Tap on the corresponding entry in the co-lumn (ON / -) to activate or deactivate it. Tap onChannelin the right bottom of the window to chan-

ge the MIDI receive channel (Omni, 1-16). Tap onOKto close the window.

The DEV window displays automatically newconnected MIDI devices.

MAP opens a window to check assigned MIDI con-trollers to the Nave parameters. Tap on a parameterin the list and use Delete to delete the controllerassignment. Restore Defaultswill set up the default

MIDI controller assignment again.Tap on OKto clo-se the window.

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Wist

WIST (Wireless Sync-Start Technology)allows wireless sync-start between twoWIST-compatible apps on two iPads

and/ or iPhones located near eachother. Therefore, Bluetooth must beactivated on both devices.

For more information abouth the WIST technology andcompatible Apps please tap on the "i" button

Nave is also compatible to AudioBus technology.It runs as "Input" position. If you want to knowmore about this technology, please visit:

www.audiob.us

Informations Button (?) diverse options

Tap on the question mark button to open awindow with additional options:

About opens a window with informa-tion about Nave and the current versi-on number. Tap this window again toclose it.

Manual opens a website with the actual Nave ma-

nual in english and german. You can select betweena regular or a high resolution version. To go back toNave you have to call up the Nave App again.

Email Support the standard email editor with apredefined support email. Here you can addressyour issue and send it directly to the Waldorf sup-port eamil adress.

Videos opens the Youtube channel of WaldorfMusic. To go back to Nave you have to call up theNave App again.

Newsletter opens a website where you can sign upfor the Waldorf newsletter. To go back to Nave youhave to call up the Nave App again.

Waldorf Logo

Tap on the Waldorf logo button to open the website ofWaldorf Music. Here you will find more informationabout our products. To go back to Nave you have to callup the Nave App again.

Sound Synthesis Basics
http://www.audiob.us/http://www.audiob.us/


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Sound Synthesis BasicsWavetable Synthesis in Nave

The sound generation of the wavetables in Nave is basedon wavetable synthesis.

The following overview explains how the WavetableSynthesis works:

A wavetable in Nave is a table consisting of single wave-forms. Each waveform is classified by its own specialsound character. The main difference of wavetable syn-thesis in comparison with other sound generation prin-ciples is the facility not only to play one waveform per

oscillator, but also to walk through the wavetable viadifferent modulations. Therefore you can create wavetab-le sweeps. The results can be dramatic - much more sothan those any sample playback based system could everproduce.

This principle offers powerful capabilities. To give someexamples:

Each note on a keyboard can access a different waveof a wavetable.

The Travel parameter allows a cyclic go through allwaves of a wavetable.

A LFO can modulate the position within the wave-table. You can create subtle to drastic sound changes.

User-selected controllers e.g. the mod wheel, canchange the position within the wavetable. When youturn the wheel while playing a chord, each noteswave will be modified intantly.

You should keep the following sentence in mind:

A wavetable is a list with two or more waves, amongwhich you can move at will.

Modulating Waves over timeThe graphic below shows a wavetable with 60 wavesand some of its contained waves from position 0 to 59 onthe vertical axis.

When you set Waveto 0, Mod Source Free Env-> WavePosition with maximum amount and Free Env Attack tosome medium value, the horizontal axis represents theaudio signal that is generated and the diagonal line in thegraphic shows the attack stage over time.



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As soon as you play a note the envelope moves through

the wavetable positions generating different waveformsover time.

The decay stage would move through these waves in theopposite direction while ultimately holding a certainwave at its sustain stage. When you release the note, theenvelope decays to zero.

Most Wavetables are created so that they start with ahollow wave at position 0 and go through increasinglybrighter waves up to maximum position. This results in abehaviour similar to a low pass filter so that they can becontrolled conveniently by an envelope.

If Attack is 0 and Decay set to a medium value you get apercussive sound, if you turn up attack, you get a softsound start.

You can also use an LFO to modulate the wavetableposition and, depending on the selected LFO Shape, youmight get a wave scanning that goes back and forth (tri-angle), only into one direction followed by a hard resetto the origin (sawtooth up or down) or between only twowaves (square)

Exceeded Waves of a Wavetable

Of course you can combine envelope and keytrack mo-dulations or add other modulation sources. All thesemodulations will be added so that maybe the end or the

beginning of a wavetable could be exceeded. In thiscase, the waves will be repeated cyclic.

Oscillators Introduction

The oscillator is the first building block of a synthesizer.It delivers the signal that is transformed by all other com-ponents of the synthesizer. In the early days of electronicsynthesis, engineers found that most real acoustic instru-ment waveforms can be reproduced by using abstractedelectronic versions of these waveforms. They werent thefirst who came to that conclusion, but they were the first



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in recreating them electronically and building them intoa machine that could be used commercially. What theyimplemented into his synthesizer were the still well-known waveforms sawtooth and square. For sure, this isonly a minimal selection of the endless variety of wave-

forms, but Nave gives you exactly these waveforms athand.

Now, you probably know how these waveforms look andsound, but the following chapter gives you a short intro-duction into the deeper structure of these waveforms.

The Sawtooth Wave

The Sawtooth wave is the most popular synthesizerwaveform. It consists of all harmonics in which the mag-

nitude of each harmonic descends by the factor of itsposition. This means that the first harmonic (the funda-mental) has full magnitude, the second harmonic has halfmagnitude, the third harmonic has a third magnitude andso on. The following picture shows how the individualharmonics build up the sawtooth wave:

Additive components of the Sawtooth wave

The sawtooth wave was thought as an abstraction of the

timbre of string and brass instruments. You can easilyunderstand that when you think of a violin. Imagine a



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bow pulling the string slightly into one direction. At onepoint, the string abruptly comes off the bow and swingsback to its original position. The bow is still moved andso it catches the string again and the procedure is repea-ted. The result is a waveform that looks like a sawtooth.

The same is true for a brass instrument. The string in thiscase are the lips while the bow is the air. The lips aremoved by the air to a certain extent and abruptly moveback to their original position.

The Square Wave

The Square Wave is a pulse waveform with 50% pulsewidth. This means that the positive part of the waveformhas the same length as the negative part. The pulse wave-

form can have other pulse widths as you will read later.For now, well talk about the square wave as a uniquewaveform. The square wave consists of all odd harmo-nics in which the magnitude of each harmonic descendsby the factor of its position. This means that the firstharmonic has full magnitude, the third harmonic has athird magnitude, the fifth harmonic has a fifth magnitudeand so on. The following picture shows how the indivi-dual harmonics build up the pulse wave:

Additive components of the square wave with 50% pulsewidth



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The Pulse Wave

The Pulse wave is the most versatile wave in a classicsynthesizer because its shape and therefore its harmoniccontent can be changed in real time. This is done by

changing the width of the upper and lower portion of thewaveform cycle. These portions are called pulses, hencethe name pulse width. The width of the first pulse is usedto distinguish between different pulse waves and it ismeasured in percent. The following picture shows sever-al pulse waves with different pulse widths:

Additive components of Pulse wave with different pulsewidths

The first fact you can probably observe is that the lowerpart of the wave has a narrower excursion. This is becau-se the energy of the wider pulse is higher than the one ofthe narrower pulse. If this were not compensated, theoverall signal would have an unwanted DC offset.

As you have read in the previous chapter, the harmonic

content of a 50% pulse wave is a special case. It has avery symmetrical harmonic content, while all other pulse


id h k h i f i Filt I t d ti


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widths create peaks or troughs at certain frequencies.Another special case is a pulse wave with a very narrowpulse width, in the above picture labelled as


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Naves filter also features a resonance parameter. Reso-nance in the context of a low, band or high pass filtermeans that a narrow frequency band around the cutoffpoint is emphasized. The following picture shows theeffect of the resonance parameter on the filters fre-quency curve:

If the resonance is raised to a great extent, then the filterwill begin to self-oscillate, i.e. the filter generates anaudible sine wave even when it does not receive anincoming signal.

Appendix


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ppen ixMIDI Controller Numbers

Ctrl# ControlRange Controller/SoundParameter Value Range

1 0127 Mod Wheel 0127

7 0127 SynthVolume 0127

8 0127 SynthPanorama 0127

16 0127 X Pad 0...127

17 0127 Y Pad 0127

18 0127 X Key Pad 1 0127

19 0127 Y Key Pad 1 012720 0127 X Key Pad 2 0127

21 0127 Y Key Pad 2 0127

64 0127 Sustain Pedal 64 = on

120 All Sound Off immediate silence

121 Reset All Control-lers

ResetsModWheel, Sust.Pedal, Pitch Bend

122 Local Control 0: off, 127: on

123 All Notes Off releases all voices

Nave Modulation Sources

Mod Sources Description:

None No modulationLFO1 LFO 1 signal

LFO2 LFO 2 signal

Filter Env Filter Envelope signal

Amp Env Amplifier Envelope signal

Free Env Free Envelope signal

Key Track MIDI note number

Velocity MIDI Velocity

X-Touch Horizontal wiping oft he Touch KeysY-Touch Vertical wiping of the Touch Keys

Random Trig Random Trigger value

X-Pad Horizontal axis of the main pad

Y-Pad Vertical axis of the main pad

Wheel MIDI modulation wheel (contr. #1)

X-Left Pad Horizontal axis of the left pad

Y-Left Pad Vertical axis of the left pad

X-Right Pad Horizontal axis of the right padY-Right Pad Vertical axis of the right pad

Appendix

Nave Modulation Destinations Filter Env Gain Modulation depth Amp Envelope


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Nave Modulation Destinations

Mod Destina-tions

Description:

None No modulation

Volume Main output volumePan Panning

LFO1 Speed Speed of LFO 1

LFO1 Gain Intensity of LFO1

LFO2 Speed Speed of LFO 2

LFO2 Gain Intensity of LFO2

Pitch Global pitch of all Oscillator modules

Wave 1 Pitch Pitch of Wave Oscillator 1

Wave 2 Pitch Pitch of Wave Oscillator 2Osc Pitch Pitch of the Oscillator module

Wave 1 Mix Level of Wave Oscillator 1

Wave 2 Mix Level of Wave Oscillator 2

W1*W2 Mix Level of Ring modulation of WaveOscillator 1 and 2

Osc Mix Level of the Oscillator module

Osc * W1 Mix Level of Ring modulation of Oscillator

module and Wave oscillator 1Amp Env Gain Modulation depth Filter Envelope

Filter Env Gain Modulation depth Amp Envelope

Free Env Gain Modulation depth Free Envelope

Cutoff Cutoff frequency

Resonance Resonance

W1 Position Wavetable position of Wave-Oscillator 1

W1 Travel Wavetable Travel of Wave Oscillator1

W1 Spectrum Wavetable Spektrum of Wave Oscilla-tor 1

W1 Noisy Wavetable Noisy of Wave Oscillator1

W2 Position Wavetable Position of Wave Oscilla-

tor 2W2 Travel Wavetable Travel of Wave Oscillator

2

W2 Spectrum Wavetable Spectrum of Wave Oscilla-tor 2

W2 Noisy Wavetable Noisy of Wave Oscillator2

Pulsewidth Pulsewidth of the Pulse Oscillator

Osc Spread Detune and Spreading of the Oscilla-tor module

Appendix

Nave Wavetable List 038 Pulse Sync 1 060 Male Voice


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Nave Wavetable List

No. Wavetable No. Wavetable

000 Resonant 019 ElectricP

001 Resonant2 020 Robotic

002 MalletSyn 021 StrongHrm003 Square-Sweep 022 Perc Organ

004 Bellish 023 ClipSweep

005 Pulse-Sweep 024 Reso Harms

006 Saw-Sweep 025 2 Echoes

007 MellowSaw 026 Formant 2

008 Feedback 027 Formant Vocal

009 Add Harm 028 Micro Sync

010 Reso 3 HP 029 Micro PWM011 Wind Syn 030 Glassy

012 High Harm 031 Square HP

013 Clipper 032 Micro PWM

014 Organ Syn 033 Glassy

015 SquareSaw 034 Square HP

016 Formant 1 035 Saw Sync 1

017 Polated 036 Saw Sync 2

018 Transient 037 Saw Sync 3

038 Pulse Sync 1 060 Male Voice

039 Pulse Sync 2 061 Low Piano

040 Pulse Sync 3 062 Reso Sweep

041 Sine Sync 1 063 Xmas Bell

042 Sine Sync 2 064 FM Piano043 Sine Sync 3 065 Fat Organ

044 PWM Pulse 066 Vibes

045 PWM Saw 067 Chorus 2

046 PWM Wave 068 True PWM

047 Fuzz Wave 069 Upper Waves

048 Distorted 070 Alt 1

049 Heavy Fuzz 071 Alt 2

050 Fuzz Sync 072 Spectrum #1051 K+Strong 1 073 Spectrum #2

052 K+Strong 2 074 Spectrum #3

053 K+Strong 3 075 Spectrum #4

054 1-2-3-4-5 076 Drumloop

055 19/twenty 077 Buzz

056 Wavetrip 1 078 Guiro

057 Wavetrip 2 079 Crackle

058 Wavetrip 3 080 Wire059 Wavetrip 4 081 Metal

Appendix

082 Wood 085 I am Nave


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082 Wood 085 I am Nave

083 Glass 086 Almost anything

084 Nave Chant

Appendix

Knowledge about the iTunes Folder You can also copy files from your computer to the


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Knowledge about the iTunes Folder

This "Folder" is for exchanging data between an iPad Appand a computer, where the iTunes software is installedand the corresponding iPad is connected to.

This enables you to save data which is produced byNave (Patches, Wave files etc.) to your computer.

To exchange data from Nave to a computer or vice versaplease proceed as follows:

Connect your iPad to your computer and start theiTunes application.

In iTunes, please select the iPad in the devices list inthe left section.

Click the Apps button in the top menu and navigateto File Sharing. Click on the Nave App symbol.

The Documents list on the right area gives you anoverview of all available data from Nave, e.g. savedwavetables (wavetable name.wtb), User Patch Banks(sound bank name.navebank) or audio recordingsfrom the Tape section (recording.wav). These filescan be moved via drag & drop to a desired folder on

your computer. In addition to that you can use the"Save to.. " function at the bottom of the list.

You can also copy files from your computer to theDocuments list, e.g. WAV files for analyzing orsound banks. These files can be moved via drag &drop to the Documents list. In addition to that youcan use the "Add..." function at the bottom of the

list. All data is transfered automatically to your iPadand can be used in Nave.

By the way, data in your iTunes Folder can beeasily renamed by clicking on the correspondingfile in the list and enter a desired name.

Appendix

Glossary Clipping


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G ossa y

AmountDescribes to which extent a modulation influences agiven parameter.

Amplifier

An amplifier is a component that influences the volumelevel of a sound via a control signal. This control signal isoften generated by an envelope or an LFO.

ArpeggiatorAn arpeggiator i