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The Book of MODE - Introduction

The Book of MODE:

The MODE plug-ins are a “main” set of 3 instruments and 2 effects processors, alongwith 18 additional “modules”, that are based on an interesting set of developmentdecisions:

• These are new devices, not emulations. We’ve taken bits and pieces of ourfavorite instruments and effects, mixed them up with some of our ownweirdness, and produced something unique. If you want a Minimoogemulator, you’ve come to the wrong place…

• You will notice that parameters are not provided with numeric displays –rather, knobs are used for settings. This focuses your patch programming on“by ear” techniques rather than “by number”. We’ve found that this leads tointeresting programming choices and better sounding (or at least morepersonal) programs.

• Parameters have been tweaked to provide oddities. In addition to obviousparameters there are a plethora of unusual parameters. Often, parameters areallowed to extend beyond “practical” ranges, opening the door to interestingbreakage.

• The core engines are often combinations of strange processes. Unusualartifacts are encouraged, truth-in-processing is discouraged. As a result, thereare “surprises” to be found in the presets and in your own programming.Experimentation is a crucial part of using the MODE plug-ins.

• Most of the plug-ins provide “performance” enhancement; there are functionsthat bridge the gap between recording and live performance. Arpeggiators,sequencers and feedback are all part of the MODE game. We’ve taken somepains to provide easy-to-use alternatives to the preset nature of mostperformance controls, and hope that you will find them a creative alternativeto the standard sound-of-the-week tools.

• Presets exist for your entertainment and education – not as the totality of theplug-in. The MODE plug-ins are not “sound library plug-ins”, but rather toolsfor interesting programming exploits. We’ve packed the plug-ins with presets,but hope that you will see them as places we have been as users, and places foryou to start your programming journey.

In addition to the 5 main plug-ins, a set of 18 plug-ins (which we call “modules”) areprovided for various purposes. These plug-ins include:


• “Mini” versions of the plug-ins, with reduced feature sets to (again) helppreserve CPU usage.

• “Split out” effects culled from the instrument plug-ins.

• Pluggo-style modulator plug-ins created from the performance controls of themain plug-ins.

Since each of the bonus modules maintain the unique sound and parameter handlingof the original plug-ins, they can provide interesting effects and modulations outsidethe use of the main plug-ins. Also, the modules have their own presets (typically notbased on their parent processor’s presets), and are inspiring on their own.

The MODE plug-in set, as with the original Pluggo package, contains most of theattributes of a modular synthesizer, secretly packaged as a set of plug-ins. You havesound generators (synthesizer plug-ins), filters (the various effects plug-ins) andmodulators (Pluggo’s unique modulator plug-ins). As a result, the use of smallermodules in interesting combinations can exceed the capabilities of an single“monolithic” synthesizer, and is the basis for some of the most interesting audiocreation.


The MODE plug-ins were developed by:

Darwin Grosse (Cycling ’74)Chris Randall (Sister Machine Gun)

Additional programming, assistance and inspiration provided by David Zicarelli,Gregory Taylor and Adam Schabtach.

MODE.BANG – Overview

MODE.BANG – Tuned Percussion Synth

MODE.BANG is a “tuned percussion synthesizer”: a synthesizer that will respond to theMIDI note by changing pitch, even though it is oriented toward percussive sounds.This synthesizer includes three engines – an analog-styled engine, FM percussionsynth and simple sample player.

The concept behind this device is fairly simple – given a number of different soundsource, you should be able to create a wide range of front line percussion sounds.MODE.BANG is also unique among the current generation of percussion systems. Itonly does one sound, and it doesn’t have a built-in sequencer. The focus is to create asingle sound that can accent percussion lines created by other, more generalizedpercussion modules and loop playback tracks.

MODE.BANG – Overview

The presets range from howling in-your-face hits to more subtle backgroundambience. However, in every case, you will find that you are able to create sounds thatjust aren’t available elsewhere…

MODE.BANG – Controls and Parameters (Sample Playback Voice)

Controls and Parameters:

Sample Playback Voice Controls

The left-most (and most obvious) section of the MODE.BANG programming system isthe sample-playback engine. This allows you to use one of our standard waveforms tocreate a standard percussion sound. However, since you have a wide range of pitchand bit-reduction settings (as well as a complex DADSR amp envelope), a basic soundcan be warped into a wide variety of percussive sounds.

Active When switched “on”, the sample playback voice is active, andwill receive (and respond to) MIDI notes routed to MODE.BANG.

Values: On/OffMIDI Controller: 12

Sample Selection This selects one of the sample from the provide sample set.These samples are found in the “bang.forms” folder inside theMODE_library subfolder.

Programming Hint:The sample is selected by its “location” within this folder. If youwant to add files to this list, make sure that there is not a space atthe front of the name; this is reserved for provided samples.

Amp Envelope A DADSR envelope that controls the amplitude of the sampleplayback voice’s output. Each “time” step (A and R) ranges from0-1500 milliseconds.

Values: 0-1500 ms per stage

Programming Hint:The initial “delay” setting of the envelope delays the entire noteplayback by the sampling engine. This is useful for making“sequences” of offset notes, as seen in the presets with a seq: prefix.

Tune The “base frequency” of the sample playback, this has the mostobvious affect on the sound of the voice. The base pitch iscombined with the MIDI note used to trigger the model, so it isimportant to be sensible about the ranges selected – if you aplaying high notes, a lower pitch might be appropriate.However, if you are using lower notes (like the first octave ofthe GM drum specification), you will find higher pitches to bemore useful.


Values: 10 – 400% playback speedMIDI Controller: 13

Fine Tune Used to fine tune the sample playback frequency.

Values: -10 to +10% playback speedMIDI Controller: 14

Bits This will reduce the number of bits used to play back thesample. It varies from 1 to 24 bits, and will greatly affect theoutput of the sample. Very low bit levels will produceextremely gritty (and loud) output.

Values: 1-24 bitsMIDI Controller: 15

Programming Hint:A low bit setting will greatly increase the perceived volume, andwill make everything “crunchier”. However, it will also increase thebase noise level as well, so use caution when using very lowsettings.

V-P The amount that velocity will affect the playback speed (pitch)of the sampling playback module. This can be used forinteresting velocity-controlled pitch modulation.

Values: 0-100%

V-A The amount that velocity will affect the output level of thesampling module. This is used to add velocity sensitivity to thesample sound.

Values: 0-100%

Send The amount of the signal that is sent to the Stereo Delaymodule.

Values: 0-100%

Level The output level of the sample playback engine.

Values: 0-100%MIDI Controller: 16

Pan The output pan position of the sample playback voice.


Values: Left-Center-Right pan positionMIDI Controller: 17

Programming Hint:Setting a different pan position for each of the playback engineswill allow you to create a wide stereo field, which can open up thepercussion sound in a pleasant way.

MODE.BANG – Controls and Parameters (FM Voice)

FM Voice Controls

The center engine is an oddity; it uses FM techniques to create interesting alternativepercussion sounds. This is a basic 2-op FM engine that can be used to create belltones, metallic ringing percussion and warbling pure-tones.

Active When switched “on”, the FM voice is active, and will receive(and respond to) MIDI notes routed to MODE.BANG.


Amp Envelope A DADSR envelope that controls the amplitude of the FMvoice’s output. Each “time” step (D, A, D and R) ranges from 0-1500 milliseconds.

Values: 0-1500 ms per stage

Mod Envelope A DADSR envelope that can be used to modulate variouscontrols in the FM module (see “env” controls below).

Values: 0-1500 ms per time stage.

Programming Hint:This envelope is completely separate from the amp envelope. Ifyou have a delay stage setting in the amp envelope, you may wantto set a similar setting on the modulation envelope – otherwise,you may not hear the result of the envelope (since it will run duringthe delay time of the amp envelope).

Carrier Pitch This is the base frequency of the voice, subject to “alteration” bythe modulator oscillator. The base pitch is combined with theMIDI note used to trigger the model, so it is important to besensible about the ranges selected – if you a playing high notes,a lower pitch might be appropriate. However, if you are usinglower notes (like the first octave of the GM drum specification),you will find higher pitches to be more useful.

Values: 20-12000 HzMIDI Controller: 19

Carrier Waveform Unlike more basic FM implementations, the MODE.BANG FMengine allows you to use various waveforms for the carrier. Youselect a waveform by clicking on the waveform, then draggingupward (or downward).


Values: sine, triangle, saw, square, noise

Carrier FM This is the amount of frequency modulation that the modulatorwill have on the carrier. This is what adds the “grit” to the FMvoice, and is used, to some degree, on all of the FM-basedpresets included with MODE.MONO.


Carrier P ENV The amount of carrier pitch modulation provided by the modenvelope. This allows you to create pitch sweeps and chirpswithout having to use the modulator.

Values: 0-100%

Modulator Pitch This determines the pitch of the modulation oscillator. This, incombination with the C/M control, determines the amount ofFM applied on the carrier.


ModulatorWaveform

The waveform of the modulation oscillator. You select awaveform by clicking on the waveform, then dragging upward(or downward).

Values: sine, triangle, saw, square, noise

Programming Hint:At higher frequencies, all of the waveforms (other than noise) tendto sound the same. However, at low frequencies, the waveformsgive vastly different LFO-type characteristics.

Modulator A ENV Modulator Amplitude Modulation. This determines the amountof amplitude modulation from the mod envelope. This is usefulin creating an interesting time-domain FM sound, and is theequivalent of using the mod envelope to automate the carrierFM setting.

Values: 0-100%

Modulator P ENV Modulator Pitch Modulation. This allows you to modulate thepitch of the modulator. This can have a wide variety of effects,from something similar to filter sweeps, or changes of thegrittiness of the FM engine.


Values: 0-100%

Modulator MTRK MIDI tracking of the Modulator pitch. If this is depressed, themodulator will track the MIDI pitch. If not, it will remain fixed.

Values: on/off

Programming Hint:If you are using the modulator for LFO-like effects, you will wantthe MIDI tracking off. However, for bell-like and buzzingmodulations, MIDI tracking can be useful.

Vel-P Determines the amount that note velocity will alter the outputpitch of the FM engine.

Values: 0-100%

Vel-A The amount that note velocity will alter the output amplitudeof the FM engine. This provides typical velocity sensitivity tothis sound.

Values: 0-100%

Level The overall output level of the FM voice.


Pan The output pan position of the FM voice.


Send The amount of the FM engine signal that is sent to the StereoDelay module.

Values: 0-100%

MODE.BANG – Controls and Parameters (Analog Voice)

Analog Voice Controls

The analog engine provides classic analog-style programming of percussion sounds.With a separate modulation envelope (that can be inverted), modulated pitch andfilter setting and velocity sensitivity, the analog engine is great for emulating a widevariety of classic drum voices.

Active When switched “on”, the analog-style engine is active, and willreceive (and respond to) MIDI notes routed to MODE.BANG.


Amp Envelope A DADSR envelope that controls the amplitude of the analogengine’s output. Each “time” step (A, D and R) ranges from 0-1500 milliseconds.

Values: 0-1500 ms per time stage

Mod Envelope A DADSR envelope that can be used to modulate variouscontrols in the analog module (see “env” controls below).

Values: 0-1500 ms per time stage.

Programming Hint:This envelope is completely separate from the amp envelope. Ifyou have a delay stage setting in the amp envelope, you may wantto set a similar setting on the modulation envelope – otherwise,you may not hear the result of the envelope (since it will run duringthe delay time of the amp envelope).

Oscillator Pitch The “base frequency” of the analog module’s oscillator, this hasthe most obvious affect on the sound of the model. The basepitch is combined with the MIDI note used to trigger the model,so it is important to be sensible about the ranges selected – ifyou a playing high notes, a lower pitch might be appropriate.However, if you are using lower notes (like the first octave ofthe GM drum specification), you will find higher pitches to bemore useful.

Values: 0-127MIDI Controller: 26

OscillatorWaveform

The oscillator waveform used for the analog engine. Note:These are actually sampled waveforms, and may exhibit aliasingat high frequencies.


Values: Sine, Triangle, Saw, Square, RandomMIDI Controller: 27

Mod Amt The amount of pitch modulation applied by the mod envelope.

Values: 0-100 %MIDI Controller: 28

V-P The amount of pitch change created as a result of incomingnote velocity.

Values: 0-100%

M-INV When depressed, this button will cause the modulationenvelope to be inverted. This is a typical analog-stylemodulation control used to create swooping downward-running filter and pitch changes.

Values: on/off

V-A The amount of amplitude change created by incoming notevelocity. This provides standard “velocity sensitivity” to theanalog engine.

Values: 0-100%

Filter Cutoff The cutoff frequency of the analog-modeled lowpass filter ofthe analog voice.


Filter Q The resonance of the analog-modeled filter. This determine anamplitude “bump” just before the cutoff frequency of the filter,and helps make the filter sound more “peaked”.


Filter ModAmount

The amount of filter cutoff modulation provided by the modenvelope. This is one of the primary characteristics of analog-style percussion synthesis, and is especially useful with themore complex waveforms (including the noise waveform).

Values: 0-100%


Programming Hint:For some classic analog-style programming, use the filtermodulation with an inverted mod envelope for an initial “thump”with a rising release sound. There is a lot of synthesis that can bedone here…

Output Level The output level of the analog voice.


Output Pan The output pan position of the analog voice.


Send The amount of the analog engine signal that is sent to theStereo Delay module.

Values: 0-100%

MODE.BANG – Controls and Parameters (Master Output)

Master Output Controls

The Master Output system controls both the timbre effects and output level/positionof the entire module. This is the “last resort” for changes to the sound of MODE.BANG.

Filter On/Off Switches the master filter on or off.

Values: on/offMIDI Controller: 42

Filter Frequency The cutoff frequency of the master filter.


Filter Q The resonance of the master filter.


Filter Type The type of filter used as the master filter.

Values: Lowpass, Bandpass, Highpass

Overdrive On/Off Switches the master distortion/overdrive unit on or off.


Overdrive Drive The amount of overdrive applied to the master (pre-delay)signal.


Level The output level of MODE.BANG


Pan The master pan position of MODE.BANG.


MODE.BANG – Controls and Parameters (Stereo Delay)

Stereo Delay Controls

The digital delay takes audio from the “send” controls on each module and routesthem through a stereo delay. This is a stereo unit, allowing the stereo positioning ofall voices to be maintained within the delay. With a deep modulation system anduseful delay time range, you can create anything from a buzzing resonance to warpedmodulated echo.

Active If switched on, the digital delay is active, and will be mixed intothe overall output of MODE.BANG.


Input Level Provides input attenuation and amplification of the sent signal.This is useful if your programming is either overdriving orunder-loading the delay.

Values: 0%-200%

Coarse Time The overall time of the digital delay line. This varies from 5-300ms, and determines the repeat rate of the delay.

Values: 5-300 msMIDI Controller: 35

Fine Time A fine tuning control for the delay time – used to tightly controlthe delay time.

Values: -10 to +10 msMIDI Controller: 36

Modulation Rate If you want to modulate the delay time, you can use themodulation system to do so. This will create warbling andchorus effects, based on the delay time and modulation depthsettings. This control determine how quickly the modulationsystem oscillates.

Values: .1-20 HzMIDI Controller: 37

ModulationDepth

When modulating the delay line, this determine how much themodulation will affect the delay time.


MODE.BANG – Controls and Parameters (Stereo Delay)

Feedback The amount of feedback in the delay circuit. This will determinethe number of “echoes” produced by the delay.


Programming Hint:Short delay times combined with high feedback settings will causesome interesting “ring modulation”-type effects. The frequency ofthe resonation is based on the delay time, so playing with the FineTime control can affect the tone.

Level The output level of the digital delay line.


MODE.BANG – Example Presets

MODE.BANG Presets:

1. kick: Purdy 44. cym: Reversing 87. efx: Bullfrog2. kick: LoHi 45. cym: Breaker 88. efx: Concern3. kick: Fluffer 46. cym: Fly Ride 89. efx: FreePout4. kick: Franklin 47. cym: Mickey 90. efx: Theft5. kick: Tollis 48. cym: Ring Rez 91. efx: What Happened?6. kick: Droopy 49. cym: Sharpener 92. efx: Mad Crick7. kick: Shut Door 50. cym: Flash Ride 93. efx: Crapal.8. kick: Destroyer 51. prc: Tonga Tap 94. efx: In Search Of9. kick: HauBlob 52. prc: FM Bong 95. efx: Rubber Duckie10. kick: Bickler 53. prc: Multi Tymp 96. efx: FeeOop11. snr: Cool Skool 54. prc: Nice Belly 97. efx: Buzzcock12. snr: BoingHaa! 55. prc: Bang & Squeeze 98. efx: Spacial13. snr: Crispies 56. prc: Two-way Bell 99. efx: Condi14. snr: Snapple 57. prc: Honest El 100. efx: Fried Circuit15. snr: Stridant 58. prc: PopKnife 101. efx: Search Party16. snr: Trout 59. prc: VP MiniGong 102. efx: Jetson Ride17. snr: Tite Electro 60. prc: Unknown 103. efx: Open Call18. snr: Holy Ammers 61. prc: Twinger 104. efx: Unexplained19. snr: Weak Knees 62. prc: HoloCore 105. efx: Dog Bone20. snr: Quick Halt 63. prc: Dormer 106. efx: Wheeze Rub21. hat: Open Face 64. prc: Sly Shaker 107. efx: Anglophobe22. hat: Floppy 65. prc: Gorke 108. efx: Cricketz23. hat: Squeaky 66. prc: VibraFrill 109. efx: Crass Crash24. hat: Tweegie 67. prc: Resonant Evil 110. efx: Whosit?25. hat: Choked 68. prc: Tippy Snap 111. seq: Kick +26. hat: Two Piece 69. prc: Open Back 112. seq: BinkHop27. hat: Smooth Tool 70. prc: Finger Ping 113. seq: Wakeup28. hat: Huffer 71. prc: Roller 114. seq: Ping & Wally29. hat: Snicker 72. prc: Open Toe 115. seq: Flow & Ebb30. hat: Honker 73. prc: Tingle Con 116. seq: Hit & Run31. tom: Classic Etom 74. prc: LoFi Rye 117. seq: Slack Queue32. tom: Tooter 75. prc: Bell Cloak 118. seq: 1Sec App33. tom: Dorque 76. prc: Hempell 119. seq: Swirl and Bink34. tom: Pointed 77. prc: LogRhythm 120. seq: Ting-a-ling35. tom: Fin Your Pace 78. prc: Just Doot 121. seq: Tonk Whir36. tom: Display 79. prc: Monty Clop 122. seq: Ping Pong37. tom: Filial 80. prc: Tite Tri 123. seq: Radioactive38. tom: Low Blow 81. efx: Cutie Pie 124. seq: Fake Delay39. tom: Buzza 82. efx: Diff Strokes 125. seq: Granting40. tom: Ticker Tape 83. efx: Old Star Trek 126. seq: Speelunk41. cym: Dilly Bar 84. efx: Cruz Ctrl 127. seq: VP Funny42. cym: Dualie 85. efx: ShuttleCock 128. seq: Beck and Call

MODE.BANG – Example Presets

43. cym: Belle Aire 86. efx: Sharpener

Preset Notes:

In order to hear the sound as it was designed, hit the preset at C4 (MIDI Note number64). That doesn’t mean you can’t use other notes – in fact, notes outside the givenrange probably will sound great (or different)!

Presets have a prefix denoting the “type” of sound created. The prefaces are:kick: Kick drumsnr: Snare drumhat: Hi-hattom: Tom-tomcym: Cymbalprc: Percussion or ethnic soundefx: Electronic sound effectsseq: Sequenced sounds (using the delay and mod envelope settings)

MODE.BANG-ANA – Overview

MODE.BANG-ANA – Analog Percussion Module

MODE.BANG-ANA is the analog engine from MODE.BANG, implemented as a stand-alone plug-in for more efficient analog percussion sound creation. It is an instrument,and receives MIDI notes for input. The available controls and MIDI Controller valuesare virtually the same as the MODE.BANG analog model settings, except that theenvelopes are only ADSR (rather than DADSR).

MODE.BANG-ANA Presets:

1. kick: Classic 28. snr: Rev-ittle 55. tom: Torque2. kick: Drop Kick 29. snr: 55 Doop 56. tom: Casio MT3. kick: Blur 30. snr: Long Brush 57. tom: Tinger4. kick: Bully 31. snr: Junkyard 58. tom: Floorish5. kick: Conehead 32. snr: hey Mr. 59. tom: Snow March6. kick: Bonehead 33. hat: Classic CH 60. tom: Wash Away7. kick: Stuffed 34. hat: Classic OH 61. cym: Classic Bell8. kick: Pork 35. hat: Garbage CL 62. cym: Quacker9. kick: Sub Test 36. hat: Garbage OH 63. cym: Space Crash10. kick: Lil Bear 37. hat: Casio CH 64. cym: Whiper

MODE.BANG-ANA – Overview

11. kick: Rattler 38. hat: Casio OH 65. cym: Oldie12. kick:Vowel 39. hat: X-Eyes CH 66. prc: Little Bell13. kick: Not Humble 40. hat: X-Eyes OH 67. prc: 808 Conga14. kick: Log Dog 41. hat: Peaked CH 68. prc: 78 Tamb15. kick: Just Head 42. hat: Peaked OH 69. prc: 808 Clave16. kick: Thunder 43. hat: Ad In CH 70. prc: Wiggler17. snr: Classic 44. hat: Ad In OH 71. sfx: Homer18. snr: Hoop 45. hat: Windmill CH 72. sfx: Alarm!19. snr: Stickie 46. hat: Windmill OH 73. sfx: Sweelie20. snr: Bette 47. hat: Whistler CH 74. sfx: Warning!21. snr: Backin Fort 48. hat: Whistler OH 75. sfx: Tubalara22. snr: Homebrew 49. tom: Think Twice 76. sfx: Floop23. snr: Too Long 50. tom: Hop Scotch 77. sfx: Ploob24. snr: Q Logic 51. tom: Lower 78. sfx: Chz Bass 125. snr: Tooie 52. tom: Humper 79. sfx: Chz Bass 226. snr: WashAway 53. tom: Garbage 80. sfx: Two Tone27. snr: Spittle 54. tom: Trashy

Presets have a prefix denoting the “type” of sound created. The prefaces are:kick: Kick drumsnr: Snare drumhat: Hi-hattom: Tom-tomcym: Cymbalprc: Percussion or ethnic soundsfx: Electronic sound effects

MODE.BANG-FM – Overview

MODE.BANG-FM – FM Percussion Module

MODE.BANG-FM is the FM percussion voice from MODE.BANG, extracted into its ownmodule to provide for more efficient FM use. It is an instrument, and uses MIDI notesto generate sound.

The available controls and MIDI Controller values are the same as the MODE.BANG FMengine settings, except that the envelopes are ADSR (instead of DADSR).

MODE.BANG-FM Presets:

1. kick: FM Bass 44. prc: Twinge 87. efx: VP Zingers2. kick: Rough House 45. prc: Snooty 88. efx: Doozy3. kick: Fem Bas 46. prc: Onset 89. efx: Foldback4. Kick: Flop Bass 47. prc: Skittle 90. efx: Hooters5. kick: Stump Spiel 48. prc: Lip Gloss 91. efx: City Buss6. kick: Rattler 49. prc: mini-Bar 92. efx: Toad Pond7. kick: No Hold Bar 50. prc: Stop It! 93. efx: Salute8. kick: Finn 51. prc: Pound Stakes 94. efx: Maalox9. kick: Top Secret 52. prc: Klittle 95. efx: FlyBy10. snr: Spring 53. prc: Bow Cell 96. efx: Space Signal11. snr: Ziff 54. prc: Ashamed 97. efx: Transport12. snr: Unfortunate 55. prc: Flag Pole 98. efx: Aware13. snr: Slather 56. prc: Another Run 99. efx: F Drummer

MODE.BANG-FM – Overview

14. snr: Fuller Man 57. prc: Tittilate 100. efx: Space Case15. snr: Continent 58. prc: Pay Attention 101. efx: Whooo16. tom: Lite Touch 59. prc: Geezer 102. efx: Nintendo17. tom: Toote 60. prc: Slider 103. efx: Run-up18. tom: Blimpie 61. prc: Tangy 104. efx: Sloopie19. tom: Flautas 62. prc: Direction 105. efx: VP Coin-op20. tom: Kid Fits 63. prc: Angels 106. efx: Hystersis21. tom: Clonk 64. prc: Choker 107. efx: Converge22. tom: Bombo 65. prc: Conan 108. efx: Abruption23. tom: Toll Em 66. prc: Classic FM 109. efx: Huffy24. tom: Hoofa 67. prc: Go Nogo 110. efx: Deoot25. tom: Swollen 68. prc: Rev Kev 111. efx: Holier26. tom: Trang 69. efx: Rel Behavior 112. efx: Brain Warp27. cym: Bad Ride 70. efx: Ideal 113. efx: hold to Know28. cym: Zin Fabor 71. efx: Wastrile 114. efx: Zoop29. cym Sliff 72. efx: Silly String 115. efx: Willies30. prc: Da Blog 73. efx: Careful… 116. efx: Cameroon31. prc: Tweak 74. efx: Re-enact 117. efx: Fling It32. prc: Glaxo 75. efx: Low-fi Cold 118. efx: Coot33. prc: Harken 76. efx: Child-like 119. efx: On The Line34. prc: Galloping 77. efx: Duck Duck Goose 120. efx: Tummy35. prc: Bingke 78. efx: Pig Sty 121. efx: TweeDle36. prc: oneGoGo 79. efx: Kankle 122. efx: Looting37. prc: Typicali 80. efx: Sneeze 123. efx: Pigeon38. prc: Crop Top 81. efx: Back Throat 124. efx: Bad Beef39. prc: OnceOver 82. efx: Altoona 125. efx: Flare40. prc: Jack! 83. efx: Old Star Trek 126. efx: Fwoop41. prc: Tip Up 84. efx: Parakeet 127. efx: Deeply Held42. prc: 808 Thingie 85. efx: Airy 128. efx: Game Over43. prc: TwoBing 86. efx: KaZap

Presets have a prefix denoting the “type” of sound created. The prefaces are:kick: Kick drumsnr: Snare drumtom: Tom-tomcym: Cymbalprc: Percussion or ethnic soundefx: Electronic sound effects

Of course, FM percussion synthesis is most often known for its “effect-like” quality, sothese categories should be taken with a grain of salt. To a certain extent, all of thesounds could be considered sound effects…

MODE.BANG-SAMP – Overview

MODE.BANG-SAMP – Sample-based Percussion Module

MODE.BANG-SAMP is the sample playback engine from MODE.BANG. It allows simplepercussive playback of samples located in the sample storage area. MODE.BANG-SAMP is an instrument, and takes MIDI notes for playback. Pitch is tracked, andvelocity can be used to control both pitch and amplitude.

The available controls and MIDI Controller values are the same as the MODE.BANGsample playback settings.

MODE.BANG-SAMP Presets:

1. kick: Simmons 44. tom: RX-5 FM 87. prc: CR-78 Pop2. kick: Big Synth 45. tom: VP RotoTom 88. prc: Flicker3. kick: R8 Tech 46. tom: Blok 89. prc: Tiffie4. kick: Hash 47. tom: Floppy 90. prc: VP Bongo5. kick: Casino 48. tom: Hash 91. oth: R8 Rap6. kick: Sluggo 49. tom: Kzak 92. oth: RX-5 hey7. kick: Gut Shot 50. tom: Low Blow 93. oth: XR Skwank8. kick: Clean Me 51. tom: Clicker 94. oth: XR Lo Skw9. kick: Blaster 52. cym: Jam Ride 95. oth: Konka10. kick: Roomy 53. cym: DDD1 Cym 96. oth: Dual11. kick: Skeel 54. cym: Light Amb 97. oth: Rub Ducky12. kick: Two Time 55. cym: Crash 1 98. oth: Swatchy13. kick: Eye Poke 56. cym: Crash 2 99. oth: Bleek14. kick: Dweezil 57. cym: Crash 3 100. oth: Scratchy15. kick: Mover 58. cym: Short Bkwd 101. oth: Crustily16. kick: Bit Kick 59. cym: Short Ride 102. oth: Snuggle17. kick: Belgian 60. cym: Short T 103. oth: Holler Pile

MODE.BANG-SAMP – Overview

18. kick: Cattle 61. cym: Hostle 104. oth: Loud Guy19. kick: Taught 62. cym: Ending 105. oth: Heezaw20. kick: XWave 63. prc: Cow Pan 106. oth: Dirty Rap21. kick: Target 64. prc: Talking Drum 107. oth: The Pinch22. snr: Ambient 65. prc: Eth Hit 1 108. oth: Fla Ha23. snr: Straight 66. prc: Eth Hit 2 109. oth: Zeal24. snr: CR-78 Snare 67. prc: Eth Hit 3 110. oth: Foggy25. snr: Gated 68. prc: Vel Surdo 111. oth: Caster26. snr: Simmons 69. prc: Tamborim 112. oth: Cool Too27. snr: Sim Cpl 70. prc: Vel Timpani 113. oth: Kookla28. snr: 909 Std 71. prc: Vibraslap 114. oth: Thunk 129. snr: Smarsh 72. prc: CR-78 Tamb 115. oth: Bit Till30. snr: Tight Pitched 73. prc: 55 Conga 116. oth: Nice Pluck31. snr: Sniffle 74. prc: Finger Snaps 117. oth: Deep C32. snr: Bit Snare 75. prc: Sticks 118. oth: Anvil33. snr: Fat Boy 76. prc: R8 Gong 119. oth: Bit Stream34. snr: H-Right 77. prc: 30 Tube 120. oth: VP Dazed35. snr: Whisproid 78. prc: Click 1 121. oth: FM Howl36. snr: Bit Buzzer 79. prc: Click 2 122. oth: Clobber37. snr: Harsh 80. prc: Amb Low 123. oth: Very Slo38. hat: CR-78 Hat 81. prc: Tonal 124. oth: VP Rapper39. hat: VP Clean 82. prc: Shaker 125. oth: VP Gutter40. hat: Ruffle hat 83. prc: Fat Tube 126. oth: VP Well41. tom: RX-5 84. prc: VP Surdo 127. oth: VP Vinyl42. tom: SP-12 El 85. prc: Wood Block 128. oth: Explode43. tom: RotoTom 86. prc: CR-78 Metal

Presets have a prefix denoting the “type” of sound created. The prefaces are:kick: Kick drumsnr: Snare drumhat: Hi-hattom: Tom-tomcym: Cymbalprc: Percussion or ethnic soundoth: “Other” sound, typically an electronic effect

MODE.BANG-DELAY – Overview

MODE.BANG-DELAY – A Stereo Delay Module

MODE.BANG-DELAY is the delay line from MODE.BANG, but as a stand-alone delayline. The MODE.BANG-DELAY modulation system includes a stepped waveform formodulation, providing interesting modulation effects not typically found inmodulated delay or chorus effects, and well as a bright, rattle-y sound.

The available controls are the same as the MODE.BANG delay settings.

MODE.BANG-DELAY Presets:

1. Kinda Chorus 5. Sweet Buzz 9. Drum Thickener 13. Guitar God2. Moving Rez 6. Feed Backer 10. Slow Backbeat 14. Talk Some More3. Big Room 7. Roust About 11. Touch of Frost 15. One Long Room4. Dubl Ya 8. Von Horst 12. Drunken Sailor 16. Ghost Voice

MODE.BANG-DELAY – Overview

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MODE.BANG-FILTDIST – A Filter/Distortion Effects Module

MODE.BANG-FILTDIST is the master section of MODE.BANG, split out into its own plug-in. It provides a multi-band filter and warm overdrive circuit.

It also has another, less obvious use. Often, you would like to have Pluggo modulatorcontrol over the level and pan position of a track. There isn’t a Pluggo specifically setup to do that, but MODE.BANG-FILTDIST provides that option. If you turn the filter andoverdrive sections off, they will consume no CPU power. Now, you have a plug-in thatis providing only volume and pan control.

The available controls are the same as the MODE.BANG master output settings.

MODE.BANG-FILTDIST Presets:

1. No FX 5. Ultra OD2. Hit Freq 6. Search Sonar3. Just Tops 7. Warm Ones4. In Too Deep 8. Classic Wah-wah

MODE.MONO – Overview

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MODE.MONO – Monophonic FM Performance Synth

MODE.MONO is a monosynth with a unique heritage – it uses FM synthesis for itsoscillators, and includes a number of interesting effects to tune the resulting “hard” sound.The oscillators use a unique FM algorithm, featuring extensive envelope control, heavilyaliased waveforms and feedback systems for a sonic depth not typically found in FMsynthesis.

One of those mini-key FM keyboards was the inspiration for this synthesizer. Its most-used algorithm was a pair of 2-op oscillators running in parallel. We greatly expandedboth the oscillator programming system and the back-end effects system. The“distortion designer” allows you to design you own waveshaped distortioncharacteristics, with a filter to tame things down after-the-fact. Finally, the ubiquitousstereo digital delay allows patches to contain an appropriate inspirational character.

Performance control is provided through a monophonic arpeggiator, complete withdirection, octave-shift and timing controls. Since the note duration can exceed thelength of individual steps (one of our “purposely broken” features), you can createinteresting back rhythms and strange interrupted overlays.

MODE.MONO – Controls and Parameters (Carrier Oscillator)

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Carrier Oscillator Controls

In an FM synth, the Carrier is a waveform that is the basis for the pitch of the oscillator.The Carrier waveform use in MODE.MONO is a highly aliased waveform – it gets prettycrunchy at high frequencies. This was done purposely, since this tends to give atougher sound at high frequencies, and tends to prevent too much “sweetness” atlower frequency.

If you aren’t familiar with FM synthesis programming, you might want to check out thebook “The Secrets of Analog and Digital Synthesis”, by Steve De Furia (published by HalLeonard). This book provides one of the best simple explanations of FM synthesisavailable.

The Carrier oscillator is the top row of each of the oscillator sections. Carrier oscillatorcontrols and parameters are:

MIDI trk MIDI tracking of the carrier waveform determines if it will changepitch based on the MIDI note that triggers it. In general, this isleft “On” (as it is in all of the preset programs).

Values: On/Off

Pitch The pitch control determines the “base pitch” of the oscillator.This control has a very wide range – allowing massive changes inpitch control. Generally, this is left at 12 o’clock, which meansthat the pitch is the same as the MIDI note. However, changingthe pitch, then altering the harmonics of the FM Modulator, canmake the pitch change in interesting (and often suitable) ways.

Values: +/- 5 octaves from center pitch.MIDI Controller: 26 (Osc 1), 60 (Osc 2)

Programming Hint:Unlike most FM synthesizers, MONO uses knobs rather than numericread-outs. This was done on purpose – to help programmers usetheir “ears” instead of “eyes” to create patches. However, since thebase pitch often must be set to exactly 12 o’clock, there is a smallindicator above the knob to show that position. If you click on thatindicator, the base pitch control will automatically center.

FM amt The amount of frequency modulation provided by the Modulatorwaveform. This is the basis of FM synthesis, and will provide the“crunch” to an otherwise pure carrier tone.

MODE.MONO – Controls and Parameters (Carrier Oscillator)

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Values: 0-100%MIDI Controller: 27(Osc 1), 102 (Osc 2)

Amp env The amount of frequency modulation provided by the Amplitudeenvelope. This allows you to sweep the frequency at the samerate as the amplitude is changing.

Values: 0-100%MIDI Controller: 28 (Osc 1), 103 (Osc 2)

Mod Env The amount of frequency modulation provided by theModulation envelope.


Programming Hint:The Modulation Envelope is used for modulation that is independentof the amplitude envelope. It is especially useful for quick “blips” atthe front of the note transient.

LFO amt The amount of frequency modulation provided by the oscillator’sLow Frequency Oscillator. This can range from slow swirls toquick warbles, and is responsible for the “Theremin-ish” qualityfound in several of the presets.

Values: 0-100%MIDI Controller: 1 (both Osc 1 and Osc 2)

Level The output level of the Carrier signal. Normally, this is set “full-on” as the primary sound of the oscillator.


MODE.MONO – Controls and Parameters (Modulation Oscillator)

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Modulator Oscillator Controls

With FM synthesis, an oscillator is used to “modulate” the frequency (pitch) of another.By rapidly changing the frequency of the carrier oscillator, you don’t hear pitchchanges – rather, you get a uniquely clangorous timbre.

The Modulator oscillator is the tool used to rapidly affect the frequency of the Carrier.This waveform is a highly-aliased waveform, leading to interesting effects at highfrequency. The Modulator oscillator is the lower row of each oscillator section.Modulator oscillator controls and parameters are:

MIDI trk As with the Carrier oscillator, the MIDI tracking controldetermines if the Modulator will respond to the current MIDI noteto determine its pitch.

Values: On/Off

Programming Hint:With MIDI tracking off, and fairly low pitch settings, the modulatorwill act as another pitch LFO for the carrier oscillator.

Pitch The pitch control determines the “base pitch” of the Modulator.When MIDI tracking is switched on, it will set an “offset” of thecurrent note; when off, it will set the absolute pitch of theModulator. The wide sweep of this control allows for everythingfrom LFO-like warbles to clanging aliased FM modulation.

Values: 0-127MIDI Controller: 46 (Osc 1), 106 (Osc 2)

Programming Hint:As with the carrier oscillator, the base pitch often must be set toexactly 12 o’clock (at least as a starting point), which is standardpitch. There is a small indicator above the knob to show thatposition. If you click on that indicator, the pitch control willautomatically center.

Mod->Amt A “secret sauce” control (meaning that it is poorly labeled!), thiscontrol determines the amount that the modulation control willdetermine the FM Amount depth. Generally, the “least” settingrepresents the “most” modulation effect – since FM synthesisgenerally is dependant on the use of envelope control of FMdepth.


MODE.MONO – Controls and Parameters (Modulation Oscillator)

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Programming Hint:Two settings determine the effect of a modulator: the frequency(pitch) and amplitude (level). One of the ways that you typicallyanimate the sound of an FM synth patch is to change the pitch andamplitude of the modulator using an envelope. This control is usedextensively with the example presets, since it has some broad effectson the sound of the oscillator.

Mod Env The amount of Modulator frequency modulation provided by theModulation envelope.


Programming Hint:This is also an often-used control in the example presets – it uses themodulation envelope to animate pitch changes of the modulator.

LFO amt The amount of Modulator frequency modulation provided by theoscillator’s Low Frequency Oscillator.


Level The output level of the Modulator signal. Most often, this is noton, since the Modulator is used as a control signal (and not anaudio signal). However, by turning this level up, you can hear themodulation signal, which can act as a third (and fourth) oscillator.


MODE.MONO – Controls and Parameters (Oscillator Envelopes)

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Oscillator Envelopes

FM synthesis is strongly focused on using envelopes for pitch and amplitudemodulation – if not used, the sound is fairly static and unexciting. Each oscillator inMODE.MONO contains two envelopes; one for amplitude (and amplitude modulation)and one for generalized modulation control.

Amp Envelope The Amp (Amplitude) envelope is a simple ADSR-type envelopethat provides for changes in the volume of the Carrier waveform.This can be used for a variety of effects, from smooth note onsetto blippy ticks and bleeps.

Values: 0-1000 for each “time” step (Attack, Decay, Release), 0-100% for Sustain level.MIDI Controller: 52/53/54/55 (Osc 1), 112/113/114/115 (Osc 2)

Programming Hint:If you aren’t familiar with the use of ADSR envelopes, this is a goodplace to start experimenting! Generally, the results of controlchanges are pretty obvious…

Mod Envelope The Mod (Modulation) envelope doesn’t have a preset use –rather, it can be used by either the Carrier or Modulator to sweepthe pitch of the oscillator independent of the frequency.

Values: 0-1000 ms for each “time” step (Attack, Decay andRelease), 0-100% for Sustain level.MIDI Controller: 56/57/58/59 (Osc 1), 116/117/118/119 (Osc 2)

Programming Hint:Many of the presets use the Mod envelope to twitch the Modulatorfrequency (based on the mod env control setting); experimentingwith this envelope is likely to provide interesting, if difficult-to-understand (at first), results.

MODE.MONO – Controls and Parameters (Other Oscillator Controls)

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Other Oscillator Controls

LFO Rate The LFO rate determines the speed at which the Low FrequencyOscillator cycles. Slow speeds will produce “warbling” andrandom pitch selection, while higher speeds will introduce a “trill”sound.

Values: 0.01 to 10 Hz

Pan This control determines the left/right position of each of theoscillators. Spreading the two oscillators can provide a depth-of-field seldom found in normal FM synthesizers, and is often usedin the example presets.

Values: Left-Center-Right pan position.

Output The output level of the oscillator. If you are hearing undesireddistortion in the output of MODE.MONO, you might want toreduce these levels – this will eliminate “internal” distortionwithin the synthesis system.

Values: 0-100%

MODE.MONO – Controls and Parameters (Arpeggiator)

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Arpeggiator Controls

The various modes of the arpeggiator are best described with a little notation. Pressand hold the following notes (in the order written):

Changing the note order to “sequential” will change the arpeggiator’s note playbackto:

In either case, the note direction will change playback to match a specific pattern.Using this chord (in sequential note order), the five modes will play back the following:

Up

Down


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Up-Down

Rotate

Random

(or some random variant)

Finally, the octave setting will cause duplication of your held notes, but with octaveoffsets. The original sequential chord:

will play the following (using “Up direction” and “3 octaves”):


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So, as you can see, the arpeggiator can take simple held chords and create wildlyvariant melody lines. The multiple octave option is especially interesting if the chordyou are holding is greater than 1 octave “stretched” – it will create interesting loopinglines that would be almost impossible to play live…

The arpeggiator controls are:

On/Off When “on”, the arpeggiator will “capture” chord input, and willoutput individual notes of the chord. If “off”, all notes will beplayed monophonically in “last-note” priority.

Values: on/off

Note order If set to “as played”, the arpeggiator will output chord notes inthe order they were played. If set of “Sequential”, they will beoutput from bottom-to-top, but subject to the “Note Direction”ordering.

Values: As Played, Sequential

Note Direction When a chord is held, and the arpeggiator is on, this setting willdetermine the “direction” that notes will be output. Settings are:

Up – from bottom-to-top, with octave shifting after eachrepetition.Down – from top-to-bottom, with octave shifting after eachrepetition.Up/Down – from bottom-to-top, then top-to-bottom, with octaveshifting after each directional rotation.Rotate – same as Up/Down, except that the top and bottomnotes will be repeated during each complete rotation.Random – the output note will be randomly selected from theheld notes (with octave shifts randomly applied).

Values: Up, Down, Up/Down, Rotate, Random

Octave When a chord is held and the arpeggiator is on, this setting willdetermine the number of octave shifts that are considered to bea single arpeggiator “rotation”.

Values: 1, 2, 3, 4

Speed The speed at which the arpeggiator outputs notes. IfMODE.MONO is in “host sync” mode, this will select between 32nd,16th, 8th, quarter, half and whole notes. If not in “host sync” mode,a rate between 40 and 220 BPM can be manually selected.


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a rate between 40 and 220 BPM can be manually selected.

Values: 40-220 bpm (free sync), 8th, 16th, 32nd notes (host sync)MIDI Controller: 24

Duration The length of notes output by the arpeggiator. This setting isindependent of the Speed control – hence, you can have notesmuch longer than the time between output notes. Settings thathave long durations and short speed settings can exhibit “back-rhythm” playback – something worth trying!

Values: 25 to 1000 msMIDI Controller: 25

Host Sync If the sequencing host supplies synchronization information, thearpeggiator can be “slaved” to that timing, and will producenotes that fit within the timing of the host sequencer. If a hostdoes not provide host sync, setting sync to “on” will cause thearpeggiator to freeze in place.

Values: on/off

MODE.MONO – Controls and Parameters (Distortion)

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Distortion Controls

The distortion control (or “designer”, as we’ve come to call it) is based on an 8-bitwaveshaping graph. It works by altering the amplitude of the incoming signal usingthe shape drawn in the designer. The waveshape only shows the “positive” side of thecurve; it uses a negative mirror image of the graphic to deal with negative waveformextension.

For example, if you draw a the following waveshape:

the waveshape used for amplitude waveshaping will actually be:

The controls of the distortion section are:

On/Off If set on, the mixed oscillator signal will pass through thewaveshaping distortion unit. If off, the distortion will bebypassed.

Values: on/off

Waveshaper The waveshape designer determines the “curve” of the distortionunit. Basically, it describes the transformation that the outputsignal goes through based on volume – as the volume increases,the output level is affected by right-ward level settings. There are64 settings (which are mirrored to negative levels for a total of128 volume levels) – meaning that this distortion unit also, bydefault, reduces the output to a crunchy 8 bits.

MODE.MONO – Controls and Parameters (Distortion)

40

64 settings (which are mirrored to negative levels for a total of128 volume levels) – meaning that this distortion unit also, bydefault, reduces the output to a crunchy 8 bits.

Values: 0-128 for each of 64 steps.

Programming Hint:Examine some of the waveshapes used in the preset examples – youwill find some abrupt transitions that have drastic effects on theresultant sounds.

Safe Zero In any waveshaping transformation, setting the level of “zero”amplitude to anything but 0 will create a nasty noise floor.Sometimes this is interesting, sometimes not. If you want zero tobe zero, click on this button to make zero amplitude “safe” (0).

Straight Do you want to reset the distortion curve? Hit the Straightbutton to get a clean (but still 8-bit) signal through the distortionunit.

MODE.MONO – Controls and Parameters (Filter)

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Filter Controls

The filter can be used to either tame the output of the distorted oscillators, or tofurther “mess them up”. Filters are seldom available on an FM synth, but we addedthem to provide some standard, analog-like editing options.

On/Off If set on, the mixed (and possibly distorted) oscillator signal willpass through the filter unit. If off, the filter will be bypassed.

Values: on/off

Frequency The cutoff of the frequency. Depending on the type of filter(Lowpass, Bandpass, Highpass), it determine the frequencies thatwill be affected.

Values: 40 Hz – 14 kHzMIDI Controller: 20

Resonance The resonance of the filter. This uses filter feedback to create afrequency “bump” just before or after the cutoff frequency. Thiswill make the filter sound sharper, and is useful in conjunctionwith the velocity modulation setting for interesting filtermovement.


Vel Mod Determines the positive modulation of the filter cutoff based onthe velocity of the current note. In other words, the harder youhit the note, the higher the cutoff frequency. Since thearpeggiator will maintain the velocity of each individual note of achord, you can use this to create interesting “hopping” lines asthe filter tracks the individual notes of a chord.


Type The type of filter. Options are LP (Low Pass), BP (Band Pass) andHP (High Pass).

Values: LP, BP, HP (0-2)MIDI Controller: 23

MODE.MONO – Controls and Parameters (Delay)

42

Delay Controls

What is a synthesizer without a digital delay? A disappointment. We’ve included astereo delay on MODE.MONO to allow presets to have delay settings appropriate forthe instrument’s output. Since it is a stereo implementation, the pan position ofincoming signals are maintained.

On/Off If set on, the mixed/distorted/filtered oscillator signal will passthrough the delay unit. If off, the delay will be bypassed.

Values: on/off

Coarse Time Sets the overall time of each side of the delay unit.

Values: 5 to 2000 msMIDI Controller: 12 (Left), 13 (Right)

Fine Time Sets the delay time at a fine level: +/- 5 ms. Used to ultra-tweakthe delay response, especially at low coarse settings.

Values: -5 to +5 msMIDI Controller: 14 (Left), 15 (Right)

Feedback The amount of feedback through the delay. This determines thelength of time that the delayed signal will recirculated throughthe delay. Note: The recirculated signal will be affected by the“filter” setting described below.

Values: 0-100%MIDI Controller: 16 (Left), 17 (Right)

Filter The cutoff frequency of a one-pole filter used to damp therecirculation signal in the delay line. This gives the delay an“analog” feel, and allows for longer feedback and delay times toslide into a mix. Used by many of the example presets.


Mix The wet/dry mix of the delay line.

Values: 0-127 (0% wet – 100% wet)MIDI Controller: 19

MODE.MONO – Controls and Parameters (Output Controls)

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Output Controls

The output control affect the overall output of MODE.MONO. They are a conveniencefor patch creation (since most hosts will also have volume and pan settings forinstrument tracks).

Pan The pan positioning in the stereo field. Controls the output ofthe entire synth.


Level The overall volume of the synthesizer.


MODE.MONO – Example Presets

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MODE.MONO Presets:

1. HooOwl 44. Zipper Roo 87. Step Sadly2. Sub Log 45. Dual Drop 88. Baxter Bounce3. Clara Song 46. Finale 89. Truefuss4. MetZap 47. End of Reign 90. Lights On!5. Zizz Dong 48. Runaway 91. Stissel6. Congestion 49. This Island 92. Dante 67. Whoville 50. Tuning Fook 93. Plonk You8. bbBubbles 51. arp:Twings 94. Uru Twing9. Aftertaste 52. arp:Larang 95. The Rake10. SpiTwee 53. arp:Tell Momma 96. arp:Identify11. Distant Horn 54. arp:Rebuttal 97. Rez Kinka12. Miss Tune 55. arp:Twillow 98. Low Cost13. Haunt Chez 56. arp:Rainglo 99. Spittoon14. Why Go There? 57. arp:Hustle 100. 1 Time Round15. Vel Xform 58. arp:No Excuse 101. Collision16. Humpback 59. arp:DelayD 102. Thessalonia17. No Mod 60. arp:Discuss 103. BlowTube18. Endorsement 61. arp:Klack 104. arp:Tring Trang19. HolloHorn 62. arp:Trashed 105. Long Flong20. Insect March 63. arp:Kiew 106. Hooost21. Calling Card 64. arp:Lonely 107. Lake Erie22. A Quick Chat 65. Symbiosis 108. NASA Pasa23. Toob Steak 66. Tristan 109. Cloister24. Perc Down 67. Smooth & Low 110. Statique25. Odd Cop 68. Kommunikator 111. Paddle26. Quanggo 69. Aluminum 112. arp:Cassette27. Vel Pop 70. Searcha 113. SloTazer28. Angulara 71. Ponk 114. Normancy29. Harmelodic 72. Fuse Silly 115. Dork Right30. Civil Guard 73. Kaffee Break 116. arp:Tinkerbell31. Open Source 74. Cold Cable 117. TiGorf32. hazzW 75. Tonka 118. Musical Saw33. arp:BandF 76. Vel Busta 119. Blockhead34. arp:Batter 77. Duukku 120. Eye Dropper35. arp:Ringer 78. Aces High 121. Scree36. arp:Twong 79. Pipette 122. arp:Voyager37. arp:Peeling 80. arp:Buildup 123. arp:Tingo38. arp:Unexpected 81. Fraternity 124. Delay Play39. arp:Genteel 82. Cobratic 125. HAL Feedback40. arp:DoubleTalk 83. A Direction 126. All Ways41. arp:Driveway 84. Sealed 127. Sufferage42. arp:Disturbed 85. Spud Cast 128. Mstr Ctrl Block

MODE.MONO – Example Presets

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43. Downer St. 86. Wrong Root

Preset Notes:

Presets beginning with “arp:” have the arpeggiator preset to a useful range for thepreset. If you use the “host sync” option, you are likely to be disappointed with theresult. Or not…

Presets with the Vel preset have a high relationship between velocity sensitivity andthe resultant sound. This is typically done by using the VelMod setting of the filter.

MODE.MONO-MINI - Overview

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MODE.MONO-MINI – Synth-only FM Module

MODE.MONO-MINI is a synth-only version of the MODE.MONO synthesizer. It includesall of the synthesis controls, but none of the effects or the arpeggiator. This is usefulfor times when you would like to use other plug-in effects or MIDI processing tocontrol the MONO synth engine.

MODE.MONO-MINI is a instrument, and takes MIDI notes to create pitchedinformation. Its controls and MIDI Controller values are the same as the oscillatorsections of MODE.MONO.

MODE.MONO-MINI - Overview

47

MONO-MINI Presets:

1. HooOwl 23. hazzW 45. Plonk You2. Sub Log 24. Zipper Roo 46. Uru Twing3. Clara Song 25. Dual Drop 47. Rez Kinka4. MetZap 26. Finale 48. Spittoon5. Zizz Dong 27. Runaway 49. 1 Time Round6. Congestion 28. This Island 50. Collision7. Whoville 29. Tuning Fook 51. Thessalonia8. Aftertaste 30. Symbiosis 52. BlowTube9. SpiTwee 31. Tristan 53. Long Flong10. Miss Tune 32. Smooth & Low 54. NASA Pasa11. Haunt Chez 33. Aluminum 55. Statique12. Xform 34. Ponk 56. Paddle13. No Mod 35. Cold Cable 57. SloTazer14. HolloHorn 36. Tonka 58. Dork Right15. A Quick Chat 37. Busta 59. Musical Saw16. Toob Steak 38. Pipette 60. Blockhead17. Odd Cop 39. Fraternity 61. Eye Dropper18. Quanggo 40. Cobratic 62. Delay Play19. Pop 41. Sealed 63. HAL Feedback20. Harmelodic 42. Baxter Bounce 64. All Ways21. Civil Guard 43. Stissel22. Open Source 44. Dante 6

Preset notes:

The example presets are a “best of” set from MODE.MONO. Presets that weredependant on effects and/or the arpeggiator were removed.

MODE.MONO-ARP – Overview

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MODE.MONO-ARP – Arpeggiator-based Modulator Module

The arpeggiator from MODE.MONO has been split off as a module, with the outputused to control any parameter of a Pluggo-based plug-in. Because MODE.MONO-ARPhas been implemented as an instrument, it accepts MIDI input and converts it into acontrol signal.

Using MODE.MONO-ARP to control other parameters involves:

Instantiating MODE.MONO-ARP as an instrument.Routing the output to the desired parameters.Playing MIDI notes to MODE.MONO-ARP, which will turn the notes into parametervalue changes.

If the MODE.MONO-ARP arpeggiator is turned on, the chordal input of the MIDI streamwill be arpeggiated, with the current note number determining the output value. Ifthe arpeggiator is off, the last MIDI note-on received by MODE-ARP will be turned intoa parameter change.

MODE.MONO-ARP is useful for creating “key-following” on plug-in parameters thatotherwise might not allow for key tracking. Setting the range controls is an art – and isbest done by ear (rather than by “eye”).

The available controls and MIDI Controller values are the same as the MODE.MONOarpeggiator settings.

MODE.MONO-ARP Presets:

1. Quick Spin 3. Random Cell2. Up Ramp 4. Big Round

MODE.MONO-ARP – Overview

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Sequencing Note:

If you are using your host sequencer’s “Freeze Track” function, you may find thatPluggo-style modulation doesn’t work properly. In this case, you will have to use thehost’s “Render to Audio” function, with all non-essential audio tracks muted.

In our testing, the “Freeze Track” functions in Emagic’s Logic and Steinberg’s CubaseSX require this work-around. Digital Performer, on the other hand, will work correctlywith modulators.

MODE.MONO-DELAY – Overview

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MODE.MONO-DELAY – Simple Stereo Delay Module

MODE.MONO-DELAY is the delay section of MODE.MONO, available as a separatemodule. The sound of this delay is different than most, mainly due to the availabilityof the feedback filter used to create an “analog” sound.

MODE.MONO-DELAY is available as either an insert or send effect in all hosts. Thismodule is not time-synced, but the delay times are sufficiently long to provide a widerange of musical effects.

The available controls are the same as the MODE.MONO delay settings.

MODE.MONO-DELAY Presets:

1. Let It Roll 9. Slopback2. Rumble Fish 10. Culvert Ring3. Make a Run 11. Plexy Buildup4. Humma 12. Korean Plate5. 3 Against 2 Handball 13. Closer Waffle6. Animated Smear 14. Gershwin Throb7. Rumtiddleumpum 15. Skippy8. Serengeti Walk 16. T. Rex

MODE.MONO-DISTFILTER – Overview

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MODE.MONO-DISTFILTER – Distortion and Filter Module

The Distortion and Filter sections of MODE.MONO are used for the MODE.MONO-DISTFILTER module. This allows you to draw in 8-bit distortion curve for effecting youaudio tracks, followed by a multi-mode filter for taming (or otherwise crunching) youraudio. The waveshaped distortion has a unique “flavor”, as it is dependant on theinput volume for driving the distortion curve.

The available controls are the same as the MODE.MONO distortion and filter settings.

MODE.MONO-DISTFILTER Presets:

1. Straight Line 9. Wiretapped Termites2. Flikka 10. Disinclined Plane3. Mid Bump 11. Mod My Freq Please4. Slash 12. Chir P5. Shad Ladder 13. Fire in the Pines6. Moth on Windscreen 14. Fizzy Lifting Drinks7. Microwaved Bacon 15. SHIZZL8. South FL Static 16. Polite Roaring

MODE.POLY – Overview

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MODE.POLY – Polyphonic Performance Synth

MODE.POLY is a polyphonic synthesizer featuring “classic” digital oscillators, built-ineffects and a polyphonic arpeggiator that can open new doors for both live andrecorded performances. The synthesis engine was inspired by one of the classichybrid digital/analog keyboard, but we’ve added our new “LFO Designer” and simple-but-effective PolyArp to create a completely new instrument.

MODE.POLY allows you to select the number of available voice for playback – thisgives you the ability to choose between CPU-usage and polyphony. There are no setrules for this; different machines respond differently to different levels of polyphony,so testing on your computer is appropriate.

The inclusion of both a delay and chorus effect on MODE.POLY allows presets to bemore “instrument-like” - complete performance setups. If you would prefer to useother effects or performance tools, you can use the MODE.POLY-MINI plug-in. This willuse less CPU power, but contains the complete POLY synthesis implementation.

MODE.POLY – Controls and Parameters (Oscillators)

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Oscillator Controls

The MODE.POLY oscillators are “classic” digital oscillators, featuring interestingwaveforms with interesting parameter selections. Each waveform can be individuallytuned, panned and level-adjusted, providing a deep and wide sound with relativelysimple programming choices.

Voices The number of voices that will be used by MODE.POLY’s voicingscheme. Higher voice settings can result in very high CPU usage, socaution should be used.

Values: 4-12

Waveform One of the 24 built-in waveforms of MODE.POLY. These are 12-bitsamples used as the core of the oscillator sound.

Values: 0-23

Programming Hint:Details about the 24 oscillators can be found in Appendix A.

Coarse Tune The “base pitch” of the oscillator, in semitones.

Values: -24 to +24

Programming Hint:High pitch offsets will increase the amount of aliasing (high, oddharmonics.

Fine Tune The fine tuning of the oscillator, in cents (100ths of a semitone).

Values: -100 to +100

Amp The mix volume of each oscillator.


Pan The pan position of each oscillator.

Values: Left-Center-Right pan position.MIDI Controller: 23 (Osc 1), 24 (Osc 2)

MODE.POLY – Controls and Parameters (Oscillators)

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Programming Hint:A wide pan position between oscillators can give a nice “warm” sound,but use some caution – wide stereo imaging can be more difficult to fitinto a complex mix.

MODE.POLY – Controls and Parameters (Filter)

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Filter Controls

The filter section uses some unique parameter settings – particularly the 0-24 rangesfor cutoff frequency, resonance and modulation amount. Rather than a “limited” set ofchoices, these values represent “musical” steps that provide some of MODE.POLY’sunique flavor.

Frequency The cutoff frequency of the filter. This uses the “DW-8000”-like0-24 range, with fairly severe stepping between positions(especially if the resonance is high). However, the individualsteps seem to be in musically useful spots, making this muchmore interesting than it might seem at first.

Values: 0-24 (A range from 60 Hz to 12 kHz)

Resonance Resonance is the result of a feedback loop in the filter, and theresult is a amplitude “bump” at the cutoff frequency. Highvalues tend to make the filter sharper, with very high valuescausing a sort of ringing feedback.

Values: 0-24 (Representing 0-100% resonance)

Programming Hint:High resonance values are the equivalent of a high-pitched sinewave. This can be used for interesting alternate programming.

Mod Amount The amount that the Mod Envelope will modulate the cutofffrequency. If you want to create chirps, wa-wa effects or othernifty filter effects, this is the control you want.

Values: 0-24 (Representing 0-100% modulation)

Programming Hint:The Modulation Amount is a positive-only modulation by theenvelope. If you are adding modulation to an existing patch, youmight want to decrease the filter frequency (since the modulationwill increase the cutoff).

Level The overall mixed (and filtered) amplitude of the synthesier.This signal is sent to the effects for after-the-fact mixdown.


Programming Hint:If you find that the plug-in is distorting at high polyphony/volume,you can turn the whole thing down with this control. This usuallyeliminates the distortion.

MODE.POLY – Controls and Parameters (Filter)

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you can turn the whole thing down with this control. This usuallyeliminates the distortion.

MODE.POLY – Controls and Parameters (Poly Arpeggiator)

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PolyArp Controls

The PolyArp section of MODE.POLY is our unique implementation of a polyphonicperformance system. Whenever a chord is held (and the arpeggiator is active), thechord is split into three parts: the high note, low note and all “middle” notes. Eacharpeggiator step can trigger any of these three parts, and can also pitch shift +/- oneoctave.

It is probably easiest to visualize this by imagining a five-note chord played with asingle hand. The PolyArp system will take the lowest and highest notes, and assignthem to the “low” and “high” voices. All remaining notes (the middle fingers) will beassigned to the “mid” voice.

For a “traditional” music example, imagine that you play a Cm7 chord using thefollowing voicing:

and that you use the following PolyArp setting:


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…the result will be:

By utilizing the octave shift settings, we can greatly change the result. The samechord, with the following arpeggiator and octave settings:


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…will provide a much more complex example:

Some of the most interesting results are attained when, instead of using static heldchords, you vary the chord contests (especially the high and low notes). Changes inthe held chord, along with the nature of the PolyArp, will create interesting andunexpected results.

Step Display When the PolyArp is enabled, the step display will show thecurrently sounding step. This is not editable – it is display-only.

Performance Note: If your sequencer is “overloaded” (meaningthat the CPU is heavily stressed), the step display may either notchange or lag in response. This is normal, since mostsequencers put a priority on audio processing over graphicaldisplay

High/Mid/Low The PolyArp’s unique functionality is the splitting of chordalnotes. Any held chord is split into three parts – the high note,the low note and all the notes in-between. For details on notetriggering, please review the explanation above.

Values: on/off for all steps.

+12/0/-12 The octave shift selectors allow you to force all notes played ona specific step to be shifted up or down by one octave. Incombination with interesting step settings, this is the basis forthe creation of accented lead and bass lines.

Values: +12, 0 or –12 for each step.

Programming Hints:+12 pitch shift will tend to accent the beat position, while a –12shift will tend to emphasize the bass notes.In many cases, simple held chords are more interesting than “full”chords. This is especially true when using the –12 octave shift.

Enable When lit, this enables the use of the PolyArp. If disabled, thesynthesizer plays with full 6- or 12-voice polyphony.


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synthesizer plays with full 6- or 12-voice polyphony.

Values: on/off

Free/Host Sync When set to “Free”, the arpeggiator runs at the tempo set usingthe Tempo control (below). When set to “Host”, the arpeggiatoris slaved to the tempo and measure position of the hostapplication/sequencer. Note: Not all sequencers provide hostsynchronization.

Values: Free, Host

Programming Hint:None of the presets have the “host sync” mode set on. This is doneso that users with non-sync hosts (such as Pro Tools) will still beable to listen to the preset. You may want to follow this examplewhen creating your own presets.

Tempo When in “Free” mode, this sets the arpeggiator tempo from arange of 60-200 BPM. When in “Host” mode, the tempo knob isinactive.

Values: 60-200 (BPM, Free Mode)

Length The duration of each steps output. Note: Also note that, sincethis synth only has a six-voice polyphony, long durationsettings can cause massive voice stealing…

Values: 20-2000 ms, with actual length based on ampenvMIDI Controller: 16

Programming Hint:This is independent of the actual step length as set by the tempocontrol. This can have interesting (or unwanted) results when longdurations are combined with fast tempos.Since this synth only has a six-voice polyphony, long durationsettings can cause massive voice stealing…

MODE.POLY – Controls and Parameters (MIDI Modulation)

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Velocity Modulation Controls

Velocity control of parameters is a key to adding “touch” to a synthesizer – whetherhardware or software. MODE.POLY allows you to vary both the amplitude and filtercutoff frequency using MIDI note velocity.

Velocity to Amp Determines the amount of amplitude modulation that willoccur based on the velocity of the note hit. This control,basically, allows you to make the synth more touch-sensitive.


Programming Hint:There is a certain amount of V->A modulation inherent in the synthengine. This control adds additional modulation to the outputsound.

Velocity to Freq Determines the amount of filter cutoff frequency modulationthat will occur based on the velocity of the note hit. This makesthe filter touch-sensitive, and is useful for brightening thesound of a patch.


Programming Hint:This modulation is in addition to the filter modulation based onthe mod envelope, and also in addition to the filter LFOmodulation.

MODE.POLY – Controls and Parameters (LFO Designer)

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Envelope Controls

Envelope control is at the heart of most synthesis techniques. The two envelopesfound on MODE.POLY are directly “wired” to the amplitude and filter cutoff frequency.These preset assignments help make MODE.POLY very easy to program, but capableof a wide variety of effects.

Amp Envelope The Amp (Amplitude) envelope is a simple ADSR-type envelopethat provides for changes in the volume of the synthesizer.

Values: 0-1000 ms for each time step (A, D and R).

Programming Hint:If you aren’t familiar with the use of ADSR envelopes, this is a goodplace to start experimenting! Generally, the results of controlchanges are pretty obvious…

Mod Envelope The Mod (Modulation) envelope is used to alter the filtercharacteristics with each note hit.

Values: 0-1000 ms for each time step (A, D and R).

Programming Hint:Many of the presets use the Mod envelope to twitch the filterfrequency (based on the mod env control setting of the filter) –experimenting with this envelope is likely to provide brighter andmore effect-y filter effects.


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LFO Designer Controls

Our implementation of an LFO (Low Frequency Oscillator) in MODE.POLY is differentfrom most – it is actually a small six-step sequencer that can be used to “design” awaveshape, then a slewing control that can smooth the shape. This is much moreinteresting than the typical triangle/square/ramp wave selection, but is still very easyto use.

LFO Wave Shape A six-step mini-sequencer, this is the “designer” for thewaveform of the two Low Frequency Oscillators. The Pitch LFOcontrols the pitch of the two oscillators, while the Filter LFOcontrols the frequency cutoff of the filter.

Use the LFO Wave Shape controls to create the “basic” shape ofthe LFO waveform you want to use. This shape will be furthertweaked using the Slew and Amp controls (described below).

Values: 0-100%, each step

Programming Hint:While it can be interesting to have wide step variations, most“musical” LFO waveshapes will feature subtle waveforms.

Mod Whl When switched on, the output level of the LFO will be scaled bythe current Mod Wheel setting on the controlling keyboard orsequencer track. This allows you to “bring in” an LFO’s effectusing the mod wheel in real-time.

Values: on/off

Programming Hint:When programming synth sounds, turning on the Mod Whl settingis a quick way to turn off all LFO output. It is, in essence, an “LFOMute Switch”.

Slew The Slew control is used to “smooth” the difference betweensteps in the LFO waveform. A low setting will allow the LFO toremain stepped. A higher setting will smooth the waveshapeby slowing the transition time between steps.

Values: 0-100%MIDI Controller: 18 (Pitch), 21 (Filter)

Amp The Amplitude control determines the depth of effect from theLFO by changing the “height” of the resulting waveform. A lowsetting will only lightly effect the pitch and/or filter, while ahigh setting will greatly affect them.


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high setting will greatly affect them.

Values: 0-100%MIDI Controller: 19 (Pitch), 22 (Filter)

Programming Hint:If you are programming a patch that will use the mod wheel forLFO control, this amplitude setting represents the “highest” valuereached when the mod wheel is all the way “up”.

Rate The speed at which the LFO runs. This will determine howoften the LFOs cycle – one of the main “audible” options withthe LFO. The small LED next to the Rate control will inform youof the current LFO speed.

Values: .5 – 10 HzMIDI Controller: 17 (Pitch), 20 (Filter)

MODE.POLY – Controls and Parameters (Delay Effect)

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Digital Delay Controls

An integral part of most analog/digital hybrid synthesizers was the inclusion of adigital delay effect. By including it in MODE.POLY, we are able to make presets thatsound much more “significant”, while maintaining the basic character of the basicsound engine.

Coarse Time The length of the digital delay line – a higher setting will makefor a longer delay time.

Values: 5 – 2000 msMIDI Controller: 26

Programming Hint:Longer settings will give discrete echos, while very short settingswill sound more like a splashy reverb effect.

Fine Time A fine tuning control for the delay line; used in conjunction withthe Coarse Time setting, you can get exact timing matches withvarious tempo-based tools.

Values: -2.5 ms to +2.5 msMIDI Controller: 27

Feedback The amount of delay output that will be fed back into the delayline. This allows for multiple repeats (a typical “echo” sound).


Programming Hint:A very short delay time (Coarse Time) combined with a very highfeedback setting will create a ring modulation effect, with thefrequency related to the delay time.

Mix The amount of delay output that is mixed into the synthesizer’soutput signal.

Values: 0% Wet to 100% WetMIDI Controller: 29

Pan The pan position of the delay’s output. This can be useful forback-and-forth effects as well as providing interestinglocalization options.

Values: Left-Center-Right pan position

MODE.POLY – Controls and Parameters (Delay Effect)

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MIDI Controller: 25

MODE.POLY – Controls and Parameters (Chorus Effect)

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Chorus Effect Controls

As with the digital delay, the inclusion of a chorus effect allows for the creation ofmore “significant” presets. It also sounds cool, too…

Rate The speed at which the chorus effect “cycles”.

Values: 0.1 – 12.5 msMIDI Controller: 30

Depth The depth of the chorus effect.

Values: 0-127 (0 to 100% depth)MIDI Controller: 31

Programming Hint:In most cases, the most “lush” sound is provided by a 50% depthsetting; this mixes the pitch shifted effect sound with the originalfor extra warmth.

Time The base delay time of the chorus effect’s delay line. A choruseffect works by using a delay line, then varying the delay timeslightly. Longer delay times (higher Time settings) will result inmore apparent pitch shift.

Values: 4 – 260 msMIDI Controller: 32

Programming Hint:The rate, depth and time settings have a synergistic existence –often a change in one control will create problems (oropportunities!) with the others. Using the preset examples asstarting points will normally give you a good shot at a usefulchorus sound.

MODE.POLY – Example Presets

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MODE.POLY Presets:

1. cmp:Sixer 44. pad:Plot Line 87. amb:Beez2. pad:Noxious 45. cmp:Tenda 88. arp:3 Note Bass3. cmp:Homestyle 46. cmp:Kiev 89. arp:Tranquil4. pad:Glassine 47. efx:Comeback 90. arp:Trashie5. arp:Tattle 48. cmp:Nancy 91. cmp:Krustee6. arp:Chatterbox 49. efx:Twillie 92. pad:Keen7. cmp:Big Bottom 50. amb:Loompa 93. pad:Ear Muff8. cmp:Rollie 51. cmp:16mm 94. cmp:Sizzle9. amb:Wandering 52. efx:Garden 95. cmp:Slip By10. cmp:Poppie 53. efx:Satellite 96. cmp:Diddley11. pad:OpenDoor 54. efx:Two Way 97. lfo:Qk Walk12. pad:Sunrise 55. efx:Ice Boat 98. arp:Front End13. pad:Mystic 56. arp:Tastic 99. arp:Hoppity14. pad:Sad Sak 57. efx:Cha Cha 100. cmp:Brita15. pad:Reversal 58. efx:Shakey 101. arp:Much Room16. lfo:Nonner 59. lfo:Fanta 102. arp:Cmp17. pad:Creap In 60. lfo:Whipple 103. arp:Smiley18. pad:Sharpie 61. lfo:Tripple 104. arp:BNC Bass19. cmp:War Ship 62. lfo:Sniggle 105. arp:HiLo20. cmp:LightTouch 63. lfo:Downy 106. arp:Chuck Wag21. cmp:Lincoln 64. lfo:Land Rover 107. arp:Philanges22. cmp:Saturn 65. lfo:Space Krik 108. arp:Trattor23. cmp:Distrust 66. cmp:Trinket 109. arp:Long Trip24. lfo:Lapdog 67. cmp:Cure 110. arp:Troodon25. lfo:Reveal 68. amb:Swarl 111. arp:SynthPop26. lfo:MisFocus 69. amb:Speekee 112. arp:My Sharonna27. arp:Telegraph 70. arp:Trickle I 113. arp:Replay28. arp:Overflow 71. cmp:Puzzle 114. arp:Front End29. arp:Hopper 72. cmp:Hockle 115. arp:Back End30. arp:Present 73. cmp:Radidio 116. efx:Petri31. arp:Wanna 74. cmp:Flat Bass 117. arp:Lab Work32. arp:Let Me Know 75. cmp:m7 118. arp:Tame West33. arp:Anticipate 76. amb:Luge SloMo 119. arp:Reiterate34. arp:Gallop 77. arp:Lemme 120. lfo:Round Town35. pad:Arianne 78. cmp:Bistro 121. amb:Dly Slob36. cmp:Nebraska 79. amb:Longhorn 122. arp:At Large37. cmp:WaWoWoo 80. pad:Sandy 123. arp:Swallow38. cmp:Rewire 81. pad:Sirius 124. arp:Fittel39. amb:DS9 82. cmp:Clarity 125. pad:Smoof40. cmp:Confuse 83. arp:StairStep 126. arp:The Office

MODE.POLY – Example Presets

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41. cmp:MinorRun 84. pad:The Calling 127. amb:Ealing42. cmp:Hold Em 85. cmp:Sweetie 128. cmp:Gareth43. amb:Ctr Point 86. arp:Slow Line

Presets have a prefix denoting the “type” of sound created. The prefaces are:cmp: Comping presetpad: Pad (background) presetarp: Arpeggiator-based presetamb: Ambient, effect-heavy presetlfo: LFO-dominant presetefx: An effect preset

Preset Notes:

Presets using the arpeggiator do not have the “host sync” option selected. This way,users of non-sync hosts (like Pro Tools) can still hear the output of the preset. If youwant to sync one of these presets to your host, you can do so by clicking on the “hostsync” control.

While it was tempting to use the arpeggiator for all of the presets, this is a capablepolysynth on its own. However, the simplicity of the arpeggiator is such that, shouldyou want an sequenced track, you should be able to create a useful arpeggiation injust a few moments. Just because a preset doesn’t have a PolyArp setting doesn’tmean that it shouldn’t be arpeggiated!

MODE.POLY-MINI – Overview

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MODE.POLY-MINI – A Polyphonic Synth Module

MODE.POLY-MINI is a smaller version of MODE.POLY, with all of the synth features, butno effects or polyphonic arpeggiator. It is an instrument, and uses MIDI note-onmessages to create sound. All of the controls are the same as the MODE.POLYsynthesizer implementation.

MODE.POLY-MINI allows you to select the number of available voice for playback – thisgives you the ability to choose between CPU-usage and polyphony. There are no setrules for this; different machines respond differently to different levels of polyphony,so testing on your computer is appropriate.

MODE.POLY-MINI – Overview

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MODE.POLY-MINI Presets:

1. cmp:Sixer 23. cmp:Nebraska 45. cmp:Bistro2. cmp:Homestyle 24. cmp:WaWoWoo 46. amb:Longhorn3. pad:Glassine 25. cmp:Rewire 47. pad:Sandy4. cmp:Big Bottom 26. amb:DS9 48. pad:Sirius5. amb:Wandering 27. cmp:MinorRun 49. cmp:Clarity6. cmp:Poppie 28. amb:Ctr Point 50. pad:The Calling7. pad:OpenDoor 29. cmp:Tenda 51. cmp:Sweetie8. pad:Sunrise 30. cmp:Kiev 52. amb:Beez9. pad:Mystic 31. efx:Comeback 53. cmp:Krustee10. pad:Sad Sak 32. cmp:Nancy 54. pad:Keen11. pad:Reversal 33. efx:Twillie 55. pad:Ear Muff12. pad:Creap In 34. amb:Loompa 56. cmp:Sizzle13. pad:Sharpie 35. efx:Cha Cha 57. cmp:Slip By14. cmp:War Ship 36. lfo:Downy 58. cmp:Diddley15. cmp:LightTouch 37. lfo:Space Krik 59. lfo:Qk Walk16. cmp:Lincoln 38. cmp:Trinket 60. cmp:Brita17. cmp:Saturn 39. cmp:Cure 61. efx:Petri18. cmp:Distrust 40. amb:Swarl 62. lfo:Round Town19. lfo:Lapdog 41. amb:Speekee 63. pad:Smoof20. lfo:Reveal 42. cmp:Hockle 64. amb:Ealing21. lfo:MisFocus 43. cmp:Flat Bass22. pad:Arianne 44. amb:Luge SloMo

Preset Notes:

- These 64 programs are the “best-of” patches from MODE.POLY. They don’t dependon either effects or the PolyArp, and are therefore most usable on this version of theplug-in.

MODE.POLY-CHORUS – Overview

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MODE.POLY-CHORUS – A simple chorus module

MODE.POLY-CHORUS is a simple three-control true-stereo chorus effect that providesa wide range of chorus functions with fairly little overhead. The available controls andMIDI Controller values are the same as the MODE.POLY chorus section.

MODE.POLY-CHORUS Presets:

1. Thickener 5. Twilight Zone2. Heave 6. Sweet Gtr3. Gentle 7. 12 String4. Spread 8. Tree D

MODE.POLY-LFO – Overview

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MODE.POLY-LFO – An LFO Modulation Module

MODE.POLY-LFO implements the LFO Designer from MODE.POLY as a Pluggo-stylemodulator plug-in. You can route the output of this plug-in to any other Pluggo-based plug-in parameters. In addition to the controls provided within MODE.POLY,additional functions are provided to determine the mode, destination and range ofthe modulation, and a number box that displays the current value sent to thedestination.

The standard MODE.POLY-LFO controls are the same as the LFO Designer inMODE.POLY. If you have not used Pluggo “modulator” plug-ins, please refer to thePluggo guide included with the MODE distribution.

MODE.POLY-LFO Presets:

1. Squareish 5. Zim Zam2. Pick Em 6. Duality3. Rye Hamp 7. Try Hangle4. Plip Plop 8. One Ping

MODE.SPIN – Overview

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MODE.SPIN – Synchronized Multi-Effect

MODE.SPIN is a multi-effects unit that is time-based, and uses a “central” clockingmechanism to control all its effects. These effects include a multi-mode filter,distortion and bit-crunching effect, auto-panner, volume sequencer and stereo delay.The central clock can be host synchronized; in fact, this system is much more effectivewhen used with a host that provides synchronization information to the plug-ins.

MODE.SPIN – Controls and Parameters (Tempo)

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Controls and parameters:

Tempo Settings

All of the time-synchronization effects reference a central “clock”, controlled by theTempo Settings of MODE.SPIN. If you have a host-sync capable sequencer (such asAbleton Live, Cubase SX, Emagic Logic or Digital Performer), you will find it easy toclock effects to the music. However, with the ability to free-clock the effects, you canget interesting time-based effects in any host.

Host Sync When set on (the toggle button is red), and if the hostsequencer supports synchronization, the tempo will lock to thetempo of the host, and the clock segments will match the hostsequencer’s steps.

Values: on/off

Tempo When host synchronization is not on, the tempo control setsthe current “base tempo” of the master clock. The actual tempois displayed in the indicator to the right of the control.

Values: 50 – 200 (bpm)

32nds This sets the “step” values of the master clock. All of theMODE.SPIN effects use this step value to determine their “rate”functions. The slaved effects include:

Filter Frequency ModulationPanner Rotation SpeedVolume Step Sequencer RateDigital Delay Time

Rather than using a percentage of the tempo, the step value isset in terms of “number of 32nd notes” per step. Commonvalues are:

1 = 32nd note steps2 = 16th note steps3 = dotted 16th note steps4 = 8th note steps8 = quarter note steps16 = half note steps32 = whole note steps64 = one step every two beats128 = one step every four beats

MODE.SPIN – Controls and Parameters (Tempo)

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Odd times (such as 15-32nds) are useful in conjunction with thevolume sequencer and panner for interesting off-rhythm loops.

Values: 1-128 32nd notes

MODE.SPIN – Controls and Parameters (Filter)

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Filter Settings

The state-variable filter implementation in MODE.SPIN is enhanced by the time-syncfrequency modulation effect. The filter use can range from standard high- or lowpassfilter modification to swept notch (phase shifter-like) effects.

Filter Type The type of filter used for source modification. Click on thename of the filter type to change between types.

Values: lowpass, bandpass, notch, highpass

Cutoff The cutoff frequency used by the filter.

Values: 0-100% (20-20,000 Khz)

Resonance The amount of filter resonance introduced into the filter sound.This represents an amplitude “bump” near the cutoff frequency,and will sharpen the sound of the filter. High settings willinduce a feedback sound typical of analog filter emulations.

Values: 0-100%

Freq Mod The amount of modulation that will be applied to the filtercutoff frequency. This is slaved to the master clock, and will“rotate” at the speed of the step (32nds) valued.

Values: 0-100%

MODE.SPIN – Controls and Parameters (Distortion)

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Distortion Settings

Distortion is a part of our lives – it can enhance almost any sound. Two types ofdistortion are provided: overdrive (amp-style soft distortion) and bit reduction (thatparticular form of digital grit that comes from reducing the number of bits in theoutput audio).

Overdrive The amount of overdrive applied to the source (post-filter)sound. This will provide addition gain as well as a “gritty”overdrive distortion.

Values: 0-100%

Bitcrunch The amount of bit reduction applied to the source (post-filter)sound. This has the effect of creating a “crunchy” overdrivesound, and may also introduce significant background noise.High bitcrunch settings will result if very high output levels.

Values: 0-100%

MODE.SPIN – Controls and Parameters (Panner)

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Panner Settings

A simple auto-pan effect, the pan modulation is particularly effective when used withfilter modulation, giving the sweeping audio track both frequency and positionalchanges.

Pan Modulation This will alter the pan position of the source audio, slaved to thecurrent tempo and step (32nds) setting. Higher settings willauto-pan the sound across the stereo image.

Values: 0-100%

MODE.SPIN – Controls and Parameters (Volume Sequencer)

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Volume Sequencer Settings

The Volume Sequencer/Gater is the Big Deal effect in MODE.SPIN. Similar to thegating “transform” effects that are commonplace, MODE.SPIN’s implementationreplaces the typical on/off switches with individual volume sliders. This allows you topulse the music in sync with the beat, produce interesting gap effects or even reworkthe accents of a drum beat.

Gate Slew Determines the speed at which the individual “tempo gates”(volume sliders) reach their setting. 0% will step immediatelyto the gate level, while 100% will take almost the entire steptime to reach the value. This has the result of “smoothing”the volume sequence – turning it into a curve rather than astepped sequence.

Values: 0-100%

Tempo Gate Active When switched “on” (red), the output volume of the sourcesound (post-filter, post-distortion, post-panner) will bemodified to match the current step position. The currentposition is displayed to the right of the Active switch.

Values: on/off

Tempo Gate Depth The Tempo Gates are similar to the well-known “gating”effects, except that they are implemented as miniaturevolume sliders rather than on/off switches. This gives you anumber of interesting alternatives; from pumping the volumeslightly in rhythm to the beat, through the creation ofalternative syncopation beats. This Volume Sequencer is themost unique aspect of the MODE.SPIN effect.

The sequencer is slaved to the master clock. Steps areinitiated based on the current tempo and step (32nds)setting.

Values: 0-100% (each step)

MODE.SPIN – Controls and Parameters (Delay)

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Delay Settings

The delay tracks the core tempo of MODE.SPIN, helping to accent filter and panningmoves, or extend and fill gaps left by the Volume Sequencer. The use of the feedbackfilter helps give this delay a decidedly analog sound.

Feedback The amount of feedback used in the delay circuit. Since thedelay time is slaved to the master clock, high feedbacksettings will cause the introduction of multiple “echoes” intothe sound.

Values: 0-100%

FB Filter The amount of lowpass filtering applied to the feedbacksignal. This is useful for analog delay emulation, since thesound will appear to become more dull as echoes (from longfeedback) continue.

Values: 0-100%

Delay Mix The amount of delay that is mixed into the output signal.

Values: 0-100%

MODE.SPIN – Example Presets

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MODE.SPIN Presets:

1. Sixteenth Swirl 17. Pump Up2. Honking Eighths 18. Gap Road3. 2-bar Filter 19. Overwhelm4. Quarter Square 20. Spin Round5. Break 16 21. Shave & A Cut6. Trips Backbeat 22. Tappet7. 1-Bar Wonder 23. Major Healy8. Offbeat Delay 24. Twisty PSG9. 4-Bar Turn 25. Time Trial10. March Drive 26. Hiawatha11. Occasional Gap 27. Creyote12. Half-Dullard 28. Chase The Tail13. Whisk Away 29. Flabbergast14. Stadium Rawk 30. Once In A Life15. Statique 31. With No Delay16. Let Me Off! 32. Stolen Prop

Preset Notes:

All of the presets are stored with the “Host Sync” inactive. In most cases, if you areusing a sequencer that supports host sync (Digital Performer, Ableton Live, Cubase SX,Emagic Logic), you will want to turn synchronization on.

If you are using a host that does not provide synchronization, you will want to “printthe output to an audio track”, since the start point of the master clock will cannot beguaranteed to begin at the same point for each take.

SPIN-DELAY – Overview

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SPIN-DELAY – A Host-Sync Delay Module

SPIN-DELAY is a module created from the MODE.SPIN tempo and delay sub-systems.All of the controls are identical to those systems on MODE.SPIN.

SPIN-DELAY Presets:

1. Bring It Round2. See You Again3. Swoop In4. Warm Hug

SPIN-DIST – Overview

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SPIN-DIST – A Distortion/Bitcrunch Module

SPIN-DIST is the distortion section of the MODE.SPIN plug-in. It has an interestinginterplay between overdrive and bit-crunching, and is especially effective whenmodulated using Pluggo (or MODE) modulators.

The controls are identical to those used in MODE.SPIN.

SPIN-DIST Presets:

1. Pushing Valves2. Pulling Bits3. CoDependant4. A Little Of…

SPIN-FILTER – Overview

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SPIN-FILTER – A Time-Synchronized Filter Module

SPIN-FILTER is a filter module created from the tempo and filter sections ofMODE.SPIN. It uses the 32nd-note timing configuration that the main effect uses, andcan provide a wide range of interesting cross-sequenced filter moves by using theFreq Mod setting.

The controls of SPIN-FILTER are the equivalent of those of MODE.SPIN.

SPIN-FILTER Presets:

1. Howl Round2. Broom Sweep3. Take Yer Time4. Wrench Head

SPIN-PAN – Overview

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SPIN-PAN – Time-Synchronized Pan Module

SPIN-PAN is a combination of the tempo and panner systems from MODE.SPIN. Thisprovides a unique panner interface, and is completely morph-able using Pluggo andMODE modulator plug-ins.

The controls are the same as either MODE.SPIN equivalents. It has only one preset(called “Default”), since the plug-in is so simple…

SPIN-SEQ – Overview

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SPIN-SEQ – A Time-Synchronized Volume Sequencer

SPIN-SEQ is an implementation of the volume sequencer/gater from MODE.SPIN. Itallows you to synchronize to the master sequencer clock, and generate both gatingand “groove” pushes. The slew control provides a smoothing algorithm to the systemfor smooth step transitions.

The controls are identical to those found on MODE.SPIN.

SPIN-SEQ Presets:

1. Hippity Hop2. Waves X23. So Typical4. Fader Ride

MODE.WASH - Overview

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MODE.WASH – Performance Looping Delay

MODE.WASH is a different kind of effect. While it can be used as a set of six normaldigital delay lines, it was designed as a “performance effect” – to be adjusted (orautomated) to create a sound wash of delayed sound.

The feature that makes this work is the Lock button on each of the delay lines. Whenthe Lock button is activated, input is turned off and feedback is automatically set to100%, effectively creating a loop with the current delay line contents. This loop can befiltered, time-shifted and volume/pan controlled to create a smooth loopingbackground. Additional contents can be added to the loop by reactivating the Recordbutton for a sound-on-sound effect.

Six delay lines can be fun, but it gets more exciting when the patching matrix is used.Using the matrix, you can route any output (including the live sound) to any of thedelay inputs, and set the audio output to be any combination of outputs. Emulatingthis system in hardware (using six Digital Echoplexes and a digital routing system)would tax the patience (and pocketbook) of anyone…

MODE.WASH – Parameters and Controls (Channel Controls)

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Parameters and Controls:

Channel Controls

Each channel in MODE.WASH is a complete digital delay line. With the delay lockingmechanism (which implements a pre-filter 100% feedback routing) and sound-on-sound recording, this is one of the most creative digital delays available as a plug-in.

Delay Time (knob) Controls the delay time as a percentage of the Delay Timebutton. For example, if the Delay Time button is set to 5seconds, and Delay Time knob is set at the half-way point, thedelay time will be 2.5 seconds.

Values: 1-100 %

Programming Hint:Once a channel is locked, changing this control will create asmearing pitch change that will be “recorded” by the feedbacksystem. It’s an interesting way to create interesting pitchsequences.

Delay Time(button)

Determines the coarse delay time of the channel.

Values: 0.1, 0.5, 1, 2, 5 or 10 seconds

Delay Time(indicator)

Blinks at a rate equal to the current delay time. Also, doublesas a “tap tempo” button, so you can clock the delay to thecurrent incoming audio.

Values: on/off

Programming Hint:Using the “tap tempo” function of the delay line is incrediblyhandy; you can clock the delay to incoming drum loops toprecisely capture a single beat, measure or phrase.

Record When set to “on”, the channel input (as determined by therouting matrix) is fed into through the delay line and to theoutput of the channel. If the Lock button is activated, theinput is overlaid on the current loop (sound-on-sound).

Values: on/off

Programming Hint:There is a tendency with this unit to focus on locking audio itothe channels. However, sometimes it is useful to use a channel asa simple delay live, either for further effects or for widening thestereo field. The walk-through below does this with one of thedelay lines.


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the channels. However, sometimes it is useful to use a channel asa simple delay live, either for further effects or for widening thestereo field. The walk-through below does this with one of thedelay lines.

If an unlocked channel does not have the Record button on, it isbasically “dead”. You can think of the Record button as a gatethat allows audio into the delay.

Feedback The amount of feedback (either positive or negative) fed backinto the delay line. This control actually exceeds typicalfeedback systems – it provides up to 120% feedback, allowingfor some howling feedback effects on each channel(especially noticeable at short delay times).

Negative feedback will provide a phase-inverted signel to thedelay line. This can provide interesting cancellation effectswhen combined with locked positive contents (or non-inverted signels from other channels).

Values: -120 to +120% feedback

Programming Hint:You can get interesting frequency cancellation effects byswinging high-level feedback from positive to negative settings.The phase-inverted signal will cancel some of the current delayline’s content, especially when used in conjunction with the filtercontrols.The “center” indicator of for the feedback control is actually abutton – click on the indicator, and it will automatically zero thefeedback amount.

Lock The lock button deactivates the record button, sets thefeedback amount to 100% and maintains the current loopcontents until the Lock button is turned off. This is the basisfor live looping and sound-on-sound effects.

Values: on/off

Filter Freq The cutoff frequency of the filter applied to the output of thedelay channel.

Values: 20Hz – 20 Khz

Resonance The amount of filter resonance applied to the filter. Highvalues will sharpen the sound of the filter, very high valueswill induce feedback similar to an analog filter circuit.


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will induce feedback similar to an analog filter circuit.

Values: 0-100%

LO/HI/BP/NT The four filter type buttons will determine which outputs ofthe multimode filter are active. The four filter types are:LO = LowpassHI = HighpassBP = BandpassNT = Notch

All (or none) of the filters can be simultaneously selected. Ifnone of the filters are selected, the delay line’s audio is outputdirectly to the volume and pan control.

Note: Occasionally, extreme filter settings may cause the filterto “lock” with either a high-pitched sound or completesilence. Turning the filters off, then reselecting the desiredfilters will “clear” the filter.

Values: on/off for each filter type.

Programming Hint:If you “perform” loop-based compositions, you should considerthe filter controls an adjunct to the mixer controls – it issometimes as interesting to fade out a track using the filterfrequency (in HP or LP mode) as it is to do a volume fade.

Level The output level of the delay channel.

Values: 0-100%

Pan The pan position of the delay channel (assuming that theoutput is routed to both the left and right output channels).

Values: 100% Left to 100% Right

Mute When turned “on”, this will mute the output of the channel,and will drop all output from the routing matrix.

Values: on/off

Solo When turned “on”, the output of the select channel(s) routedirectly to the main outputs. This is useful for tweaking thesound of a channel without having to mute or reroute thechannel’s outputs.


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Values: on/off

Programming Hint:The Solo Button is the most useful control when trying to findproblems with your looping delay lines, since it allows you tolisten to a single line without having to tear up your routingmatrix layout.

MODE.WASH – Routing Matrix

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Routing Matrix

While complex looking, the routing matrix is simple a complete 8x8 patchbay for all ofthe digital delay lines, as well as the plug-in’s inputs and outputs. For moreinformation on routing matrix techniques, read through the “walk-through” later inthis chapter.

Outputs (acrosstop)

The outputs of the various delay lines (as well as the inputsfrom the plug-in system) are located across the top of therouting matrix. Each of these outputs generates some signal– you get to choose where they get routed. Any output canbe simultaneously sent to all six delay channels as well as theplug-in outputs.

Inputs (down right) The inputs to each of the delay channels (as well as theoutputs of the plug-in system) are located along the right sideof the matrix. Each input can accept signals from any or all ofthe available outputs. If a feedback loop is created, the resultis automatically limited (although howling could stilloccur…).

Connections Clicking on an intersection of an input and an output willcreate a new connection or eliminate an existing one. Youcan create/delete a number of connections by clicking onone, then dragging the mouse across the routing matrix.

MODE.WASH – Example Presets

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MODE.WASH Presets:

Note: Since this is a performance effect, as opposed to a static one, presets are not asvaluable as those found in other plug-ins. We’ve provided 16 presets that are typicalstarting points for performance, with a short explanation of each:

1. Getting Started The most basic of useful starting points, this routes theleft and right inputs to the outputs (so you can monitorthe original sound), and also routes the left and rightinputs to delay channel 1. The output of channel 1 issent to the left and right inputs (allowing for panpositioning).

The Record button is enabled, meaning that delay ishappening “right now”.

2. One At A Time The left and right inputs are routed to all six delaychannels, and all six delay channels are routed to the leftand right outputs. In order to load the channels, justclick Record (and, eventually, Lock) to instantly have adelayed effect from the channel. The inputs are notrouted to the outputs, so you will only hear the delayand loop audio.

This is a typical beginning for a “looping” session.

3. Big Blur Similar to #2, all of the delay lines are routed forindividual recording. However, in this case, the delaytimes are set to each of the available options (differentfor each of the six channels).

Recording and/or locking on each of the six channelswill give a great blur of audio. The inputs are routed tothe outputs for some added messiness.

4. Nose To Tail This is, in essence, a tapped delay line. Each delaychannel gets its input from the previous channel’soutput, but all of the channel outputs are also sent tothe left and right outputs.

By changing the delay times for each “tap”, you cancreate oddball rhythms and backbeats.

5. Blank Slate “A patch about nothing”, this patch starts witheverything off (and, in fact, at their minimum settings),and the input routed to the output. If you don’t changeanything, you are just wasting a lot of CPU and memoryon some virtual “straight wire”.


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anything, you are just wasting a lot of CPU and memoryon some virtual “straight wire”.

This is a good place to start if you want to experimentwith MODE.WASH, but not have the “preconceptions” ofthe other presets.

6. Triple Stereo The delay lines are set to work on alternating left andright channels; this gives you a stereo delay times three.The Record buttons are already set, so stereo delayfunctions will begin immediately.

Using the Mute and Solo buttons to control and monitorthe delay times will help you tune the results to yourliking.

7. Stereo 30-Sec By linking three channels (at maximum delay time) foreach channel, this preset implements a 30 second delayfor each of the stereo channels. The 1->2->3 routecontrols the left side, while the 4->5->6 route controlsthe right.

8. The #6 Train This is an example from one of the developer’sperformance patches. The plug-in input is fed to delaychannels 1-4. Channel 4 is fed into 5, then 1, 2, 3 and 5are all fed into channel 6 (which acts as sort of an audiocollector for the rest of the channels). The result oflocking and tuning various channels is a wash of sound –and an inspiration for the name of this plug-in.

9. Howl Aquarium Four delay lines set to howl, this patch takes advantageof the built-in limiter to create resonant feedback withan interesting pan setup. An interesting bit of howl-round fun.

10. Spring Evening Three lines with nearly alike settings (mostly based onhipass filtering) and an interesting stereo spread.

11. Dented Whistling More feedback fun – this will burn you ears out in aboutten seconds. But until then…

12. Geiger Counter A different kind of feedback, this patch uses the routingmatrix to fold the output of two delay lines into eachothers inputs. The result is a smooth, glassy shimmer –feed it some audio, then turn it off; this patch will keepthings going for minutes.


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13. Stir of Echoes Using combinations of positive and negative feedback,this creates a “blossoming” of the delayed tone –especially useful with higher-frequency content.

14. Slinky Ember Waves Similar to patch #4, this is a tapped delay system, but thepan positions of each channel are set to surround youwith a swirl of audio.

15. Mere Frippery A simple little 2-channel stereo delay system, this usescomplimentary feedback settings to provide twodifferent delay times with a similar overall length forboth. The perfect patch for sound-on-soundexperiments, as well.

16. Dronespreader Another good example of a Wash-maker, this will takeany basic sustained input and turn it into an ultra-drone.

MODE.WASH – Performance Walk-through

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Performance/Recording Walk-through

Since MODE.WASH is a complicated, performance-oriented effect, its use may not beimmediately obvious. Therefore, a walk-through of its use would probably makesense. This example will use Digital Performer as a host, but the techniques involvedwould be the same for any host.

Step 1 – Setup

I’ve created a simple DP project with an audio track containing a variety of material –drum tracks, bass rumbles and squeaky synth lines. I just dragged a number of filesinto the project and lined them up. This audio track is going to be use to “load” thevarious delay lines with interesting noise; the actual contents aren’t important in thiscase.

I then open up the DP mixer screen and insert an instance of MODE.WASH on thataudio track. I start with the “Getting Started” preset. This is what the plug-in shouldlook like:


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If we play the audio track, we will hear the original sound, as well as an echoed versionof that sound. This verifies that things are working – a good first step!

Step 2 – Routing the Audio

In order to better understand this plug-in, you need to understand the routing matrix,which is the right side of the MODE.WASH display. First, let’s follow the routing of theoriginal sound through plug-in.

You will notice that audio sources coming into the plug-in (whether from outside ofthe plug-in or from internal delay lines) are lined up across the top of the matrix. Theaudio “receivers” are lined up on the right-hand side of the matrix. You use the


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routing matrix to connect sources to receivers in order to route audio among thevarious delay lines.

As illustrated above, creating a connection between the Left and Right Inputs to theLeft and Right Outputs sends the audio input directly out the plug-in’s output. This isthe reason we are able to hear the uneffected track’s audio.

Now, let’s look at the routing of audio into one of the delay lines. Routing the Left andRight Inputs into the Delay 1 Input sends the audio to the first delay line. Routing theDelay 1 Output to the Left and Right Output lets us hear the result. The followingillustration should help visualize the audio’s route through the delay:

Step 3 – Understanding the Channel

Once you have audio routed to a channel (in this case, the first delay line), it’s time tolook at the channel’s controls. The top section of each channel controls determinesthe delay time represented by the channel. While learning creative delay techniques isbeyond the scope of this walkthrough, we can generalize by saying that short delaytimes are good for capturing “grains” of sound, while longer delay times are useful forcapturing audio “phrases”.

The “delay time” determines the amount of time between when audio comes into thechannel until it is sent out. A simple graphic would represent this as:


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The Delay Time Button determines the maximum time you can select; the DelayTime Knob determines the percentage of that time that is used. So, for example, ifyou have a button selection of “5” (seconds), the knob will allow you to select a rangebetween 1 ms and 5 seconds. A halfway setting would represent 2.5 seconds. For thisexample, I’m going to choose a button setting of 1 second, with the knob at it’s three-quarter’s position (which means that I’ll have a delay line of approximately 750milliseconds).

The Record Button is going to be a most-used control for this plug-in; nothing getsinto a channel’s delay line without the Record button being turned on. You can thinkof it as an audio gate at the front of the delay line:

The Feedback Control routes the delayed audio back into the input. This changes thenature of the signal from being a single repeat into an echo with many repeats.Turning the control in the positive direction will send volume-scaled output back tothe input. If you turn the control in the negative direction, a phase-inverted signal willbe sent to input.

The Lock Button “slams” the feedback control into a positive 100% loop – in essence,locking the current audio into the delay line. When you hit the Lock Button, itautomatically shuts off the Record Button, preventing any additional audio from beingadded to the delay line.


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The Filter Controls cause timbral changes in the output signal of the delay line (boththe output and the feedback line), but does not affect a “Locked” audio loop. Thisprovides the greatest amount of flexibility when dealing with locked signals in aperformance environment.

The Filter Controls allow for simultaneous use of four types of filters (hipass, lowpass,bandpass and notch), with continuously variable resonance. If you are used toworking with these types of multi-mode filter, a little experimentation will make youfamiliar with the system. If you haven’t used this type of filter before, you will probablyfind the most useful effect to be setting the type to “lowpass” (LP), turning theResonance control partway up, then sweeping the frequency. The result will befamiliar to most electronic musicians…

The remaining channel controls act as an output mixer section for the delay line. TheLevel and Pan Controls determine the volume and pan position of the channel’soutput. If you have the channel’s output connected to a single output, the pan controlis disabled. The Mute and Solo Buttons are mixer-like controls that can help you tunedelay lines in complex routing situations. Clicking on a channel’s Mute Button willshut off the output of the channel, while the Solo Button will allow you to hear thechannel’s output directly (bypassing all routing setup). The Solo button is the key totracking down loop problems, since you don’t have to tear down the routing matrix tolisten to an individual channel’s output.

Step 4 – Working the Channels

Now that we have an understanding of the channel controls, let’s get to “working”them. In DP, I set the sequence loop to the first bit of data, and start it running. I canhear the results (because of the in-to-out routing), and I can hear a delay (because ofthe routing through the first delay channel, and the Record Button is on). I set theFeedback control to a medium high setting, and wait for an interesting blur to form.


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Once I hear what I like, I hit the Lock Button. The Record Button is turned off(automatically), and I now have a bit of data locked into the delay line. By turning offthe “live” input, manipulating the filter (set in lowpass mode), volume and pan, I nowhave a soft murmur of sound captured as a bed track.

Step 5 – Adding More Channels

Now I want to use the second delay channel to capture some additional sound. I don’twant to bothered (right now) with the output of channel 1, so I mute it. This doesnothing to shut down the loop – it just gets it out of the way temporarily.

I now route the plug-in’s inputs to delay channel 2, and that delay’s output to theplug-in outputs. I set up the delay time to the maximum (10 seconds), and max outthe delay time knob (giving me the full 10 seconds to work with). I set DP’s sequenceloop to the second set of audio, click the Record Button, and in a few seconds I start tohear the delayed output. I click the Lock Button, and now have a longer phrase lockedinto delay channel 2.

Since the lock object forces a recycle of the data from the delay line, I can nowmanipulate the delay time for some fun pitch sequencing. I grab the knob and ratchetit up and down. The pitch of the recycled data changes, and I now have a quirky pitchsequence in the delay line. I set the filter to hipass (HP), and move the frequency fairly


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high position, leaving me with some skittering audio to mix with the first delaychannel.

Next, I want to add a bit of shimmering background to the mix. I mute channel 2’soutput (so I can focus on the new channel), set DP’s sequence loop to the third audiosegment, and start the sequencer. I patch the plug-in inputs into the third delay line,and send the third delay line output to the plug-in output. The delay time is set veryshort (.1 seconds, knob midway), and feedback is set very high. The sound of the delaywill start feeding back very quickly, and I slam the Lock Button in a hurry. I now have abit of a squeal going in channel 3.

I now put the delay time knob to its maximum position – the pitch of the tight loopdrops to a gritty buzz. I use the bandpass filter to tame the sound, and drop thevolume to help it fit in the background a bit:


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Now, to make channel 3’s output a little “wider”, I’m going to use channel 4 as astandard digital delay (without a locked-in loop). I send the output of channel 3 intothe input if channel 4, send channel 4’s output to the mix, click on the Record Buttonand spread channel 3 & 4 in a wide pan configuration. I now have a wide stereo fieldfor my buzzy loop.


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Step 6 – Recording the Results

Finally, I want to record this result in a DP channel. I go to my sequencer, create a newaudio channel, and prepare it to record the data. Also, in order to hear the effect in realtime, I set up an Aux channel for monitoring. Hitting record, I let the sequencer runwhile slowly mixing in the various channels of delays (using Wash’s level controls) andmanipulating the filter and pan controls. The result is a “performed” wash of soundthat would be difficult to create in any other way.

If I wanted to be more “detailed” about the creation of the loop, I could have used DP’seffects automation system to manage the performance, but I’ll have to admit that it’s abit more fun doing it on-the-fly…

More Information on Loop Performance

The history of delay-based looping is a long one, and filled with interesting charactersdoing a wide variety of music. A good starting point for experimentation would be tocheck in with the Looper’s Delight web site (www.loopers-delight.com) - you will finda wide variety of resource on looping artists, techniques and more places to look!

MODE.WASH-1CHAN – Overview

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MODE.WASH-1CHAN – A 1-Channel Looping Delay Module

MODE.WASH-1CHAN is a single channel version of the MODE.WASH plug-in, with aMix control replacing the Pan control, allowing for its use as an insert effect in mosthosts. The other controls work identically to the MODE.WASH effect.

Since MODE.WASH-1CHAN is a “performance-oriented” effect, there is only one preset(named “Default”), that will be automatically opened by your host application. It is anappropriate starting place for experimentation…

Programming Hints:As mentioned with the MODE.WASH controls, there is a hidden function in the delay timeindicator. Click on the flashing button twice to determine a “tap tempo”. This is a greatway to clock the delay to a musical phrase or drum loop.

Another hidden function is the “center” indicator on the feedback control. Click it in orderto set the feedback to 0% - a great starting point for most looping functions.

Appendix A: Included waveforms

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MODE.POLY Waveforms

Waveform 0

Waveform 1

Waveform 2

Waveform 3

Waveform 4

Waveform 5

Waveform 6

Waveform 7

Waveform 8

Waveform 9


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Waveform 10

Waveform 11

Waveform 12

Waveform 13

Waveform 14

Waveform 15

Waveform 16

Waveform 17

Waveform 18

Waveform 19


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Waveform 20

Waveform 21

Waveform 22

Waveform 23

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