NEWS | SYNTH A-Z | FORUM | SynMag - Das SYNTHESIZER-MAGAZIN | KONTAKT | MOOGULATOR
Modular | Analog | Digital | Sampler | Soft | Drums | Groovebox | Sequencer

Radikal Spectralis

From Synthesizer Wiki
(Redirected from Spectralis)
Jump to: navigation, search

Radikal Technologies Spectralis Groovebox / Sequencer


Features

  • Hybrid Synth with 4 OSCs & Moog style analog 24 dB LP Filter and 12 dB analog Multimode Filter (4 Filter Types)
  • 192th resolution chase light sequencer that can handle independent Tracks (back & forth) and Trigger little "Track Envelopes" as a Modulation Source.
  • Filterbank
  • Samples 96MB

Tips & Tricks

Quick switch between 2 different OSC pages

you can switch directly between two OSC pages using the [OSC WAVE] & MACRO CTRL encoder
[OSC WAVE] memorizes the last selected page
[MACRO CTRL] memorizes any page between 10 and 26

Sometimes an Encoder memorizes two pages - needs further investigation and description

Shorten a motif

press [MOTIF] and then display encoder [EDIT] <br> the following display page allows you to change the length & loop type of a motif

Init Sound

[SHIFT]+[SET ROUTING] intializes the H-Synth Part. <br> You don't hear anything afterwards, because alle TriggerGroups are cleared. Hold down [12/Analog Synth] while in Part Select Mode to enter the TriggerGroup Pages, then use the Page Keys to access the TriggerGroup assign Pages. Assign all Elements to TG1 for a normal H-Synth Sound.

How to use different FX Send Levels for MM Filter, LP Filter and Filterbank

Beside the H-Synth global FX1 Send accesible via [FX1-SEND] there are different FX1 Send controls for MM Filter, LP Filter and the Filterbank. The Send for MM & LP Filter can be found in the [EG DEPTH] menu page 5&6. The Filterbank FX1 Send has a dedicated knob [FB>FX1/12].

Different FX Levels are usefull if you have multiple TriggerGroup, for example a dry LP Bass Sound, a MM Lead Sound with medium delay and a Filterbank with lots of delay.

LFOs have no effect

The the [MOD DEPTH] of the global LFOs must be > 0, because the mod depth is the master Level control for a global LFO. The Voice/Filter LFOs only work as a mod source if their original Amount is > 0.
Example : You can only modulate TLM of OSC1 with the LP Filter LFO if the LP Filter LFO has a Mod Depth > 0

Dyn and Fix in the file system

To save the settings for dynamic (Dyn) or fixed (Fix) loading, the archive flag of the FAT file system is used. Archive flag on is equivalent to fixed loading. Dynamic loading means the archive flag is off.

Backups on Windows

There is a freeware tool called Robocopy which is included since Windows Vista. It allows to not change the file attributes like the archive flag which is important for the Spectralis.

Display Reference

Analog Synth

VCO

via [OSC WAVE] or [MACRO CTRL]

 Page 1/26 VCO Shape
 ^Osc1 ^Osc2 ^Osc3 ^Osc4

Oscillator Waveform Selection
0=Sine, 64=Triangle, 127=Sawtooth, 196=Rectangle

  1/2:VCO? WAVE
  ^Shape:255 ^Tlm:100 Sync:0  (Sync OSC1 only) Ring:off (Ring OSC4 only)  

Tlm = Time Linearity Modulation kind of Pulse Width Modulation
Sync = Oscillator synchronisation adjustable between soft and hard sync
Ring = Ringmodulation

   VCO ? Waveform Modulation
   Src1:  Dpth1:  Src2: Dpth2:

Waveform Modulation
Src1/2 : Modulation Source
Dpeth1/2 Modulation Depth

   VCO ? Tlm Modulation
   Src1:  Dpth1:  Src2: Dpth2:

Time Linearity Modulation (Pulse with modulation for all waveforms)
Src1/2 : Modulation Source
Dpeth1/2 Modulation Depth

  2/2:VCO? WAVE
  O3PM:0 O4PM:0 O3FM:0 O4FM:0  Osc3 & 4 can be used for either PhaseModulation (like yamaha FM) or real FM

O3/4PM : Phase Modulation Amount (like Yamaha FM) by Oscillator 3 or 4
O3/4FM : Frequency Modulation Amount (traditional FM) by Oscillator 3 or 4

 2/26:VCO EG
 ^Osc1 ^Osc2 ^Osc3 ^Osc4 

Oscillator Envelope macro - adjust ADSR Envelope with just one dial

Subpages see Envelopes Section which contains all AnalogSynth Envelopes

 3/26:VCO FB Volume
 Osc1-4 

Filterbank Feed Level

 4/26:VCO MM Volume
 Osc1-4 

12dB Multimode Filter Feed Level

 5/26:VCO LP Volume
 Osc1-4 

24dB LP Filter Feed Level

 6/26:VCO FX1 Send
 Osc1-4 

FX1 Send for each Oscillator - use for fm sounds that don't use a filter

 7/26:VCO Bus Volume
 Osc1-4 

Bus Volume Level - dry osc signal level
use for fm sounds without filter

 8/26:VCO Bus Panning
 Osc1-4 

Bus Panning - adjusts the paning of the

 9/26:VCO EG Bypass
 Osc1-4 

Oscillator Envelope Bybass Level - set to max to deactivate VCO EG

 10/26:VCO1 TLM
 TlmM:0 TlmF:VCO? WaveM:0 WaveF:VCO?

TlmM - TimeLinearityModulation Modulation Amount
TlmF - TimeLinearityModulation Source
WaveM - WaveformModulation Amount
WaveF - WaveForm Modulation Source
Page 11-13 contain the same settings for VCO2-4

 14/26:VCO1 Div1
 Sync:0 Glide:0 Pitch:A3 Scale:12

Sync (VCO1 only): Oscillator Synchronisation VCO 1 only
Ring (VCO 4 only): Ringmodulation between Osc 3 & 4 - Output replaces VCO4 Signal
Gilde : Glide Amount
Pitch : Pitch is the root key of the scale function. If you set the pitch to C3, the C3 of the keyboard will give you the original pitch - the keys above will react like set in the scale function and below the root in the opposite direction down.
Scale: By default, the scale is set to 12 - that means an octave has 12 halftones. Each halftone is a 1/12 octave step if set to 12. If you set the parameter to -12, each key to the right on your keyboard will have a 1/12 Octave lower pitch - so the keyboard is reversed then. (It is often fun to try a running sequencer line with one oscillator set to 12 and one to -12. Sometimes a coarse tuning together with a negative scale gives good sonic results. But you can set the scale also to 1 - that means the next halftone will be reached if you press one octave up at the keyboard. If it is set to 0, the pitch will not be changed at all. Each note at the keyboard then has an equal pitch. You can use this feature for all oscillators independently. Its a good way for creating clusters and FX sounds - especially when the oscillators are modulating each other with FM or PM.


Pages 15-17 contain the same settings for VCO2-4


 18/26:VCO1 Div2
 Crush:0 Phs:0 FmDp:0 PMod:2

Crush : Bitcrusher Amount - creates distortion and alliazing
Phs : Start Phase 0 - free running Osc (like analog) , 1-100 fixed start phase for use with fm/pm sounds

Pages 19-21 contain the same settings for VCO2-4

 22/26 Noise EG Feed
 FB:0 LP:0 MM:0 Bus:0

Noise Feed via Noise Envelope FB : Noise to Filterbank
LP : Noise to Lowpass
MM : Noise to MultiMode Filter br> Bus : Noise to Bus Amount

 23/26 Noise Direct Feed
 FB:0 LP:0 MM:0 Bus:0

Direct Noise Feed - Trigger and Envelope independent FB : Noise to Filterbank
LP : Noise to Lowpass
MM : Noise to MultiMode Filter br> Bus : Noise to Bus Amount


 24/26 VCO Key->Level
 ^Osc?:0

???

  1/4:VCO1 KSL
  Pitch:C-3 Pitch:C-3 Pitch:C-3 KsSc:12     - explanation needed 

???
2-4 contain the same settings for VCO2-4

 25/26 VCO Vel->Level
 Osc?:0

???

 26/26 VCO Phase
 Osc?:0  

Collection of all Osc Phase settings that can also be found on the VCO Div2 pages

via [OSC DETUNE]

 1/4 VCO Fine
 ^Osc1 ^Osc2 ^Osc3 ^Osc4

Osc1-4 fine tune amount

  1/12 VCO Fine Tune Modulation
  KeyPt:0 RndPt:0 VibSp:0
  2/12 VCO Pitch LFO
  LWve:0 LRte:0 LDpt:0
  3/12 VCO Pitch Modulation
  Src1: Dph1: Src2: Dph2:

4-12 contain the same settings for VCO2-4

 2/4 VCO Coarse
 ^Osc?:0
  VCO Pitch Envelope Preset
  ^Osc?:0
   1/4:VCO1 Pitch
   StPt:0 Time:0 Time:0 EndP:0

2-4 contain the same settings for VCO2-4

 3/4 VCO Key Scale
 Osc?:0 - collection of all VCO Key Scale settings that can also be found on the VCO Div1 pages
 4/4 VCO0 Pitch Mod
 PMod:0 PMod:0 PMod:0 PMod:0 - collection of all VCO PMod settings that can also be found on the VCO Div2 pages

via [GLIDE]

 VCO Glide
 Glide:0 Glide:0 Glide:0 Glide:0 

TODO - OSC Section Picture, Knob & Button modes

LFO

via [LFO WAVE]

 Master LFO Wave Menu
 ^LWve:0 ^LWve:0 ^LWve:0 ^LWve:0  - LFO Waveform 0=Sine, 64=Triangle, 127=Sawtooth, 196=Rectangle, 255=S&H
  1/4 Master LFO 1 Waveform Control
  LWve:0 LPhs:0

2-4 contain the same settings for LFO2-4

via [MOD DEPTH]

 Master LFO Modulation Depth
 ^LDpt:0 ^LDpt:0 ^LDpt:0 ^LDpt:0 
  1/4 Master LFO 1 Depth Control 
  LDpth:0 ^LEDp:0

2-4 contain the same settings for LFO2-4

   1/4 LFO 1 Depth Control Envelope
   LEDl:0 LEAT:0 LERl:0 LEDp:0

2-4 contain the same settings for LFO2-4

via [MOD DEPTH]

 Master LFO Rate Menu
 LRte:0 LRte:0 LRte:0 LRte:0 


VCF

via [CUTOFF LP] or [RESO LP]

 1/8 LP LFO
 FmWve:0 FmRte:0 FmDpt:0
 2/8 LP LFO
 FmEDl:0 FmEDa:0 FmEDr:0  FmEdp:0
 3/8 LP Depth
 EgAm:0 Kscl:12
 4/8 Lowpass CutOff-Modulators
 Src1: Dph1: Src2: Dph2: 
 5/8 Lowpass Resonance-Modulators
 Src1: Dph1: Src2: Dph2: 
 6/8 LP Feed
 BusV:100 Pan:<C> FB:0 MM:0
 7/8 LP FM Exp from
 LPFMX:0 LPFMX:0 LPFMX:0 LPFMX:0 
 8/8 LP FM Lin from
 LPFML:0 LPFML:0 LPFML:0 LPFML:0 

via [CUTOFF MM] or [RESO MM]

 1/7 MM LFO
 FmWve:0 FmRte:0 FmDpt:0
 2/7 MM LFO
 FmEDl:0 FmEDa:0 FmEDr:0  FmEdp:0
 3/7 MM Depth
 EgAm:0 Kscl:12
 4/7 Multimode CutOff-Modulators
 Src1: Dph1: Src2: Dph2: 
 5/7 Multimode Resonance-Modulators
 Src1: Dph1: Src2: Dph2: 
 6/7 MM Feed
 BusV:100 Pan:<C> FB:0 MM:0
 7/7 MM FM
 MMFMX:0 MMFMX:0 MMFMX:0 MMFMX:0 

via [EG DEPTH]

 1/6 MM EG
 Att:0 ^Dcy:12 Stn:104 Rls:23
 2/6 LP EG
 Att:0 ^Dcy:12 Stn:104 Rls:23
 3/6 MM Cutoff
 Att:0 ^Dcy:12 Stn:104 Rls:23
 4/6 LP Cutoff
 Att:0 ^Dcy:12 Stn:104 Rls:23
  
 5/6 LP Ctrl
 Exp:55 Reso:12 FX1:0 LPBP:0
 6/6 LP Ctrl
 Exp:55 Reso:12 FX1:0 LPBP:0

VCA

via [VCA LEVEL]

 Filter to Bus
 MM:232 LP:100 FB:0

via [FB BALANCE]

 Filter Pan
 Pan:<C> Pan:<C> 

via [EG BALANCE]

 1/8 VCO1 EG
 Att:0 ^Dcy:12 Stn:104 Rls:23 
 2/8 VCO2 EG
 Att:0 ^Dcy:12 Stn:104 Rls:23 
 3/8 VCO3 EG
 Att:0 ^Dcy:12 Stn:104 Rls:23 
 4/8 VCO4 EG
 Att:0 ^Dcy:12 Stn:104 Rls:23 
 5/8 Noise EG
 Att:0 ^Dcy:12 Stn:104 Rls:23 
 6/8 MM12 Envelope
 Att:0 ^Dcy:12 Stn:104 Rls:23 
 7/8 LP24 Envelope
 Att:0 ^Dcy:12 Stn:104 Rls:23 
 8/8 FB Envelope
 Att:0 ^Dcy:12 Stn:104 Rls:23 

Trigger Menu

via [ANALOG SYNTH] press for at least 2 seconds

 1/4:S01:<Song01> PA01:<PattA01> Pa12
 [Part12] [Part13]  [Part14] [current]  
 2/4: Trigger-Group VCOs
 VCO1:TG1 VCO2:TG1 VCO3:TG1 VCO4:TG1
 3/4: Trigger-Group Filter, Noise
 MM:TG1 LP:TG1 NSE:TG1 FB:TG1
 4/4: Trigger-Group Note-Priority
 TG1:HIGH TG2:HIGH TG3:HIGH  

Digital Synth

VCA

via [OSC WAVE]

 OSC WAVE
 C:Category S:Subactegory SampleName  [Init]

via [MACRO CTRL]

 1/2: OSC Sample Playback Mode
 Start:0 StartM:0 Mode:Poly Detn:0
 2/2: OSC Sample Playback Mode
 VDir:NORM

via [OSC DETUNE]

 1/2 Voice Modulators
 Src1: Dph1: Src2: Dph2: 
 2/2 Voice Modulators
 Mw:0 Vel:0

LFO

via [LFO WAVE]

 LFO Wave Menu
 Lfo1:12 Lfo2:121

via [MOD DEPTH]

 LFO Depth Menu
 ^Lfo1:127 ^Lfo2:13
   1/2 LFO 1 Depth Modifier Menu
   LEDl:0 LEAT:0 LERl:0 LEDp:0
   2/2 LFO 1 Depth Modifier Menu
   LMWD:0
   1/2 LFO 2 Depth Modifier Menu
   LEDl:0 LEAT:0 LERl:0 LEDp:0
   2/2 LFO 2 Depth Modifier Menu
   LMWD:0

via [MOD RATE]

 LFO Rate Menu
 Lfo1:14 Lfo2:56

VCF

via [CUTOFF LP] or [CUTOFF MM]

 1/3:Filter Parameters
 Scale:12 Ptich:A3
 2/3:Filter Cutoff Modulators
 Src1: Dph1: Src2: Dph2: 
 3/3:Filter Cutoff Modulators
 CoMw:0 CoVel:0S

via [RESO LP] or [RESO MM]

 1/2:Filter Resonance Modulators
 Src1: Dph1: Src2: Dph2: 
 2/2:Filter Resonance Modulators
 RsMw:0 RsVel:0

via [EG DEPTH]

 Cutoff Envelope
 Att:0 Dcy:24 Stn:55 Rls:33

VCA

via [VCA LEVEL]

 1/2:Volume Modulators
 Src1: Dph1: Src2: Dph2: 
 2/2:Volume Modulators
 Mw:0 Vel:0

via [FB BALANCE]

 1/2:Pan Modulators
 Src1: Dph1: Src2: Dph2: 
 2/2:Pan Modulators
 Mw:0 Vel:0  Pan:0

via [EG BALANCE]

 Volume Envelope
 Att:0 Dcy:24 Stn:55 Rls:33

Routing Diagram

This is a draft version of a routing diagram of the spectralis signal path.

You may need a special svg viewer for the file like inkscape.

Adding your own samples

With the software Spectralis Importer you can import 44,1 KHz, 16 bit .wav files or Soundfont files (for multisamples) and convert them to Spectralis compatible files.

You can create Soundfont files with Viena (Win32) and Swami (Linux).

Links



I would like to thank the following people:

  • Lichttank from the spectralis forum for contributing the routing diagram.
  • Jörg Schaaf for further parameter explanations (and for creating this wonderful machine)