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Panel Reference |
Page 41 |
Modulation of Oscillator 2 pitch: Please note you can modulate the pitch of Oscillator 2 in various ways: from LFO 1, the Mod Env and from the Mod Wheel, for example. This can be used to create harmonically varying timbres with a very characteristic sound.
Sync and Ring Modulation can be activated at the same time. Just press the Ring Mod/Sync button until both indicators are lit.
Pulse Width
This setting only has any effect if Pulse wave is selected for either oscillator or both. It adjusts the pulse width of the Pulse waves.
There’s only one Pulse Width setting, and it is common for both oscillators.
▼When you turn the knob all the way to the left you get a perfect square wave which has a characteristic “hollow” quality.
▼When you turn the knob clockwise, the sounds gets progressively thinner. See page 79 for a general introduction to pulse waves and pulse widths.
Pulse Width Modulation: Please note that the Pulse Width can be modulated by LFO 1 and the Modulation Envelope. This creates a sweeping “chorus-like” effect suitable for pads and string sounds.
Amplifier
The Amplifier section is used to adjust the volume of the sound.
The Amplifier Envelope consists of the Attack Decay, Sustain and Release parameters. The Amplitude Envelope is used to give the sound it’s basic shape (soft, slow, short, long etc.) for an introduction to envelopes, see page 86.
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Key Down |
Key Up |
Page 42 |
Panel Reference |
Attack
This control is used to adjust how long it takes for the sound to reach full volume after a key has been pressed. If the knob is turned fully counter-clockwise, the Attack is instantaneous. If the knob is turned all the way to the right, it lasts many seconds.
Decay
After the attack phase is finished (and you haven’t released the key), the Decay begins. During the Decay phase, the sound decreases in level, and continues to do so until it reaches the Sustain level (see below). The Decay knob is used to adjust how long this should take.
Sustain
This is the level the sound will reach after the Decay phase. Once this has happened, the sound will stay steady at this volume until the key is released.
Please note that the Sustain parameter is used to set a level, while Attack, Decay and Release all are used to set times.
Release
This knob is used to adjust how long time it will take for the sound to decay to silence after you have released the key.
Gain
This is used to adjust the overall Level of the Sound. This parameter is mainly used to balance one Program against another.
Filter
HP 24 db LP 24 db LP 12 db
BP
NOTCH + LP
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PANIC
The Filter is the most important section for shaping the overall timbre of the sound. Nord Lead’s filter can be switched between various types. It has the standard main Frequency and Resonance control. The Attack, Decay, Sustain and Release parameters make up the Filter Envelope. These, together with the Envelope Amount knob, can be used to make the Filter frequency vary as the sound progresses, when you press and hold a key.
For an introduction to filters, see page 81.
Panel Reference |
Page 43 |
Filter Type
LP 12dB: LP stands for low-pass. A low-pass filter lets low frequencies pass and cuts out higher frequencies. Exactly which frequencies get cut out is determined by the Filter Frequency setting (and various other controls, as described below).
In the 12dB low-pass mode, the filter has a gentle roll-off curve (12dB=2poles). This mode leaves more harmonics than the 24dB variation discussed below. This type of filter has been used in various Oberheim synthesizers and others.
Amplitude
Fc (Cutoff Frequency)
Frequency
LP 24 dB: This is the classic synth filter used in the Minimoog and Prophet-5, among others. It cuts out high frequencies rather drastically (24db=4 poles).
Amplitude
Fc (Cutoff Frequency)
Frequency
HP 24dB: HP stands for high-pass. This filter is the opposite of the lowpass filter, that is it lets the high frequencies pass and cuts out low frequencies. The filter has a rather steep curve.
Amplitude
Fc (Cutoff Frequency)
Frequency
Page 44 |
Panel Reference |
BP: To select this type of filter, press the Filter Type button until both the HP and LP 24 buttons light up.
BP stands for band pass. In this mode the filter let’s frequencies in the “mid-range” band pass through, while lower and higher frequencies are cut out. Each “slope” in this filter has a 12dB (2-pole) roll-off.
Amplitude
Fc (Cutoff Frequency)
Frequency
Notch+LP: To select this type of filter, press the Filter Type button until both the LP 12 and LP 24 buttons light up.
A notch (or band reject) filter can be seen as the opposite of a band pass filter. It cuts off frequencies in a “mid-range” band, letting the frequencies below and above through. However, a plain notch filter is not very musically useful, since it often lets too many frequencies through, resulting in a very sharp, harsh sound. Therefore, the notch filter in Nord Lead 2 is combined with a 12dB Lowpass filter, resulting in a filter curve that looks like this:
Amplitude
Fc (Cutoff Frequency)
Frequency
The audible result of this filter combination is a sound with plenty of body, some of the upper mid-range “bite” removed but a certain amount of high frequencies still present. This type of sound could be very useful for soft, yet clear pads, etc.
The special characteristics of the Notch+LP filter will be most obvious with low Resonance settings.
Panel Reference |
Page 45 |
Frequency
This is the overall control for which part of the frequency spectrum the filter should operate.
▼If you for example select the 24dB filter and turn the Frequency knob clock-wise, more and more highfrequency material will be allowed to pass through the filter.
Amplitude
Filter Frequency
Frequency
Please note that if the Envelope Amount setting is raised from its full left position, turning the Frequency knob might not change the sound as expected. For more information, see below.
Resonance
This control is used to further adjust the characteristics of the Filter.
▼If you are using the 12 or 24dB low pass filter, increasing resonance will emphasize frequencies around the set Filter Frequency, making the sound thinner. Further raising the knob will make the sound resonant to a point where the filter adds a ringing quality to the sound. Exactly where in the frequency spectrum this “ringing” appears, depends on the Filter Frequency setting.
Amplitude
Resonance
Frequency
Filter
Frequency
▼If you have the high-pass or LP+Notch filter selected, increasing Resonance will work pretty much as with the LP filter.
▼When you use the band-pass filter, adjusting the Resonance adjusts the width of the pass-band. When you raise the Resonance, the band where frequencies are let through, will become narrower.
Page 46 |
Panel Reference |
Envelope Amount
This is used to set to what degree the Envelope (see below) should affect the filter. The more you raise this knob, the more drastic the effect will be.
This knob operates in addition to the Filter Frequency setting. This means that if you for example set the Frequency knob half-ways, the filter will be already half-ways open the moment you press a key. The envelope will then be used to open the filter further. Exactly how much further is determined by the Envelope Amount setting.
Amplitude
Frequency
Filter Frequency |
Filter Envelope |
Setting |
Amount Setting |
Total Filter Frequency
Let’s take another example of the relation between Frequency and Envelope Amount: If the Filter Frequency knob is already turned fully right, the Envelope Amount setting has no effect at all, since the filter is already fully open the moment you press the key.
Attack, Decay, Sustain and Release
These are the parameters for the Filter Envelope. They are identical in functionality to the settings in the Amplifier Envelope, described on page 41.
Velocity
When this switch is activated, the Envelope Amount varies with Velocity (how hard you play the keyboard). For this switch to have any effect, the Envelope Amount setting can’t be set to zero (full left).
Please note that more detailed velocity control can be achieved with the velocity programming function.
Kbd Track
▼With this switch turned off (none of the indicators are lit), the Filter Frequency setting is constant regardless of where on the keyboard you play.
▼When Keyboard Track is activated, the filter frequency setting will be higher for higher notes as indicated in the illustration below. You can select between three degrees of Keyboard Track: 1/3, 2/3 and “full”, as indicated by the LEDs above the button.
1/3 Kbd Track: |
2/3 Kbd Track: |
Full Kbd Track: |
2 3 |
2 3 |
2 3 |
FULL |
FULL |
FULL |
1 |
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3 |
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Panel Reference |
Page 47 |
The reason for using the Keyboard Track switch is related to basic acoustics. If you raise the pitch of a waveform, the harmonics naturally raise in frequency. If the filter frequency is then constant, the sound will be perceived as getting muddier the higher up the keyboard you play. To avoid this effect, use KBD Track.
Amplitude
Frequency
Distortion
When this is activated, the sound is slightly distorted, which adds some harmonics and creates a rawer, more screaming sound.
LFO 1
FM
OSC 1+2
OSC 2
FILTER
PW
LFO stands for Low Frequency Oscillator. An LFO is an oscillator producing waveforms with a certain pitch, just like Oscillator 1 and 2. The differences are two:
▼The LFOs produce waveforms with very low frequencies.
▼You never hear the actual output of the LFO. Instead the output from the LFO is used for modulating, that is controlling other functions, like for example the main oscillator frequency (vibrato) or the filter frequency (wah-wah).
Page 48 |
Panel Reference |
Waveform
This is used to set the shape of the output from the LFO:
Soft Random: This adds smooth random modulation to the destination. This is mainly useful for effect sounds.
Square: This is a waveform for “abrupt” modulation changes, suitable for trills, distinct tremolos, etc.
Triangle: This is suitable for “normal vibrato” effects and for classic pulse width modulation.
Sawtooth: This creates a ramp which can be used for example for auto-repeats when applied to the filter.
Random: This adds stepped random modulation to the destination. This is mainly useful for effect sounds.
Rate
This is used to set the frequency of the LFO, in other words “the speed of the vibrato”.
The rate can be controlled externally, via MIDI, see page 63.
Destination
This used to set which parameter the LFO should affect:
FM: This routes the LFO to the FM Amount, for special timbric changes.
Osc 1+2: This routes the LFO to the frequency of both oscillators, in equal amounts. Together with the triangle waveform this creates traditional vibrato.
Osc 2: This routes the LFO to the pitch of oscillator 2 only. This can for example be used together with Sync (see page 40) to create a “pulsating” change in timbre.
Filter: This routes the LFO to the Filter Frequency. This can for example be used for wah-wah effects (triangle wave) and for auto repeating sounds (sawtooth wave).
PW: This routes the output of the LFO to the Pulse Width of both oscillators. For this to have any effect, pulse wave must of course be selected for at least one of the oscillators. This destination can be used with an LFO triangle waveform to create a “chorus-like” sound, suitable for strings and pads.
Please note that this function operates relative to the Pulse Width setting. For optimal results, please match the Pulse Width and LFO Amount settings (see below).
Amount
This is used to set to what extent the signal from the LFO should be routed to the destination.
Please note that the Amount can also be controlled from the Modulation wheel, see page 53.