Octopus Manual - LinPlug Virtual Instruments

CreditsConcept byInstrument byGraphics bySounds byManual byMaxx Claster and Peter LinsenerMaxx Claster and Pavol MarkovičBranislav PakićBIG!TONE, ProSounds, Summa, Tim ConrardyChris ShareMany thanks to Alex Hapted, the “mighty hero” Brice Duncan, Cliff Douse,Dan Rose, (Abletons) Frank Hoffmann, the microtuned Jacky Ligon, JoakimFahlström, Kelvin Russell, “Superflausch” Marco Lehmann, Martin Pace,“Biller” Michael Kjeldgaard, Ned Bouhalassa, Patrick Anglard, PatrickRobert, “Tonal Axis” Richard Hider and ToTc-Frank!Manual 1

WelcomeThank you for purchasing the Octopus Dual Matrix Synthesizer.The Octopus is a fully professional, highly-flexible, easy-to-use softwaresynthesizer designed for creating music on your personal computer.The Octopus's key features include:• Frequency Modulation synthesis with 10 modulation sources and 8modulation destinations (full cross-modulation, adjustable feedback forany oscillator)• 8 additive oscillators using sample-based or user-created waveforms• Two independent classic multimode filters (filters are available as FMsources)• Up to 32 envelopes with multiple, syncable segments, free-run, loopingand adjustable slope• Graphical envelope editor with sophisticated editing functions• Envelopes can be used to modulate a wide range of parametersincluding amplitude, mix, panning, pitch, frequency and phase• Stereo effects section with 4 effects (parametric EQ, chorus, delay andreverb)• Two step sequencers• A selection of high quality presets in a wide range of stylesThis manual describes all aspects of the Octopus synthesizer and isdesigned so that your use of this software is as efficient and as enjoyableas possible.We feel that the Octopus is an exceptional instrument because of its uniquesound and character. We hope you get a lot of pleasure using the Octopussynthesizer and that it becomes an integral part of your music-making.The LinPlug team, December 20052 Manual

Table of ContentsCredits............................................................................................................1Welcome........................................................................................................2Installation......................................................................................................5Features.........................................................................................................6Overview........................................................................................................7Controls..........................................................................................................9Oscillator Matrix...........................................................................................10Sampler........................................................................................................12Oscillator Editor............................................................................................15Filter.............................................................................................................19Envelope Editor............................................................................................21Overview..................................................................................................21Envelope Destination...............................................................................22Envelope Editing......................................................................................23Fix Points.................................................................................................25“+-”...........................................................................................................25Numerical Display....................................................................................25KBD/VEL..................................................................................................25MIDI Modulation.......................................................................................26TMP Sync................................................................................................26Release....................................................................................................27Free-Run.................................................................................................27KBD Rate Scaling / VEL Rate Scaling.....................................................28Envelope Matrix...........................................................................................29Envelope Bank Select/Envelope Select..................................................30Envelope Editor Menu.............................................................................30Matrix Nodes...........................................................................................31Effects..........................................................................................................32Chorus.....................................................................................................32Delay........................................................................................................33Reverb.....................................................................................................35Equalizer..................................................................................................36Manual 3

Master..........................................................................................................37Step Sequencer...........................................................................................38Seq 1/Seq 2.............................................................................................38Menu........................................................................................................39Steps........................................................................................................39Shuffle.....................................................................................................40Transpose................................................................................................40Random...................................................................................................40Ping-Pong................................................................................................40Pattern Display........................................................................................41Unison/Glide................................................................................................42Transp (Transpose).................................................................................42Voices......................................................................................................42Unison......................................................................................................42Detune.....................................................................................................43Glide........................................................................................................43Legato......................................................................................................43Bend........................................................................................................43Miscellaneous..............................................................................................44Bank/Preset.............................................................................................44File Controls............................................................................................45Microtuning..............................................................................................45LinPlug/Octopus Logos...........................................................................45Registration..................................................................................................46Optimizing CPU Usage................................................................................48Glossary.......................................................................................................49MIDI Implementation Chart..........................................................................51Appendix A: Using TUN files in the Octopus...............................................52Tutorial: Programming your own patches....................................................544 Manual

FeaturesThe Octopus contains a range of features designed to make your musicmakingmore efficient and enjoyable. These features include:• 2 independent sound generation modules• 8 additive oscillators• Each oscillator can contain up to 32 harmonics• Each oscillator's spectrum is fully editable• Each oscillator has sample-analysis capability• Additive oscillators can be configured for 8-oscillator FM synthesis• Waveforms can be easily edited by the user and new waveforms can becreated in seconds• Matrix-FM with 8 oscillators, full cross-modulation, adjustable feedbackfor any oscillator• 8-slot sampler with adjustable keyboard range• Sampler loads WAV/AIFF samples up to 24bit/192kHz• 2 independent, multimode filters with modulatable cutoff and resonance• Filters are available as FM sources• Up to 32 envelopes with up to 64 host-syncable segments, free-run,loop and adjustable slope (curve)• Envelope matrix offers modulation of amplitude, mix, panning, pitch,frequency, phase of any oscillator and filter cutoff and resonance• Graphical envelope editor with advanced editing capabilities• Envelopes can be scaled to keyboard and velocity independently• A stereo effects section containing 4 effects units including chorus,delay, reverb and a 4-band parametric equalizer• Warm tube-like distortion• 2 sophisticated 32-step sequencers/arpeggiators• Unison and Glide• Microtuning support• 12-voice polyphony (CPU dependent)• Adjustable voice limit (1...12)• Sample accurate timing• Fully recognizes Velocity, Aftertouch, Pitch bend, Modwheel and variousother MIDI controllers• Envelopes, oscillator waves, sequences, and complete sound programscan be saved to disk and loaded from disk6 Manual

All modulation within the Octopus is performed using envelopes. Envelopesare the key to modulating audio signals within the Octopus and can be usedto produce a wide range of modulation effects.Available modulation destinations include: Amplitude, Mix, Panning, Pitch,Frequency, Phase, Cutoff and Resonance. The Envelope Editor featuressophisticated editing capabilities that make working with it very fast andeasy. MIDI Controllers can also be used in combination with the Octopus’envelopes.The Envelope Matrix is used to set the actual destination of the envelope(for example, the amplitude of Oscillator 1). Available destinations includeall 8 Oscillators, the 2 Filters and the Sampler.Hopefully, this chapter has given you a brief overview of how the Octopusworks. More detailed information can be found in the following chapters.8 Manual

Oscillator MatrixThe Octopus has two different modules for generating sound. These arethe Oscillator Matrix and the Sampler. These two modules are located inthe upper left corner of the instrument's front panel. Only one of thesemodules is visible at any time. If the Oscillator Matrix is not visible (that is,the Sampler is currently being displayed) then you can switch to theOscillator Matrix by clicking on the Matrix/Sampler buttons which arelocated in the lower right corner of the Oscillator Matrix/Sampler module.This section of the manual describes the Oscillator Matrix module. Forinformation about the Sampler module please refer to its section in thismanual.The Oscillator Matrix is essentially a router which allows you to send audiosignals to various destinations within the synthesizer.SourcesSignal sources are located on the left-hand side of the module and consistof the instrument's 8 Oscillators and 2 Filters.Each source can be sent to any or all of 11 different destinations. Theseinclude the instrument's 8 Oscillators (for FM synthesis) and 2 Filters (forfiltering), or the main output mix. The panning of the Mix signals can alsoset here.Each Oscillator has its own On/Off switch. To activate an Oscillator, click onthe Oscillator's label. When an Oscillator is switched on it is illuminated,otherwise it is dark. If you don’t want to use one of the Oscillators it's best toswitch it off as this conserves CPU resources. However, make sure that at10 Manual

least one Oscillator is switched on, otherwise the module will not produceany output.The parameters for each Oscillator can be set in the instrument's Oscillatormodule. This module is described in the Oscillator section of this manual.DestinationsThe destination for each Oscillator is located from left-to-right across theMatrix. Each Oscillator can be sent to Oscillators 1 to 8, the inputs of the 2Filters and the output mix. The output from each Filter can also be routedback to any or all of these destinations.NodesThe amount of signal sent to a particular destination is determined by thesetting of the Matrix node. This can range from -1.0 to +1.0. When thesignal level is set to 0.0 the node is deactivated.One of the key features of the Octopus is that its Oscillator Matrix can beused to produce FM (Frequency Modulation) synthesis. See the Quickstartsection of this manual for a simple example of how to create an FM patch.Manual 11

SamplerThe Octopus' Sampler module is located in the upper-left corner of theinstrument's Front Panel. If the Sampler module is not visible (that is, theOscillator Matrix is currently being displayed) it can be accessed by clickingon the Matrix/Sampler button located in the lower-right corner of themodule. This section of the manual describes the Sampler module. Forinformation about the Oscillator Matrix module please refer to its section inthis manual.The Octopus' Sampler module functions as an audio sampler playing backaudio files when triggered.Sampler SlotsThe Sampler module consists of 8 sample slots located on the left of themodule. Each slot can contain one audio sample. When a slot is empty it isdeactivated. This is indicated by its dark colour and the absence of asample name in the slot's display.Clicking on the "sample slot" opens the Load Sample dialog which enablessamples to be loaded into the currently selected slot. Once a sample isloaded into a slot, its name is displayed. To the right of the sample's nameis the Delete button ( Trash icon). Clicking on this button removes thesample from the selected slot.Each sample slot has the following controls: Low Key, Root Key, KBD TRK(Keyboard Tracking), USE LPS, F1/F2, PAN and MIX. These controls aredescribed below.12 Manual

Low KeyThe Low Key setting is used to determine the lowest note that triggers theselected sample. Each sample is played from its Low Key up to anotherssample's Low Key (no overlapping is permitted).Root KeyThe Root Key setting determines the key that plays back the sample at itsoriginal pitch. The Root control enables you to set the unity note of theloaded sample. If, for example, you set Root to C1 and play a C2 thesample will be played one octave above its original frequency. If you wish toobtain the most natural sound then you should set the sample's root note tothe same note as the one at which the sample was initially recorded.Otherwise the sample will be pitch-shifted. In many cases however, it isprecisely these effects that give the sample an interesting and unusualsound.KBD TRKThe KBD TRK (Keyboard Tracking) button setting determines whether thesample tracks the pitch of incoming MIDI messages. If Track is switched offthe frequency of the sample is fixed at its original value.Use LPSThe USE LPS button setting determines whether or not the sample loopswhen it is played back. If USE LPS is set to Off then the sample will onlyplay once each time it is triggered. If the sample contains loop points, theseare used for looping, otherwise the entire sample loops.F1/F2The F1 and F2 controls determine the amount of signal that is sent to Filter1 or Filter 2 respectively.Manual 13

PanEach sample slot can have its own pan position. This is set using the slot'sPAN control.MixEach sample slot can have its own mix level. This is set using the slot's MIXcontrol. The Mix setting determines the samples playback level.Sampler Amp and PanIn addition to the above-mentioned controls, there are also two globalcontrols for the Sampler module. These are the Sampler Amp (Amplitude)and the Sample Pan (Panorama).The Sampler Amp (Amplitude) control sets the overall output level for thecombined mix of all currently loaded samples.The Sampler Pan (Panorama) control sets the overall panning position forthe combined mix of all currently loaded samples.14 Manual

Oscillator EditorThe Octopus' Oscillator Editor module is located on the upper-right of theFront Panel. This module contains the controls for editing each of theinstrument's additive oscillators.OverviewEach of the Octopus' 8 Oscillators is made up of 32 harmonics. Theamplitude of each harmonic can be edited in the Harmonic AmplitudeEditor. The Oscillator Editor enables you to load and analyse waveformshowever it is important to remember that only the first 32 harmonics presentin the waveform will be used. As such, rich, noisy waveforms may not bereproduced with 100% accuracy. At first, it may appear that 32 harmonics isnot enough to produce rich waveforms, however one of the key features ofFM synthesis is its ability to produce complex waveforms from simplesource signals. For example, most hardware FM synths only contain sinewave oscillators.The Oscillator Editor module contains the following controls: OscillatorSelect, Oscillator Menu, Harmonic Amplitude Editor, Harmonic PhaseEditor, Frequency, Pitch, Amplitude, Phase and Free. There is also awaveform display that shows the shape of the current Oscillator'swaveform. These controls are described below.To select on Oscillator, click on one of the Oscillator Select buttons at theleft of the module. The selected Oscillator is then highlighted and theOscillator Editor module now displays the settings of the selected Oscillator.Manual 15

Waveform Import / Export and EditingOscillator Waveforms can be created in two different ways: they can becreated in the waveform editors (amplitude and phase) or they can begenerated automatically from imported audio samples.To create a user-defined waveform, first select an Oscillator. EachOscillator's waveform can consist of 32 harmonics. The amplitude of eachharmonic can be individually edited in the Harmonic Amplitude Editor byclicking and dragging within the editor. The phase of each harmonic canalso be set in a similar manner in the Phase Editor. The waveform createdin the two harmonic editors is shown in the waveform display to the right ofthe two editors.Alternatively, a wav/aiff/octwav file can be loaded and used as the basis foran oscillator waveform. When a wav/aiff file is loaded, it is first analysedand then converted into 32 harmonics. The entire sample is regarded as asingle waveform, so if your sample has a duration of 5 seconds, it will havea frequency of 0.2 Hz. Wav/Aiff samples are loaded into RAM in theirentirety. In order to save RAM, it's best to use short samples. However,after samples are analysed, the RAM that they used is freed so it is possibleto analyse large samples. Stereo samples are converted to mono beforebeing analysed. The Octopus also supports the “octwav” format which is aninternal Octopus format consisting of only the harmonic information.The Oscillator popup menu is used for general I/O and editing functionswithin the module, particularly for interchanging spectrums betweenOscillators. The menu is accessed by clicking on the V beside theOscillators label. The popup menu contains five items: Copy Spectrum,Paste Spectrum, Reset Spectrum, Import Spectrum, Export Spectrum.Waveforms in any of the formats mentioned above (wav/aiff/octwav) can beimported into the Octopus using the Import Spectrum menu item.Regardless of the manner in which they were created, Waveforms can besaved using the Export Spectrum menu item. Waveforms are saved inOctopus' “octwav” format.If at any stage, you want to start with a clean slate, the Reset Spectrumitem resets the spectrum to a single harmonic (sine wave).When multiple Oscillators are being used, it's possible of transfer oneOscillator's spectrum to another Oscillator using the Copy Spectrum andPaste Spectrum menu items. Copy Spectrum copies the current Oscillator's16 Manual

spectrum to the instrument's clipboard, while Paste Spectrum copies thespectrum from the clipboard to the destination Oscillator.AmplitudeEach Oscillator produces values between -1.0 and 1.0. The Amplitudecontrol is used to set the level of each Oscillator after the signal isgenerated.After being scaled by the Amplitude control, the output is sent to theOscillator Matrix. As a result, both the modulation depth, and the signalwhich is sent to the filters will be changed if the Oscillator's amplitude isaltered. It is important to understand that each Oscillator also has Mix Levelparameter which also has a range of between -1.0 and 1.0. However, theMix Level parameter only effects the final output signal, not the signal withinthe Oscillator Matrix itself.Ratio/PitchThe Ratio/Pitch control is used as a frequency multiplier to set thefrequency of each Oscillator. To change the control from Ratio to Pitch orvice-versa click on the Ratio/Pitch label.Initially, each Oscillator oscillates at the frequency given by the MIDI notenumber that triggered it. For example, if the Oscillator is triggered by MiddleC then it will oscillate at 261 Hz.When the Ratio/Pitch control is set to Ratio the control acts as a multiplierso if, for example, the control is set to 2.0000 then the Oscillator willoscillate at 522 Hz (2 x 261 Hz). If the Ratio control is set to 0.0000 then thefrequency of the Oscillator will be 0 Hz and no sound will be heard.When the Ratio/Pitch is set to Pitch this adds an offset to the Oscillator'spitch. For example, if the control is set to 1.0000 the pitch of the Oscillator israised by one semitone. Setting the Pitch control to 24.0000 is the same assetting the Ratio to 4.0000. The control features 4 decimal places becausein the case of FM synthesis, small frequency changes can have majoreffects on the output sound.If Pitch control is set to 0.0000, the frequency of the Oscillator will dependonly on the the MIDI note number that triggered it.Manual 17

Note that the overall tuning of the instrument is affected by several otherparameters including the TRANSP (Transpose) setting and the setting ofthe Step Sequencer/s. See the appropriate section of this manual for moreinformation.FrequencyThe Frequency control is used to set a frequency offset within the Oscillator.For example, if the Oscillytor is triggered by Middle C then it will oscillate at261 Hz. If the Frequency control is then set to 5.0 the frequency producedwill be 266 Hz. Also note that if the Ratio control is set to 0.0 and theFrequency control is set to 5.0 then the waveform will oscillate at 5Hz. Inmathematical terms this can be expressed as:Oscillator Frequency = Generator Frequency x Pitch/Ratio + FrequencyPhaseThe Phase control is used for setting the starting point in the waveform’scycle when a note is triggered. For example, if the Phase control is set to0.50 then the waveform will start oscillating half-way through a cycle.FreeWhen the Free button is switched off, the waveform always begins playingfrom a point in the waveform determined by the setting of the Phase control.For example, if the Oscillator is producing a sine wave and the Phasecontrol is currently set to 0.00, then the waveform will always begin from thestart of a cycle. When the Free button is switched on, the Oscillator runscontinuously, so that the phase of the waveform when the Oscillator istriggered will be at a random point in the cycle, not necessarily at the start ofthe cycle. This point will be different every time the waveform is triggered.18 Manual

FilterThe Octopus contains two independent 18 dB/Octave multi-mode filters.The controls for Filters 1 and 2 are located in the sections labeled Filter 1and Filter 2 below the Oscillator Editor.The Octopus’s two filters are identical so they have only been describedonce in this manual. A lot of care and attention has been paid to theOctopus's filter design in order to make them especially musical and toensure that they use very little CPU resources.Filter ModeThe Filter Mode control is located to the right of the Filter's label. Each filterhas 4 modes: Bypass, LPF (Lowpass), BPF (Bandpass) and HPF(Highpass). The current mode is displayed on the Filter Mode control.Clicking on the control cycles through the various filter modes. An importantpoint to note is that when a filter is turned off no filtering is applied so thatthe audio signal passes straight through it without being affected.Cutoff (Frequency)The Cutoff control is used to set the frequency (in Hz) at which the filtereffects the signal. When using the Low Pass filter, higher Cutoff settingsproduce brighter sounds while lower settings result in darker sounds. Whenusing the High Pass filter, higher Cutoff settings produce thinner, brightersounds, while lower settings produce fatter, darker sounds. When in BandPass mode the filter only passes frequencies within a specific range. Thecentre point of this range is determined by the Cutoff setting.Manual 19

KBD (Keyboard Track)KBD (Keyboard Track) is used to control the degree to which the filter'sCutoff Frequency tracks the MIDI note's frequency.Reson (Resonance)Resonance is used to set the amount of emphasis around the cutofffrequency. Higher settings create a more pronounced peak in the signalwhile lower settings produce a flatter response.20 Manual

Envelope EditorThe Octopus' Envelope Editor module is located on the middle left side ofthe instrument's Front Panel. The Envelope Editor module, as the namesuggests, is used to edit the Octopus' Envelopes which function as itsprimary modulation sources.The Envelope Editor module contains a range of controls designed to makeediting envelopes as easy as possible. These controls and the manner inwhich they are used are described below.OverviewAn envelope is a time-varying signal used to control the development ofanother signal after it has been triggered. Envelopes are most often usedfor controlling a signal's amplitude although they can be used to modulateany destination provided the range of values that they cover is appropriate.In the Octopus the shape of an envelope is determined by the settingswithin the Envelope Editor module.The Octopus contains 32 envelopes arranged in 4 banks of 8. At any time,one or more of these envelopes act as modulation sources. The EnvelopeEditor displays the currently selected envelope.It is important to note that setting the current envelope is done in theEnvelope Matrix module using the Envelope Bank/Envelope Selectorcontrols. Clicking on the Envelope Bank control selects one of the fourenvelope banks. Clicking on one of the Envelope Selector controls selectsthe envelope. The currently selected envelope is highlighted.Manual 21

Envelope DestinationOnce an envelope has been created, it's a good idea to set its generic typeusing the Envelope Destination popup menu. This menu sets the parametertype that the envelope modulates. Available destinations include Amplitude,Amplitude Mult., Mix Level, Mix Level Mult., Panning, Pitch, Frequency,Phase, Cutoff and Resonance. Note that setting the Envelope Destinationdoes not assign the envelope to a specific destination.Each envelope type is designed to modulate only one specific destination.Some envelopes are designed for oscillators, some for filters and others forthe sampler. Some are designed for any destination. The following listdescribes the recommended use of envelope types:• Amplitude: This envelope is designed to be used with Oscillators andthe Sampler. The envelope value is multiplied by the correspondingvalue in the Envelope Matrix and then summed with the Oscillator orSampler amplitude. It is NOT designed to modulate Filters.• Amplitude (Multiplication): This envelope is similar to the previous onehowever in this case the envelope value is multiplied with the Oscillatoror Sampler amplitude.• Mix Level, Mix multiplication: These envelopes are similar to theAmplitude envelope, but they can also be used for Oscillator and Filtermodulation. These envelope types cannot be used to modulate theSampler (because it doesn't have a general mix level parameter). Tomodulate the Sampler use an Amplitude envelope instead.• Panning: This envelope is designed for modulating Oscillators andFilters. This envelope is additive.• Pitch, Frequency, Phase: These envelopes are designed for modulatingOscillators (but not Filters). These envelopes are additive. Pitch is inSemitones and Frequency in 100Hz.• Cutoff and Resonance: These envelopes are designed only for use withfilters.All envelopes output values in the range 0.0 to 1.0 (if the +- switch is set toUnipolar) or -1.0 to +1.0 (if the +- switch is set to Bipolar). An additionalmultiplier value is available in the Envelope Matrix to set the envelopevalues to an appropriate range. Further details of these values are found inthe Envelope Matrix section of this manual.The difference between Amplitude and Amplitude Mult (Multiply) is asfollows: If the Amplitude envelope is sent to an Oscillator, the value of theAmplitude envelope is added to the oscillator amplitude. For example, if the22 Manual

oscillator has an amplitude of 0.00 then the value of the output is the valueof the envelope. If the envelope was changed to Amplitude Mult (Multiply)then no matter how the envelope was set, the final output would be 0because 0.00 (the oscillator amplitude) times anything is 0!Note that assigning an envelope to a specific destination is done in theEnvelope Matrix module which is described later in this manual.Also note that each envelope can be scaled by two additional envelopes:KBD (Keyboard) and VEL (Velocity). The following section applies to theENV (Envelope) setting which shows the basic envelope parameters. Toselect the envelope click on the ENV control in the upper left corner of theEnvelope Editor. For information about the KBD and VEL controls, seebelow.Envelope EditingOnce an envelope has been added to the Envelope Matrix, it can be editedin a variety of ways: points can be moved, added or removed at will. Also,envelopes can be copied from one envelope slot to another, and they canbe saved and loaded from disk. These operations are described below.When an envelope is displayed in the Envelope Editor it is made up of twotypes of points: End Points which are displayed as large squares and Curvepoints which are displayed as small squares. End Points function asanchors connecting the line that defines the envelope between the twopoints. Curve points are used to add interpolated curves between two EndPoints.End Points can be added to an envelope by right-clicking in the EnvelopeEditor window. When this is done, an End Point is added at the positionwhere the mouse was clicked, and the point becomes part of the envelope.End Points can be removed from an envelope by right-clicking on them.The currently selected point is shown in yellow.End Points are moved by left-clicking on them and dragging them. Byholding down the CTRL key and left-clicking, a point can be constrained sothat it only moves vertically, that is, its amplitude is changed. By holdingdown the ALT key and left-clicking, a point can be constrained so that it onlymoves horizontally, that is, its position with respect to time changes.The Octopus' Envelope Editor also feature Curve Points which areautomatically inserted between End Points. Curve Points are used to adjustManual 23

the shape of the curve between two End Points. Curve Points can only bemoved vertically within the Editor. The vertical position of the point relativeto the end Points determines the nature of the curve. If the Curve Point isvertically equidistant between the two End Points, the curve between themis a straight line. The closer (vertically) that a Curve Point is moved to anEnd Point, the sharper the curve becomes relative to that point.The Envelope Editor's view can expanded or contracted by left-clicking onan unoccupied area of the editor and then dragging the mouse up or down.Dragging the mouse upwards increases the magnification, while dragging itdownwards decreases the magnification. The entire view can be scrolledleft or right by clicking in the time display at the bottom of the view.The Octopus' Envelopes feature loop points that enable the sound tocontinue while a note is being triggered. The Loop Start/Loop End pointsare indicated by two dark blue vertical lines. The Loop Start point can be setto any point between the first End Point and the Loop End End Point. TheLoop End point can be set to any point between the Loop Start Point andthe last End Point. Resetting the Loop Start/Loop End points is done byselecting the point and then dragging it to another End Point. Note that foran envelope to loop there must be an End Point between the LoopStart/Loop End points. By default this is not the case so newly addedenvelopes will not loop.You may also have noticed additional dark blue lines connecting variousenvelope points. These lines indicate the way that the envelope's valueschange while it is looping. The first time through the loop the envelope'svalues are indicated by the light blue lines. When the Loop End point isreached the envelope jumps to the Loop start position. Initially, its value atthe start position is the same as it was at the end of the loop. It does nottake on the value of the Loop Start point. If it did, and the values of the LoopStart/Loop End points were different, there would be a discontinuity in theenvelope producing a noticeable click. This is indicated in the editor by thedark blue horizontal line that connects the Loop End point to the Loop Startpoint. Notice that it does not connect to the Loop Start point for the reasonsdescribed above. Once the envelope is at the Loop Start position itproceeds to the value of the first point within the loop. This is shown by thedark blue line that connects the Loop Start position with the first point withinthe loop. Note that the setting of the Curve Point that lies between the LoopStart Point and the first point within the loop affects the shape of the loopenvelope too.24 Manual

Fix PointsThe Fix Points control is an aid to editing that constrains the movement ofenvelope points. When the Fix Points control is switched Off and an EndPoint is moved horizontally, the portion of the envelope following theselected End Point moves relative to the selected End Point. When the FixPoints control is switched On, the position of all End Points other than thecurrently selected End Point are fixed and cannot be moved.“+-”The +- control determines whether the envelope is unipolar or bipolar.When the +- control is off the envelope generated is unipolar, that is, itsvalues range from 0.0 to 1.0. This allows the envelope to function as anormal amplitude envelope. When the +- control is switched On theenvelope generated is bipolar, that is, its values can range from -1.0 to+1.0. This allows the envelope to function like an LFO which oscillatesbetween positive and negative values.Numerical DisplayThe Numerical Display in the upper-right corner of the module shows threevalues for the currently selected point: Level, Curve, Delta-time. The Leveland Delta-time values apply to End Points while the Curve value applies toCurve Points. The Level display indicates the absolute vertical position ofthe segments End point. The Delta-time display shows the distance in timeof the current point from the previous End Poin. The Curve display shows ameasure of the curvature of the line connecting the two End Points. A highcurvature value means that the transitional part of the envelope occurs earlyin the envelope. The lower the curvature value, the later in the envelope thecurvature occurs. The time parameter (in seconds) is displayed across thebottom of the Envelope Editor.KBD/VELThe KBD and VEL controls display the Envelope Keyboard Level Scalingsettings and the Envelope Velocity Level Scaling settings. These are bestthought of as two scaling maps that calculate the final envelope valuesaccording to the following formula:Manual 25

Final Envelope Value = Initial Envelope Value * Keyboard Scaling *Velocity Scaling.If the Envelope Keyboard Level Scaling settings and the Envelope VelocityLevel Scaling settings are both set to 1.0 then the envelope is unaffected(because 1 * 1 = 1 ). End Points and Curve Points within the KBD and VELenvelopes are set in the same way as those for the main envelope. Seeabove for more information.MIDI ModulationEnvelopes can be also modulated by an external MIDI controller. Thefollowing controllers are available: , Modulation Wheel, Pitch Bend,Aftertouch (poly), Aftertouch (mono) Breath Ctrl, Foot Ctrl, Expression,CC16 (Control Change 16), CC 17 (Control Change 17), CC 18 (ControlChange 18) and CC 19 (Control Change 19).In this case, the MIDI controller values are first scaled to values between0.0 and 1.0. The scaled result is the multiplied by the envelope's value toproduce the final envelope value. This process can be describedmathematically as follows:Final Envelope Value = Initial Envelope Value * Keyboard Scaling *Velocity Scaling * Scaled MIDI ControllerValueNote that if, for example, you assign an envelope to the Modulation Wheel,and no output is produced, make sure that the Modulation Wheel is not setto 0.TMP SyncThe TMP Sync (Tempo Sync) control enables the envelope to besynchronised with the tempo of the host program. If the TMP Sync control isswitched OFF then the durations of each envelope portion are the durationsshown by the time scale at the bottom of the window. If the TMP Synccontrol is switched ON then the duration of a quarter-note is equivalent to aduration of 1.0 within the Envelope Editor. Note that a duration of 1.0 mayno longer be 1.0 seconds as the actual duration will vary according to thetempo. Also note that when TMP Sync is switched on, the envelope'sKBD/VEL Rate Scaling is deactivated however any level scalings remainactive.26 Manual

ReleaseThe Release control determines the way that envelope releases arehandled. Note that if the Free-Run control (see below) is switched ON, theRelease control has no effect. If the Release control is switched ON thenwhen a MIDI Note Off message is received the envelope moves to the loopend point and then moves through the release portion of the envelope.When the Release control is switched OFF then the envelope stops at theposition it was when it received the message if its an Amplitude envelope,otherwise it just remains in its loop (if there are loop points set). The releaseportion of the envelope is not used. The OFF setting of the Release controlis useful for creating LFO effects although you are free to use it in otherways as well.Free-RunThe setting of the Free-Run control determines which portions of theenvelope play back when the instrument is triggered. When the Free-Runcontrol is switched OFF the envelope begins with the attack portion,proceeds through the loop portion, and then, depending on the setting ofthe Release control (see above), either moves through the release portionor stops. When the Free-Run control is switched ON the envelope begins ata random point between the Loop Start point and the Loop End point.Manual 27

KBD Rate Scaling / VEL Rate ScalingThe KBD Rate Scaling (Keyboard Rate Scaling) control scales the durationof each portion of the envelope according to the MIDI note number of thetrigger. The control works as follows: Starting from Middle C (MIDI notenumber 60) the duration of each portion of the envelope is scaled by thecontrol's setting for all notes above and below middle C. For example, if thescaling value is set to 1.00, then the envelope duration is doubled for everyoctave below Middle C. Conversely, the envelope duration is halved forevery octave above Middle C. In this case, if the trigger note is one octavebelow middle C then the envelope duration will be twice that of when MiddleC is the trigger note. If the trigger note is one octave above Middle C thenthe envelope duration will be half that of when middle C is the trigger note. Ifthe KBD Rate Scaling (Keyboard Rate Scaling) control is set to 0.5 then thesame effect will occur, although in this case the envelope duration will behalved for a note 2 octaves above Middle C, and doubled for a note 2octaves below Middle C.The VEL Rate Scaling (Velocity Rate Scaling) control scales the duration ofeach portion of the envelope according to the MIDI note-on velocity of thetrigger note. Starting from a note-on velocity of 64, the duration of eachportion of the envelope is scaled by the control's setting for all notevelocities above and below 64. For example, if the scaling value is set to1.00, then the envelope duration is doubled for every velocity increase of12. Conversely, the envelope duration is halved for every velocity decreaseof 12. In this case, if the trigger note has a velocity of 76 then the envelopeduration will be twice that of when the trigger note is played with a velocityof 64. If the trigger note velocity is 12 less that 64 then the envelopeduration will be half that of when the velocity of the trigger note was 64. Ifthe VEL Rate Scaling (Velocity Rate Scaling) control is set to 0.5 then thesame effect will occur although in this case the envelope duration will bedoubled for every velocity increase of 24, and halved for velocity decrease24.28 Manual

Envelope MatrixEnvelopes are routed to modulation destinations using the Octopus'Envelope Matrix module which is located on the middle-right of theinstrument's front panel.The Envelope Matrix module is similar to the Oscillator Matrix moduledescribed above, so that if you know how that module works you shouldhave no trouble with the Envelope Matrix module. Note that the EnvelopeMatrix module works in conjunction with the Envelope Editor module so it'simportant that you are familiar with both modules in order to get the mostout of the Envelope Matrix module.The Octopus contains 32 envelopes arranged in 4 banks of 8 slots. At anytime, one or more of these envelopes acts as a modulation source. TheEnvelope Editor displays the currently selected envelope.The Envelope Matrix contains an array of nodes connecting Envelopes tovarious destinations within the synthesizer. The envelopes are displayed asa set of vertical slots on the left side of the module. Envelope destinationsare displayed horizontally across the bottom of the matrix. Note that thegeneric envelope destination is set in the Envelope Editor module (seeabove for more information about the Envelope Editor module), while theactual destination is set in the Envelope Matrix module. 11 destinations areavailable. These are: Oscillator 1 to Oscillator 8, Filter 1 and Filter 2, andthe Sampler.Manual 29

Envelope Bank Select/Envelope SelectClicking on the Envelope Bank control selects one of the four envelopebanks. Clicking on one of the Envelope Selector controls selects theenvelope. The currently selected bank and envelope are highlighted.Envelope Editor MenuThe Envelope Editor popup menu is used for adding and removingenvelopes from the Matrix, as well as editing envelopes, and particularly forinterchanging envelope settings between different Envelopes. The menu isaccessed by clicking on the V symbol beside the Envelope Matrix label. Thepopup menu contains ten items: Add Envelope, Delete Envelope, Move Up,Move Down, Copy View, Paste View, Reset View, Clone Envelope, LoadEnvelope and Save Envelope.Envelopes are added and removed from the instrument using the AddEnvelope/Delete Envelope menu items. When an envelope is added to theinstrument it is placed in the next available slot in the Envelope Selectorand is selected as the current envelope. When an envelope is removedfrom the instrument the envelopes compact down and the envelopefollowing the deleted envelope becomes the active envelope.The Move Up/Move Down menu items move the currently active envelopeone position up or down in the envelope slot array. This is useful forgrouping similar types of envelope (for example, amplitude envelopes)together.The Copy View and Paste View menu items are used for exchangingenvelopes between different envelope slots. The Copy View menu itemcopies the currently selected envelope's settings into memory, while thePaste View menu item pastes the settings currently stored in memory intothe selected envelope slot. The Reset View menu item clears theenvelope's current parameters and resets them to their default settings.Note that the Copy View, Paste View and Clear View items only affect theenvelope that is currently displayed in the editor. This applies to the KBDand VEL envelopes as well. As a result, if you select Copy View and haveENV selected as the view option, only envelope points will be copied, butnot velocity or keyboard scaling points. The same applies to Paste Viewand Clear View.30 Manual

Also note that one type of envelope point (ENV/KBD/VEL) cannot betransferred to a different type of envelope. For example, you cannot copy aKBD Scaling envelope to an ENV envelope.The Octopus has 2 independent memory buffers, one for the ENV envelopeand another for the KBD/VEL envelopes. This means that if you copy newENV points to buffer, any KBD/VEL points that have already been copiedwon't be changed or erased. But note again, you may not copy KBD andpaste it to VEL, as well as copy VEL and paste to KBD.The Clone menu item copies an envelope, including the ENV, KBD, VELenvelopes as well as the corresponding matrix values, and creates a newidentical envelope in the slot after the existing envelope. Envelopes in slotsafter the source envelope are shifted one position in the envelope slot arrayto make way for the new envelope.The Load menu item allows envelopes to be loaded into an envelope slot.The Save menu item allows envelopes to be saved which means you cancreate sets of envelopes (for example, a set of different LFO-styleenvelopes). The Octopus comes with a set of Envelopes that you can usefor modulation within your own presets.Matrix NodesThe amount of signal sent to a particular destination is determined by thesetting of the Matrix node. When the signal level is set to 0.0 the node isdeactivated and no signal is sent to the destination. The destination value isset by clicking on the node and dragging the mouse vertically. The range ofvalues available depends upon the envelope type (which is set in theEnvelope Editor module). It is important to note that the value set in thenode is a scaling value that is multiplied by the envelope to produce thedestination modulation value.Manual 31

EffectsThe Octopus has 4 independent, simultaneously-available stereo effectsmodules units. These are Chorus, Delay, Reverb and Equalizer. The foureffects units are located in the Effects module which is located towards thelower edge of the instrument's front panel.Effects processing occurs in a left-to-right order which means that thesignal path is as follows: Chorus -> Delay -> Reverb -> Equalizer.The Power button at the top left of each effects unit is used to set the unit'sstatus. This can be either On or Off. When the Effects unit is On, the Powerbutton has a yellow backlight, while when the Effects unit is Off the button'sbacklight is darkened. Clicking on the button switches the Effects unit onand off. When the effects unit is switched off audio passes through itwithout being processed.Each effect's controls differ. All effects are described in detail below.ChorusThe Chorus effect is located at the far left of the Effects module. This effectcan be used to thicken a single sound creating the impression that itcontains multiple voices. The Chorus works by mixing delayed signals withthe original signal. The Octopus's Chorus features controls for Time,Speed, Stereo, Dry, Wet and Invert.32 Manual

The Time control is used for setting the chorus' delay time. Longer delaytimes produce a chorusing effect while shorter times create a flangingeffect. The SPD (Speed) dial sets the rate at which the signal is modulated.The Stereo control is used to adjust the width of the stereo image. Tocreate the maximum stereo effect set the control to its maximum value.Note that when used in combination with other stereo enhancing effects(such as the Delay) it might be desirable to set the Stereo control to a lowervalue.The Dry control allows you to set the level of the original unprocessed or drysignal that is sent from the effects unit. This control is useful for controllingthe balance between the effect's processed and unprocessed outputsignals.The Wet control allows you to set the level of the processed or wet signalthat is sent from the effects unit. This control is useful for controlling thebalance between the effect's processed and unprocessed output signals.The Invert control is inverts the phase of the effect's Wet signal. This canbe used to produce a different type of chorusing effect.DelayThe Delay effect is located to the right of the Chorus effect. This effect canbe used to create echoes that bounce around the stereo field. The Delayfeatures controls for: TMP Sync, Time Pre, Time Left, Time Right, L, (PanLeft), R (Pan Right), FDBK (Feedback), Bal (Balance) and Wet.Manual 33

The Delay functions as follows: the input signal is first delayed by Time Preamount, then it’s delayed by Time Left amount and finally by the Time Rightamount. If Feedback is applied, the Time Right signal is fed back into theleft delay line, so that an alternating left-right delay is produced. The Bal(Balance) and Wet controls set the mix between the original unprocessedsignal and the delayed signal.The TMP Sync control synchronises the effect's delay times with the song'scurrent tempo. When the TMP Sync control is OFF the effect's delay timesare shown in milliseconds. When the TMP Sync control is ON the effect'sdelay times are shown in quarter notes. In this case, the actual delay timedepends on the current song's tempo.The Time Pre, Time Left and Time Right controls are used for setting thecentre, left and right channel delay times. The Time Pre control sets thedelay time of the centre delay while the The Time Left and Time Rightcontrols set the delay times of the left delay and right delay. The delay timeis displayed as either milliseconds or quarter notes depending on thecurrent setting of the TMP Sync control. When the TMP Sync control is OFFall three delays have a range of 1 ms to 1300 ms. When the TMP Synccontrol is ON all three delays have a range of 0.00 to 8.00 quarter notes.Toedit one of the delay times click on the numerical display and drag themouse up or down.The L (Pan Left) and R (Pan Right) controls are used to set the pan positionof the Time Left and Time Right delay signals.Hint: If you want the delayed signal to appear on the right side first, use thePan controls to exchange left and right positions.The FDBK (Feedback) control sets the number of times the signal repeatsor echoes.The Bal (Balance) control is used to set the balance between the pre delayand the left and right delays. Turning the Bal control completely anticlockwisemeans that only the Time Pre delay signal is sent from the effects34 Manual

unit. Turning the Bal control completely clockwise means that only the TimeLeft/Time Right signals are sent from the effects unit. Intermediate settingsproduce a mixture of the three signals.The Wet control allows you to set the level of the processed or wet signalthat is sent from the effects unit. This control is useful for controlling thebalance between the effect's processed and unprocessed output signals.ReverbThe Octopus' Reverb effect is used to add ambiance to sounds. It featurescontrols for: FDBK (Feedback), Bright and Wet.The FDBK (Feedback) control is used to set the effect's reverb time. Thisparameter approximately corresponds to the size of the simulated space.Turning the control completely anti-clockwise produces effects similar to theresonances of very small spaces like tubes or pipes. Turning the controlcompletely clockwise produces effects similar to the resonances of verylarge spaces like large auditoriums or churches.The brightness of the space is controlled with the effect's Bright control. Inpractical terms, the brightness of a space is determined by type and amountof damping present in the space. For example, carpeted rooms will sounddarker than rooms containing a lot of glass surfaces which tend to soundbrighter. In the case of the Octopus, the higher the effect's Bright setting,the larger the amount of high frequency content in the processed signal.The Wet control allows you to set the level of the processed or wet signalthat is sent from the effects unit. This control is useful for controlling thebalance between the effect's processed and unprocessed output signals.Manual 35

EqualizerThe Octopus’ (Parametric) Equalizer effect can be used to accentuate orremove selected parts of the signal's spectrum. The effect features fourseparate bands. Each band has controls for Frequency, G (Gain) and Q(Quality).The Frequency control is used to set the centre frequency at which the filterband operates. To set the centre frequency click on the numerical displayand drag the mouse up or down. The available range is 30 Hz to 20,267 Hz.The G (Gain) control is used to set the gain of the selected frequency band.When the control is set to the middle position no gain is applied to thefrequency band. If the control is turned left then the signal will be cut. Thecloser the control to the leftmost setting the more the signal will be cut. Ifthe control is turned right then the signal will be boosted. The closer thecontrol is set to rightmost the more the signal will be boosted. The range is-24dB...0dB...+24dB.The Q or Quality control is used to set the width of the band that is cut orboosted. Increasing the value of the Q control makes the band affected bythe filter narrower and therefore, more pronounced.36 Manual

MasterThe Octopus' Master module is located on the lower right of theinstrument's front panel. The Master module contains three controls: Gain,Distortion and LoFi Waves. These are described below.GainThe Gain control is a final scaling factor that can be used to either boost orcut the overall output of the instrument.DistortThe Octopus features a tube-like distortion effect that can be used foradding warmth to sounds. The effect is controlled using the Distort(Distortion) control. Turning the control in a clockwise direction adds moredistortion to the signal.LoFi WavesThe LoFi Waves control is used to set the accuracy of the Octopus' signalgeneration. When the LoFi Waves control is switched on the followingeffects occur: lower quality waveforms are used for signal generation,waveform interpolation is less accurate and waveforms are stored in lessmemory. This is useful if you're trying to replicate the sounds of an early FMsynthesizer.Manual 37

Step SequencerThe Octopus features two identical Step Sequencers. These allow you tocreate patterns of notes that are played back as part of the current preset.The Step Sequencers are located at the lower edge of the instrument's frontpanel.Each Step Sequencer contains the following controls: Seq 1/Seq 2, Menu,Steps, Shuffle, Transpose, Pattern Display, Random and Ping Pong. Thesecontrols are described below. Note that each Step Sequencer is identical soonly one will be described in this manual. Also note that each pattern isconsidered to be part of the preset, so that if you change presets and thepattern has not been saved with the preset, then it will be lost.Seq 1/Seq 2The Seq 1/Seq 2 buttons are located at the top left of each Step Sequencermodule. Clicking on these buttons turns the respective Step Sequencer onor off.38 Manual

MenuEach Step Sequencer module has a drop-down Pattern menu. This menu isaccessed by clicking on the V beside each Sequencer's label.The menu contains the following items: Load Pattern, Save Pattern, ClearPattern, Shift Left, Shift Right and Reverse.The Load Pattern menu item enables you to load a pattern into the StepSequencer. The Save Pattern menu item enables you to save a pattern sothat it can loaded at a later point in time. The Load Pattern and SavePattern menu items enable you to create a library of patterns that can beused with different sounds. The Clear Pattern menu item resets the StepSequencer to its default values and clears the current pattern from thedisplay.The Shift Left and Shift Right menu items shift the current pattern eitherright or left depending on the item selected. For example, the pattern 0 – 2– 4 – 5 becomes 2 – 4 – 5 – 0 which is the original pattern shifted one placeto the left.The Reverse menu item reverses the order of the pattern. For example, apattern such as 0 – 2 – 4 – 5 becomes 5 – 4 – 2 – 0.Note that items in the Pattern menu change the pattern itself. This isdifferent from, say, the PingPong switch which changes the way that thepattern plays back, but not the pattern itself.StepsThe Step control allows you to define length of the pattern that the StepSequencer plays. A pattern can range from a 1-step sequence to a 32-stepsequence.Manual 39

ShuffleThe Shuffle control adds a swing value to the pattern's notes so that withina given clock interval the odd step numbers (notes) are lengthened and theeven ones are shortened (or vice versa). It is much easier to hear this effectthan to explain it. To hear the effect, create a pattern of 4 steps and thenvary the Shuffle parameter. The change in the rhythm of the pattern shouldbe clearly audible.TransposeThe Transpose control enables the pitch of the entire pattern to betransposed over a range of +- 24 semitones.RandomThe Random control is a playback parameter that determines the order andtiming in which pattern notes are played back. Note that the effect of theRandom control is not shown on the Pattern Display. When the control isON it sets pattern playback so that it randomly plays back notes that arepart of the current pattern. Note that the timing of the notes also israndomised.Ping-PongThe Ping-Pong control is a playback parameter that determines the order inwhich notes are played back. Note that the effect of the control is not shownon the Pattern Display. When the control is ON it sets the pattern playbackso that it first plays the pattern in the forwards direction, and then plays thepattern in reverse order. Note that the steps at the end of the pattern arenot repeated. For example, the pattern 1_2_3_4 would play back as1_2_3_4_3_2_1_2_3...40 Manual

Pattern DisplayThe key component of the Octopus' 2 Step Sequencers is their PatternDisplays. The Pattern Displays show the settings for each step (or note)within the pattern. Pattern Steps are edited by left-clicking and dragging onthem. A Pattern Step can be set to its default value by right-clicking on it. Inthis case, the step is set to OFF.Each step has the following range of values: -24...OFF, SUS, 0...+24. Thenumerical value of a step indicates its pitch relative to the pitch of the inputsource. For example, a value of 5 sets the pitch of the step to 5 semitoneshigher than that of the input source. Setting the step to OFF makes itinactive, while setting it to 0 means that the step will have the same notevalue as the input source. Setting the step to SUS ties the step to the valueof the previous step creating a sustained note.Manual 41

Unison/GlideThe Octopus' Unison/Glide module contains a group of controls related tothe instrument's polyphonic capabilities as well as its portamento settings.The Unison/Glide module is located on the right side of the front panelbelow the waveform display and above the Envelope Matrix.The Unison/Glide module contains the following controls: Transp(Transpose), Voices, Unison, Porta (Portamento), Slide, Detune and BendUp/Bend Down. These controls are described below.Transp (Transpose)The Transpose control is used to set the overall pitch (in semitones) of theinstrument relative to the input trigger. For example, if the Transposecontrol is set to 5, then the entire instrument's output will be transposedupwards by 5 semitones. The available range is -24 to +24 semitones.VoicesThe Voices control is used to set the number of voices (otherwise known aspolyphony) available within the instrument. The Voices control has a rangeof 1 to 12 voices.UnisonThe Octopus has a Unison mode in which the instrument's oscillators aredetuned to create extremely fat, rich sounds. When in Unison mode, the42 Manual

synth becomes monophonic and it is only possible to play one note at atime. The Unison button is used to switch the Octopus' Unison mode onand off.DetuneThe Unison button is used in conjunction with the Detune control. When thevalue of the Detune control is increased the instrument's Oscillators aregradually detuned. The greater the detuning, the more the sound isthickened. The available range is from 0.00 to 1.00. Note that the setting ofthe Voices control (described above) determines the number of voices thatare used in Unison mode.GlideThe Glide control sets the rate at which the instrument's pitch moves fromone note to that of the following note. A value of 0 means that Glide isdeactivated. A Glide value greater than 0 means that every note glides upor down in pitch from the previously played note within a fixed time period.The higher the value of the Glide control, the longer the transition timebetween notes. Note that the Legato switch changes this behaviourdepending on the way the note is played.LegatoThe Legato switch controls the way that overlapping notes are played by theinstrument. The Legato switch only affects playback when the Glide controlis set to a value greater than 0. When switched OFF, all notes will glidefrom the previously played note to the following note regardless of whetherthey overlap or not. When switched ON, only legato notes (that is, noteswhere the end of the previous note overlaps the start of the following note)will glide from one to the other. This makes it possible to apply Glide toselected notes.BendThe settings of the Bend controls determine the manner in which theOctopus responds to MIDI pitch bend messages. The Bend control is madeup of two components: the Bend Up control and the Bend Down control.These controls are indicated by the ^ and v symbols either side of the Bendlabel. Each range can be set from 0 to 48 semitones.Manual 43

MiscellaneousSeveral additional controls are available within the Octopus. These are theBank/Preset Browser controls, the File controls and the Microtuning control.These three sets of controls are located at the top edge of the instrument'sfront panel.Bank/PresetThe Bank/Preset Browser controls are located at the top of the front panel.The Bank/Preset Browser consists of a two-part editable display.The Bank display on the left shows the current bank and the Preset displayon the right part shows the current preset. By default the Browser points tothe factory presets installed with the Octopus.Presets can be changed directly in the Bank/Preset Browser by clicking oneither the Bank or the Preset display. Clicking on the Bank display opens amenu enabling you to load groups of sounds by Bank. Clicking on thePreset display opens a menu enabling you to load individual presets.44 Manual

File ControlsThe File Controls are used for all File-related operations.The Load button (shown as a folder icon) opens a dialog that lets you selecta file for loading. The Previous and Next buttons (the < and > symbolseither side of the Load button) allow you to traverse all Octopus presetswithin the current folder. The Save button (shown as a disk icon) allows youto save the current preset settings.The settings of all sections, including the Volume setting, are saved with thepreset. The Octopus loads and saves all of its presets directly to hard diskso your computer's RAM does not limit the number of available presets.MicrotuningThe Microtuning control opens a menu that enables the Octopus to betuned to tunings other than Equal Temperament.See Appendix A for a complete description of how to use TUN files to setthe Octopus’ tuning.LinPlug/Octopus LogosClicking on either the LinPlug or the Octopus logos in the middle right of theOctopus’s Main panel opens the instrument’s Rear Panel. The Rear Paneldisplays the version of the instrument.Manual 45

RegistrationYou can use the demo version of the Octopus for evaluation purposes for aperiod of up to 30 days. If you then decide that you would like to keep usingthe Octopus you must register your demo version.Registering the Octopus is very easy. All you have to do is visit the LinPlugonline shop at www.linplug.com and purchase a license. As soon as yourcredit card transaction has been authorized you will be sent a personalserial number. In most cases this will only take a few minutes. You will thenbe able to download the full version of the Octopus.After you've downloaded and installed the full version of the Octopus, openyour host program and then load the Octopus. As the Octopus loads theauthorization window shown below will appear:Enter the serial number you have received into the edit box and then clickthe OK button. The Octopus is now registered.If the serial number has not been entered or it has been entered incorrectly,a warning will appear and the Octopus will revert to the demo version.If you did not purchase the Octopus directly from LinPlug please register theinstrument at:http://www.linplug.com/Support/Register/register.htmIf you have any questions regarding the Octopus’ registration processplease contact us at:www.linplug.com/support/support.htm46 Manual

Optimizing CPU UsageSoftware synthesizers are highly CPU-intensive. The real-time calculation ofaudio waveforms, filters, effects and modulators places a significant load onthe host computer's CPU.As such, the main limiting factor in software synthesizer performance isCPU processing power. Each additional oscillator, filter, effect andmodulator that is included in an instrument adds to the CPU load. As aresult, it's best to switch off any unused units within the Octopus toconserve CPU resources.It may also be useful to use the send effects of your host’s mixer instead ofOctopus's effects as they are shared among all instruments.Manual 47

GlossaryAmplifier:Effect:Envelope:Filter:FM:Harmonic:A signal processing device that changes theamplitude, and hence the volume, of a signal.A signal processing device that changes someaspect of the input signal. An enormous number ofdifferent effect types are available. These includeChorus (which produces a thickening of the signal),Delay (adding echoes to the signal) and Distortion(which changes the shape of the waveform usuallyadding overtones).A time-varying signal used to control thedevelopment of another signal after it has beentriggered. Envelopes are most often used forcontrolling a signal's amplitude. The shape of theenvelope is determined by the number of controlparameters.A signal processing device that suppresses orfilters out specific parts of a signal's frequencyspectrum. Numerous types of filter are used inaudio synthesis. These include Low Pass, HighPass, Band Pass and Notch. The tone controls ona stereo amplifier are one example of an audiofilter.FM or Frequency Modulation is a process wherethe frequency of one oscillator (the carrier) iscontrolled by another (the modulator). When thefrequency of the modulator is periodic and belowthe audio range (less than 20 Hz) vibrato isproduced. When the modulation frequency is withinthe audio range, Frequency Modulation isproduced.A harmonic is a signal whose frequency is anintegral (whole-number) multiple of a referencefrequency. The term can also refer to the ratio ofthe frequency of such a signal to the frequency of48 Manual

the reference signal. For example, a 100 Hz tonehas harmonics at 200 Hz, 300 Hz and so on.LFO:Microtuning:Matrix:Oscillator:Phase:Sequencer:An LFO or Low Frequency Oscillator is a periodicsignal source (usually below audio frequencyrange) used to modulate another signal parameter.An LFO can be used for a variety of effectsincluding vibrato (by modulating the pitch) andtremolo (by modulating the volume).See Appendix A for a detailed description.A signal junction where a source signal can bepatched so that it controls a destination signal. TheOctopus's Envelope Matrix is used for tasks suchas modulating a generator's amplitude by anEnvelope.A signal source that generates a waveform at agiven frequency.Phase defines the position of a point within awaveform cycle. If a complete waveform cycle isdefined as having 360 degrees, then a phase shiftof 90 degrees moves the point one quarter of theway along the waveform.A sequencer is a device that can be used to recordand play back musical control data.Manual 49

MIDI Implementation ChartProduct: LinPlug Octopus Version 1.x Date: 4.Dec 2005ManufacturerLinPlug Virtual Instruments GmbHFunction Transmitted Recognized RemarksBasic ChannelDefault no noChanged no noModeDefault no OmniChanged no noNote Numberno yesTrue Voice no noVelocityNote On no yesNote Off no noAftertouchPoly (Key) no yesMono (Channel) no yesPitch Bend no yesControl Change no yesProgram Change no noSystem Exclusive no noSystem CommonSong Position no noSong Select no noTune Request no noSystem RealtimeClock no noCommands no noAux MessagesLocal On/Off no noAll Notes Off no yesActive Sensing no noSystem Reset no yes50 Manual

Appendix A: Using TUN files in the OctopusBy Jacky LigonAbout MicrotuningMicrotuning, or 'microtonality' are methods for tuning musical instruments,whereby musicians may explore and compose with ethnic, historical andcontemporary intonation systems. Microtuning musical instruments enablesmusicians to use unique scales which may have pitches lying between thenotes of our familiar Western 12 tone equal tempered scale. These uniquepitches and methods of microtuning musical instruments to sounds found inthe 'cracks' of the 12 Tone Equal Temperament, are one of the things thatgives the music of such places as Bali, India, Africa, Thailand, Turkey andthe Middle East a special intonational flavor, but is also something that is ofimmeasurable value to the contemporary acoustic and electronic composer,who may require a more broad palette of musical pitches for their music.The quest for creating beautiful and musically useful microtuning systemshas been an unending process of discovery and debate amongst musicaltheorists, mathematicians, physicists and musicians going back to earlyhistory. Quite often the reasons for microtuning musical instruments mayinvolve improving the consonant intervals of a tuning-system for sweetersounding harmonies, as well as offering a wider variety of choices formelody. Microtuning an instrument can sometimes mean there may be less,or more than 12 tones in an octave, or even that the octave itself may bestretched or compressed. Microtuning is a vast musical frontier, rich withhistorical lore, music and an infinity of exciting musical possibilities for theadventurous sonic explorer.Creating TUN microtuning files with SCALAScala is a freeware utility developed by Manuel Op de Coul in theNetherlands, which can be used for the creation and analysis of historical,ethnic and contemporary microtunings. A powerful capability of Scala is thatit enables the user to create the proprietary tuning data required formicrotuning a wide range of hardware and software synthesizers andsamplers.Manual 51

Scala may be used to create the TUN format microtuning files needed toexplore microtunings with this software instrument.The Scala home page is http://www.xs4all.nl/~huygensf/scala/Specifying the Reference Frequency of a MicrotuningOne of the powerful capabilities of the TUN file format and Scala, is theability to specify the frequency and MIDI-Note which will become thereference pitch, or starting note for a microtuning. This becomes a veryimportant consideration when one is using a number of differentsynthesizers and wishes to keep them in all tune with a given basefrequency. It is very common for a musician to need to specify a certainconcert pitch such as A440 Hz (MIDI-Note 69) or C261.6256 Hz (MIDI-Note60) as a reference for a microtuning, however, the flexibility of the TUNformat and Scala enables one to specify this frequency arbitrarily, so thatany chosen starting frequency may be assigned to any desired MIDI-Note.In Scala this reference is called the Map Frequency.Being able to specify a particular MIDI-Note reference and its associatedMap Frequency on the MIDI controller, provides a way to map a microtuningto begin on any desired MIDI key, making it easier to navigate theinstrument when there may be more or less than 12 tones per octave, orwhere one may have a musical need to map the notes of a microtuning tofall on certain physical keys.52 Manual

Tutorial: Programming your own patchesIf you can't wait to get started programming your own Octopus presets,here's a tutorial explaining how to create a simple FM patch using twooscillators, an amplitude envelope and a filter. The following tutorialcertainly doesn't cover all aspects of the instrument. If you're looking formore detailed information on any particular aspect of the Octopus thenyou'll need to consult the appropriate section in the manual. Let's getstarted...1. Switch on Osc 1 on the top left of the Oscillator Matrix.2. Set Osc 1's Mix parameter (on the far right of the Oscillator Matrix)to 1.0.3. Set Osc 1's Amplitude (in the Oscillator Editor section) to 1.0.4. If you now trigger the instrument it will play a sine tone!Manual 53

To make the sound more interesting, we'll now change the spectrum of theOscillator. This can be done in two ways: statically using the HarmonicAmplitude Editor in the Oscillator Editor section (this produces a fixedchange in the waveform shape), or using Frequency Modulation in theOscillator Matrix section (this produces a dynamic change in thewaveform's shape).5. Move the mouse to the Harmonic Amplitude Editor. The amplitudeof each of the waveform's 32 harmonics can be set by clicking anddragging in the Editor. The results of the editing are displayed in theWaveform display to the right of the editor.54 Manual

6. Alternatively, a second Oscillator can be used to modulate Osc 1.Switch on Osc 2, set its Amplitude to 1.0 but don't send its output tothe Mix. Instead, set it up to modulate Osc 1 by increasing the valuein second row of the first column of the Oscillator Matrix (as shownbelow). The setting of this Matrix node determines the amount ofsignal that is sent from Osc 2 to Osc 1, and hence the amount thatOsc 1 is modulated by Osc 2. This produces an effect known asFrequency Modulation resulting in rich, complex timbres.Manual 55

To make the sound change dynamically you need to modulate it. In theOctopus, Envelopes are the key to modulation. As an example, we'llmodulate Osc 2.7. In order to modulate a destination with an envelope, you need toassign an envelope type to the envelope. In this case, change thetype of the envelope shown in the Editor to Amplitude Multiplicationand then set the endpoint to a level of 0. The envelope also needsto be given a specific destination (the envelope type is only ageneric destination). Move to the first row, second column of theEnvelope Matrix and set the value of the node to 1.0. The envelopenow modulates the amplitude of Osc 2.56 Manual

As you may have already guessed, the same process can also be appliedto Oscillator 1 to control the overall Amplitude of our sound.8. Add an envelope to the Envelope Matrix by clicking on the V besidethe Envelope Matrix label. Choose Add Envelope from the menuand change the type to Amplitude Mult, and then assign it to Osc 1.Note that 32 envelopes are available in 4 banks of 8 envelopes.The currently active envelope is highlighted. This time, we'll try tobe a little bit creative about where we place the envelope points. Tryto copy the envelope shape shown below—you don't need to be tooexact, just something roughly similar will do.Manual 57

Next we'll add some filtering to the patch.9. To incorporate a filter into the patch, first change the settings in theOscillator Matrix so that Osc 1 is no longer routed directly to the Mixbut instead is sent to Filter 1.10. Set the output of Filter 1 to the Mix.11. Set up the Filter to the desired type and values as shown below.58 Manual

Again, the sound is more interesting if it's animated, so we'll use anenvelope to modulate the filter's cutoff frequency.12. Create a new envelope.13. Set the type to Cutoff.14. Assign it to Filter 1 in the Envelope Matrix15. Edit the envelope to a suitable shape.Congratulations!You have successfully created your first Octopus patch. Of course, you'vebarely scratched the surface of the Octopus' capabilities. If you're interestedin understanding how the Octopus works in more detail then consult theappropriate sections of this manual.Manual 59