Owner’s Manual

PHONES

POWER DC USB MIDI IN MIDI OUT MIDI THRU EXPRESSION SUSTAIN L/MONO
OUTPUT

CV / GATE MAIN SY
INPUTS OUTPUTS

BROWSE

FAVORITE
MOD 1 MOD 2 PITCH GATE MOD 1 MOD 2 CLOCK

SAVE

ARPEGGIATOR

SYSTEM
SETUP

TEMPO RATCHET CHANCE GATE

UP & DN ORDER 1 1 32 58 62
UP / DN RANDOM 2 1 16 54 66
INIT

DOWN CHORD 3 18 52 70
UP PHRASE 4 14 OFF 75

RANDOM

MASTER MODE OCTAVE DIVISION SWING

VOLUME

TAP
ON LATCH TRIPLET TEMPO SHIFT

EDIT SUSTAIN

GLIDE RIBBON

DOWN UP CHORD

OCTAVE

MAX

MIN
OCTAVE

MAX

MIN
 Special Thanks

DESIGN & DIRECTION

• Glen Darcey

PRODUCT MANAGER
• Dominic Au

ENGINEERING
• Chen Jiejun (engine)
• Banner Xu (software) • Yang Zhihang (software)
• Ye Haipeng (electronic) • Chen Si (electronic) • Luo Liangsheng (electronic)
• Fu Jieming (Mechanics) • Liang Weiming (Mechanics)
• Zhou Peng (Mechanics) • Fan Xiaoxian (Mechanics)

INDUSTRIAL DESIGN
• Gao Chao • Long Ping

TESTING
• Zheng Wei Cheng • Ken “Flux” Pierce • Maria Zhang • Randy Lee • Leng An

SOUND DESIGN
• Drew Anderson • Jim Cowgill • Mord Fustang • Ken “Flux” Pierce • Ben Scheffler
• Dominic Au • Glen Darcey • Boele Gerkes • Matt Pike • Paul Schilling
• Roger Austli • Daniel Fisher • Rob Jervons • Aquila Rift • Matia Simovich

MANUAL
• Randy Lee (author) • Nancy Lee (design & layout)

© Ashun Sound Machines – 2021 – All rights reserved.

www.AshunSoundMachines.com

Information contained in this manual is subject to change without notice and does not
represent a commitment on the part of Ashun Sound Machines. The software described in this
manual is provided under the terms of a license agreement or non-disclosure agreement. The
software license agreement specifies the terms and conditions for its lawful use. No part of
this manual may be reproduced or transmitted in any form or by any purpose other than the
purchaser’s personal use, without the express written permission of Ashun Sound Machines.
All other products, logos or company names quoted in this manual are trademarks or
registered trademarks of their respective owners.
 Important Safety Instructions
Save Your Ears!
The product and its software, when used in combination with an amplifier, headphones or speakers,
may be able to produce sound levels that could cause permanent hearing loss. DO NOT operate for
long periods of time at a high level or at a level that is uncomfortable.
If you encounter any hearing loss or ringing in the ears, please consult an audiologist.

Precautions Include, but Are Not Limited to, the Following:

1. Read and understand all the instructions. 7. Do not open or insert anything into the
device that may cause a fire or electrical
2. Always follow the instructions on the
shock.
instrument.
8. Do not spill any kind of liquid onto the
3. Before cleaning the device, always remove
device.
the USB and DC cable. When cleaning, use
a soft and dry cloth. Do not use gasoline, 9. Always take the device to a qualified service
alcohol, acetone, turpentine or any other center. You will invalidate your warranty
organic solutions; do not use a liquid if you open and remove the cover, and
cleaner, spray or cloth that’s too wet. improper assembly may cause electrical
shock or other malfunctions.
4. Do not use the device near water or
moisture, such as a bathtub, sink, swimming 10. Do not use the device with thunder and
pool or similar place. lightning present; it may cause electrical
shock.
5. Do not place the device in an unstable
position where it might accidentally fall 11. Do not expose the device to hot sunlight.
over. 12. Do not use the device when there is a gas
6. Do not place heavy objects on the device. leak nearby.
Do not block openings or vents of the 13. Refer to all manufacturers’ instructions
device; these locations are used for air regarding the proper installation, use, and
circulation to prevent the device from disposal of batteries.
overheating. Do not place the device near
a heat vent at any location with poor air 14. Ashun Sound Machines is not responsible
circulation. for any damage or data loss caused by
improper operation of the device.

Specifications Subject to Change

The information contained in this manual is believed to be correct at the time of printing. However,
Ashun Sound Machines reserves the right to change or modify any of the specifications without notice
or obligation to update the hardware that has been purchased.

Before Requesting Service...

Please study this manual carefully and consult your dealer before requesting service. Service charges
incurred due to a lack of knowledge relating to how a function or feature works (when the product is
operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owner’s
responsibility.

4
 Contents
Important Safety Instructions . . 4 Master Control Section . . . . . . . . . . . . . . . . . . . 17
EXIT button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Welcome to Hydrasynth PAGE Up / Down buttons . . . . . . . . . . . . . . . . . . . 18
Explorer! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 VOICE button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Main Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 MACRO ASSIGN button . . . . . . . . . . . . . . . . . . . . . 18
User interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 MOD MATRIX button . . . . . . . . . . . . . . . . . . . . . . . 18
Patch features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Arpeggiator Section . . . . . . . . . . . . . . . . . . . . . . 18
Sound engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Filter Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Module Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Performance Controls . . . . . . . . . . . . . . . . . . . . 19
Quick Start Guide . . . . . . . . . . . . . . . . . . . . 11 Chord mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Inside the Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Save Your Receipt! . . . . . . . . . . . . . . . . . . . . . . . . . . 11 CV/Gate connectors . . . . . . . . . . . . . . . . . . . . . . . . 20
Plug It In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Sustain pedal input . . . . . . . . . . . . . . . . . . . . . . . . . 20
Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
CV/Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Kensington lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Make Some Noise! . . . . . . . . . . . . . . . . . . . . . . . . 12 Understanding the Modules . . . 21
Select Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Module Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Octave shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Oscillator group . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Arpeggiator basics . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Mixer module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Tweaking the sounds . . . . . . . . . . . . . . . . . . . . . . . 13 Filter group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Saving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Envelope group . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Check for Updates . . . . . . . . . . . . . . . . . . . . . . . . 13 LFO group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
That’s Enough Reading for Now. . . . . . . . . 13 Amp module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 FX group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Top Panel: Hydrasynth Explorer . . . . . . . . 14 Voice module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
General Concepts . . . . . . . . . . . . . . . . . . . . . . . . . 14 Module Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . 22
Access buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Create Mod routes . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Function buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Select Macro Destinations . . . . . . . . . . . . . . . . . . . 22
Control knobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Copy / Paste settings . . . . . . . . . . . . . . . . . . . . . . . 22
Control buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 The Oscillator Group . . . . . . . . . . . . . . . 24
Module Select buttons . . . . . . . . . . . . . . . . . . . . . . 15 Oscillators 1 and 2 . . . . . . . . . . . . . . . . . . . . . . . . 24
Knob types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Switching modes . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
The displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Single mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Main Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 WaveScan mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
The HOME button . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Oscillator 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
The SAVE button . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Mutants 1–4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
System Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 FM-Lin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
The INIT button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 WavStack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
The RANDOM button . . . . . . . . . . . . . . . . . . . . . . . 17 OSC Sync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
The SHIFT button . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 About Ratio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

5
 Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 The LFOs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Pulse Width modulation . . . . . . . . . . . . . . . . . . . . 27 What’s an LFO? . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
PW-Orig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 LFO features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
PW-Sqeez . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 LFOs 1 and 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
PW-ASM [Warp] . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 LFO parameters: page 1 . . . . . . . . . . . . . . . . . . . . . 42
Harmonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 LFO parameters: page 2 . . . . . . . . . . . . . . . . . . . . . 43
PhazDiff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 LFO parameters: page 3 . . . . . . . . . . . . . . . . . . . . . 43
Ring-Noise Module . . . . . . . . . . . . . . . . . . . . . . . 30 LFO parameters: page 4 . . . . . . . . . . . . . . . . . . . . 44
Waveform List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 LFO Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
The Mixer Module . . . . . . . . . . . . . . . . . . . 31 The Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Mixer parameters: pages 1-2 . . . . . . . . . . . . 31 Pre- and Post-FX . . . . . . . . . . . . . . . . . . . . . . . . . 46
Setting Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Bypass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
The Solo Function . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Mixer parameters: pages 3-4 . . . . . . . . . . . . 31 Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Set the Pan Positions . . . . . . . . . . . . . . . . . . . . . . . . 32 Rotary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Mixer parameters: pages 5-6 . . . . . . . . . . . . 32 Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Filter Routing of Sources . . . . . . . . . . . . . . . . . . . . 32 Lo-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Filter Configuration . . . . . . . . . . . . . . . . . . . . . . . . . 32 Tremolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
The Filters and their Controls . . 33 EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Filter 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Filter 1 types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Distort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Compensated vs. Uncompensated filters . . . . 33 Delay Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Filter 1 parameters: page 1 . . . . . . . . . . . . . . . . . . 33 Delay Parameters . . . . . . . . . . . . . . . . . . . . . . . . . 49
Filter 1 parameters: page 2 . . . . . . . . . . . . . . . . . 34 Reverb Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Filter 1 parameters: page 3 . . . . . . . . . . . . . . . . . . 35 Reverb Parameters . . . . . . . . . . . . . . . . . . . . . . . 50
Filter 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Freeze the Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Filter 2 parameters: page 1 . . . . . . . . . . . . . . . . . . 35 Mod Route Shortcut . . . . . . . . . . . . . . . . . . . . . . 50
Filter 2 parameters: page 2 . . . . . . . . . . . . . . . . . . 36 The Voice Module . . . . . . . . . . . . . . . . . . . 51
The Amp Module . . . . . . . . . . . . . . . . . . . . . 37 Voice Parameters: page 1 . . . . . . . . . . . . . . . . 51
How the Parameters Interact . . . . . . . . . . . . 37 Polyphony settings . . . . . . . . . . . . . . . . . . . . . . . . . 51
LFO 2 Amount . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 How does Analog Feel? . . . . . . . . . . . . . . . . . . . . . 51
Velocity Envelope (Vel Env) . . . . . . . . . . . . . . . . . . 37 Density & Detune . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Amp Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Voice Parameters: page 2 . . . . . . . . . . . . . . . . 51
The Envelopes . . . . . . . . . . . . . . . . . . . . . . . . . 38 Stereo mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
What’s an Envelope? . . . . . . . . . . . . . . . . . . . . . 38 Random Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Envelope features . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Warm mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Envelopes 1 and 2 . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Voice Parameters: page 3 . . . . . . . . . . . . . . . . 52
Envelope parameters: page 1 . . . . . . . . . . . . . . . 38 Pitch Bend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Envelope parameters: page 2 . . . . . . . . . . . . . . . 39 Vibrato settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Envelope parameters: page 3 . . . . . . . . . . . . . . . 39 Voice Parameters: page 4 . . . . . . . . . . . . . . . . 53
Envelope parameters: page 4 . . . . . . . . . . . . . . . 39 Glide settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Envelope parameters: pages 5-6 . . . . . . . . . . . 40 Voice Parameters: page 5 . . . . . . . . . . . . . . . . 53
Envelope Shortcuts . . . . . . . . . . . . . . . . . . . . . . . 41 Key Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Copy Env A to Env B . . . . . . . . . . . . . . . . . . . . . . . . 41 Snap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Create a direct Mod route . . . . . . . . . . . . . . . . . . . 41 Select a Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Custom Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

6
 Microtonality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Using the Browser . . . . . . . . . . . . . . . . . . . . . . . 66
The Arpeggiator Section . . . . . . . . . 55 Browse parameters: page 1 . . . . . . . . . . . . . . . . 66
Arp Edit Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Sort Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Arp parameters: page 1 . . . . . . . . . . . . . . . . . . . . . 55 Browse parameters: page 2 . . . . . . . . . . . . . . . . 66
Arp parameters: page 2 . . . . . . . . . . . . . . . . . . . . . 55 Compare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Arp parameters: page 3 . . . . . . . . . . . . . . . . . . . . . 56 Favorite Assign... . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Arp parameters: page 4 . . . . . . . . . . . . . . . . . . . . . 57 Browse Favorites . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Additional Arp Features . . . . . . . . . . . . . . . . . 57 Save the Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Latch and Sustain . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Patch Protection . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Initialize the Arp . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Save parameters: page 1 . . . . . . . . . . . . . . . . . . . 68
The Arpeggiator & MIDI . . . . . . . . . . . . . . . . . . . . . 57 Name the Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Select a Category . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Mastering the Macros . . . . . . . . . . . . . 58 Save parameters: page 2 . . . . . . . . . . . . . . . . . . . 68
Home Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Macro Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Make a Macro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Choose a Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Assign a Destination . . . . . . . . . . . . . . . . . . . . . . . . 58
Patch Backup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Name the Macro . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Save the Patch: Macro Options . . . . . . . . . 59 The System Setup Pages . . . . . . . . . 70
Macro Button Response . . . . . . . . . . . . . . . . . 59 Operational Notes . . . . . . . . . . . . . . . . . . . . . . . . 70
Preset Macro Name List . . . . . . . . . . . . . . . . . 60 Navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Access, Action . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
The Mod Matrix . . . . . . . . . . . . . . . . . . . . . . . 61 Saving the Settings . . . . . . . . . . . . . . . . . . . . . . . . . 70
Creating Mod Routes . . . . . . . . . . . . . . . . . . . . . 61
Save System State . . . . . . . . . . . . . . . . . . . . . . . . . . 70
The Whole Process . . . . . . . . . . . . . . . . . . . . . . . . . 61
Notes About Notes . . . . . . . . . . . . . . . . . . . . . . . . . 70
The Shortcut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Master: Page 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Direct Assignment . . . . . . . . . . . . . . . . . . . . . . . . . 62
Master: Page 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Notes About Mod Routes . . . . . . . . . . . . . . . . . . . 62
Master: Page 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
More Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Knob Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Clear a Mod Slot . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Knob Speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Clear the Entire Mod Matrix . . . . . . . . . . . . . . . . . 62
Tempo Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Be Random . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Macro Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Modulation Sources . . . . . . . . . . . . . . . . . . . . . . 62
Master: Page 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Modulation Destinations . . . . . . . . . . . . . . . . 63
Safe Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
The CV / Gate Section . . . . . . . . . . . . . 64 Battery type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Basic Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Microtuning Menu . . . . . . . . . . . . . . . . . . . . . . . . . . 72
A Few More... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Keys: Page 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
CV/Gate Polyphony . . . . . . . . . . . . . . . . . . . . . . . . 64 Velocity settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Clocks and Sync . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Keys: Page 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Aftertouch settings . . . . . . . . . . . . . . . . . . . . . . . . . 73
Output Connectors . . . . . . . . . . . . . . . . . . . . . . . 65 MIDI: Page 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Clock Sync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Local . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Mod 1 and 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 MIDI: Page 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Aftertouch Transmit . . . . . . . . . . . . . . . . . . . . . . . . 74
CVs and Arpeggios . . . . . . . . . . . . . . . . . . . . . . . 65 MIDI: Page 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Patch Management . . . . . . . . . . . . . . . . 66 What is MPE? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

7
 MIDI: Page 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Parameter send/receive options . . . . . . . . . . . . . 75
What’s a NRPN? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Send Patch / All Patches . . . . . . . . . . . . . . . . . . . . . 75
MIDI: Page 11 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Overflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Arp TX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Pgm Chg TX / RX . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
CV – Pitch Gate: Page 12 . . . . . . . . . . . . . . . . . 76
CV – Pitch Gate: Page 13 . . . . . . . . . . . . . . . . . 76
CV – Clock: Page 14 . . . . . . . . . . . . . . . . . . . . . . 76
Clock Division . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
CV – Mods: Page 15 . . . . . . . . . . . . . . . . . . . . . . 77
Calibration: Page 16 . . . . . . . . . . . . . . . . . . . . . . 77
Calibrate Wheels . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
System: Page 17 . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
OS: Page 18 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Control Combinations . . . . . . . . . . . . . 78
[INIT] + Button X . . . . . . . . . . . . . . . . . . . . . . . . . . 78
[INIT] + Control Button X . . . . . . . . . . . . . . . . . 78
[RANDOM] + Button X . . . . . . . . . . . . . . . . . . . 78
[SHIFT] + Button X . . . . . . . . . . . . . . . . . . . . . . . . 79
[SHIFT] + Control Knob X . . . . . . . . . . . . . . . . 79
[SHIFT] + Control Button X . . . . . . . . . . . . . . 79
Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Preset Standard Scales . . . . . . . . . . . . . . . . . . 80
Preset Microtuning Scales . . . . . . . . . . . . . . . 81
MIDI CC Charts . . . . . . . . . . . . . . . . . . . . . . . . 82
Sorted by Module . . . . . . . . . . . . . . . . . . . . . . . . 82
Sorted by CC Number . . . . . . . . . . . . . . . . . . . . 83
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . 85
Physical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Connections: Rear Panel . . . . . . . . . . . . . . . . . 85
CV/Gate/Clock outputs: . . . . . . . . . . . . . . . . . . 85
Control Voltages . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Gate Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Clock Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Declaration of Conformity . . . . . 86
USA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
CANADA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
EUROPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

8
 Welcome to Hydrasynth Explorer!
Everyone at Ashun Sound Machines would like to thank you for choosing one of our Hydrasynth
instruments. We’re very proud of what we have created, and are confident they will take you into
musical realms that have never been explored.
Every aspect of these ground-breaking devices has been carefully considered, from the way the sounds
are generated and processed, to the intuitive layout of the controls and displays. Everything from
impulse to performance has been optimized to unleash the creative potential of these instruments in
your hands.

Main Features
This chapter will only list the main features of Hydrasynth Explorer. But there are many more, and each
feature and its related parameters will be described in the pages ahead. Advanced users might find
quick answers to important questions in Specifications (p. 85).

User interface Sound engine

• Intuitive workflow, perceived at a glance • 8 voices, with three oscillators per voice
• Front-panel controls for instant access to • Analog modeling (Osc 1-3) and WaveScan
important features synthesis (Osc 1+2)
• Easy shortcuts for mod route construction • Select from hundreds of waveforms and then
morph / mutate / warp them at will
• Two independent OLED displays
• Preset scales with microtonal options and the
• 4 Control knobs and 4 Control buttons around
ability to import custom scales
the Right display
• Filter 1: 16 filter types, including vocal formant
• 8 assignable Macros per patch, accessible on
filters
Home page
• Filter 2: classic state-variable 12dB / octave
• Arpeggiator: 8 modes with direction, octave,
with two modes
chord, and phrase options
• Filters can be placed in series or parallel
• Patch browser: Organize by Name, Category, or
Patch number • Loopable ADSR envelopes with Delay and
Hold stages
• Memorize / instantly recall up to 32 Favorites
• Curve and BPM value for each segment
• Overflow mode can link two units for
expanded polyphony • Each envelope can have up to 4 trigger
sources
Patch features
Effects
• 5 banks of 128 patches each
• Mono and Unison voice modes, with unison • Delay: five types, including Left-Right-Center
detune and reverse

• Glide with programmable time, curve, trigger • All delays can sync to tempo
mode • Reverb: four types, with pre-delay and
• Mod Matrix with 32 routes per patch damping parameters

• Programmable Analog Feel emulates the • Reverb lengths to 90 seconds, plus “Freeze”
behavior of analog circuits • Independent Pre/Post FX: Chorus, Flanger,
• Randomize function for individual modules or Rotary, Phaser, Lo-Fi, Tremolo, EQ, Compressor,
an entire patch Distortion

9
Hardware
• MIDI In/Out
• USB type B port, class-compliant
• CV/Gate and outputs for integration with
modular synthesizers
• Headphone output
• Stereo 1/4” outputs (balanced)
• Sustain pedal input (polarity-sensing)
• LED Dim feature for darkened rooms
• Kensington lock port
• 37 mini-key, semi-weighted Polytouch®
keyboard with polyphonic aftertouch and
velocity sensitivity (note on/off )
• Dedicated controls for Filter and Arpeggiator
sections
• Pitch bend strip and Modulation strip with LED
depth indicator
• Octave Down / Up buttons
• Chord mode with dedicated button
• Can be powered by 8 AA batteries for hours of
portable creativity

10
 Quick Start Guide
Inside the Box
Your Hydrasynth Explorer was carefully packed at the factory with the following items:
• The Hydrasynth Explorer • This manual • The power supply (12VDC / ≥1A)

Save Your Receipt!

Ashun Sound Machines designed and constructed your Hydrasynth Explorer with extreme attention to
detail. Our quality assurance personnel test each unit thoroughly before it goes out.
But in the unlikely event of a hardware problem, you will need to present your original receipt in order
to obtain warranty service. This will help the service center to confirm your warranty coverage. So
please be sure to save your receipt in a safe location!

Plug It In
Power • Always remove the batteries once they are
depleted, or if you do not plan to use the
Before switching the unit on, please lower the Hydrasynth Explorer for an extended period of
volume of your speakers or mute the input time. (We know; that’s hard to imagine!)
channels on your mixer. This will help prevent any
damage to your speakers or ears. Audio
There are two options for powering the
Hydrasynth Explorer: the included power supply Using a mixer
or 8 AA batteries (optional). In either case it is
After muting the channel inputs or lowering the
essential to use only the recommended sources:
volume of your speakers, connect a pair of 1/4”
• DC power: Use only the power supply that cables from the rear-panel output jacks of the
was in the box with your Hydrasynth Explorer Hydrasynth Explorer to the inputs of your mixer.
(12 Volts DC, ≥1 Amp). Make sure the power Then set the Hydrasynth Explorer power switch to
switch is in the OFF position before making the ON position.
this connection.
• Batteries (optional): Use only 1.5V alkaline or Using headphones
1.2V Ni-MH rechargeable batteries. An icon If you plan to connect headphones to the Phone
in the upper right corner of the Left display jack on the Hydrasynth Explorer, turn the unit
indicates the power source type and battery on first and then connect the headphones. The
levels (when used). To ensure an accurate headphone level is controlled by the Master
indication of battery level, be sure to specify Volume knob.
the type of battery being used on Master: Page
4 (p. 71).
Important notes about using battery power: Master Volume control
• DO NOT MIX BATTERY TYPES; all 8 batteries The Master Volume knob controls the overall
must be the same type. output level of the Hydrasynth Explorer. It’s
• A separate device must be used to recharge an analog control, which means it does not
the Ni-MH batteries. Do not attempt to communicate its position or movements digitally
recharge alkaline batteries. via USB or MIDI.

• Replace all batteries at the same time with But Master Volume does respond to MIDI CC #7 via
new (or freshly recharged) batteries of the USB and MIDI. So if you are using the Hydrasynth
same type, model, and manufacturer. Explorer with a computer, for example, remember
that you’ll need to adjust its level using a MIDI
• Insert all batteries according to the +/- polarity track in your DAW.
markings inside the battery compartment.
11
USB MIDI
Hydrasynth Explorer is a USB class-compliant The Hydrasynth Explorer has two 5-pin MIDI
device, so there are no drivers to install. Just plug connectors to allow you to interface with other
it into your computer and it will be available MIDI devices. MIDI Out sends data from the
immediately as a MIDI input/output device. Hydrasynth Explorer and MIDI In receives data
from other MIDI devices.

CV/Gate
Your Hydrasynth Explorer has a row of connectors voltages and signal types of the most popular
that are used to interface with modular synthesiz- formats. For details, see The CV / Gate Section (p.
ers. Each one can be configured to match the 64).

Make Some Noise!

By now you’ve already played the instrument and tweaked the controls. Now let’s take a quick tour of
some of the main features.
To get started, press the Home button. This will exit any page and take the Hydrasynth Explorer to the
top level of the patch.

Select Patches like Categories, Favorites, and other search

techniques.
There are several ways to explore the patch banks
inside the Hydrasynth Explorer. The simplest Octave shift
way is to turn the Patch knob (the big one in the
middle). This will move you through the bank one If you want to hear a sound in a higher or lower
patch at a time. You’ll see the patch name, bank, range than the keys currently reach, you can shift
and number in the Left display. the range quickly by one or more octaves. The
Hydrasynth Explorer keyboard has dedicated
You can also hold [SHIFT] and turn the Patch knob
buttons above the pitch/mod strips that flash
to jump between the banks. This can save a lot
faster as the range moves further from center; at
of scrolling if you know the location of the patch
maximum shift the buttons are lit solid. To reset
you’re looking for.
the range, press both buttons.
The Browse button opens the patch browser in
the Right display. You’ll want to read the section
Using the Browser (p. 66) to learn about things

Arpeggiator basics
Arpeggiators can turn a great sound into a whole performance! So when you’re ready, press the
Arpeggiator [ON] button to activate the arpeggiator. Then hold down two or more keys while experi-
menting with the other controls in the Arpeggiator section. Here’s a quick description of each.
Control Function
Mode Determines the arpeggiator direction and other behaviors.
Octave Sets the range of the arpeggiator.
Division Selects the basic time division of the arpeggiator relative to the tempo.
Swing Eight settings allow you to add a certain amount of “shuffle feel” to the arpeggio.
On This toggles the arpeggiator on and off. Use it with [SHIFT] to enter Edit mode.
Latch Lets you to take your fingers off the keys and use both hands to adjust parameters. It
works whether an arpeggio is running or not.
Triplet Subdivides the selected Division setting into triplets.
Tap Tempo Tap several times to set the tempo.

12
There are words in orange letters under two of the buttons: EDIT and SUSTAIN. These are used with
the [SHIFT] button to access their secondary functions. We’ll describe those and the other arpeggiator
features in The Arpeggiator Section (p. 55).

Tweaking the sounds

The Right display provides information about what is happening and what the options are, no matter
what you’re doing with the Hydrasynth. We’ll dig down into every parameter eventually, but for now
let’s start at the top again. So please press [HOME] to make sure you’re seeing what we’re describing.

The Home page: Macro City The Filter section

When Hydrasynth Explorer is on the Home page This section has two buttons and three knobs. The
the Control knobs and Control buttons become buttons select which of the two filters the knobs
modulation sources for the Macros. Each Macro will control, after which the knobs can do their
can alter as many as eight parameters at one time thing.
by activating a single control. Every patch has Knobs 1 and 2 are the same for either filter: they
eight Macros available. control Cutoff and Resonance, respectively. If Filter
Macros allow you to achieve complex results, but 1 is selected the third knob controls the Drive
they’re easy to create. When you’re ready to try amount for that filter; if Filter 2 is selected the third
that, see Mastering the Macros (p. 58). knob allows you to “morph” the characteristics of
that filter.
The rest of the Master Control section has buttons
that will be useful in the near future. We’ll cover Those descriptions barely scratch the surface,
them in Master Control Section (p. 17). though. To delve more deeply into what the
Hydrasynth Explorer filters can do, read The Filters
and their Controls (p. 33).

Saving
In the process of tweaking a sound you will often create something you’d like to keep. If that has already
happened, jump ahead to the Patch Management chapter and follow the instructions in Save the Patch
(p. 67).

Check for Updates

Be sure to visit www.AshunSoundMachines.com soon, and often! It’s your source for important things
such as:
• Firmware updates for your Hydrasynth • Tutorial videos to help you master the
Explorer intricacies of the Hydrasynth Explorer
• An interactive version of this manual • The original factory banks
• Banks of new patches from our top-notch • Our free patch librarian, Hydrasynth Manager
sound design team • ...and more!

That’s Enough Reading for Now.

We’ve covered the basics. Now let your creativity go wild!

13
 Overview
The Hydrasynth Explorer represents a perfect balance of instant access, intuitive workflow, powerful
features, and great sound, all with a single aim: to make the creation and performance of mind-blowing
music easier and more fun.

Top Panel: Hydrasynth Explorer

4 6 7

8
1
5

2
3

Section Name Section Name

1 Master Volume 5 Filter Controls section
2 Pitch / Mod strips, Octave / Chord buttons 6 Main Systems section
3 Keyboard 7 Master Control section
4 Arpeggiator section 8 Module Select section

General Concepts
Access buttons
The Access buttons are located in several areas of the top panel. Many of the buttons in the Main
Systems and Master Control sections and all of the buttons in the Module Select section are Access
buttons. Their purpose:
• Press an Access button and the main parameter page for that feature appears in the Right display
for editing.
• If more pages exist, one or both Page buttons will point to the other pages.
• Pressing an Access button repeatedly will also scroll through its pages.

Function buttons
These are the white-lettered buttons, and they make instant changes (switch filters, toggle something,
activate a Macro, etc.). It might help to remember that
• buttons with orange letters select things and
• buttons with white letters do things.
For example: To enable the Arpeggiator, press the [ON] button. To exit any page, press [EXIT] or [HOME].
14
Control knobs The Module Select buttons can be used as a quick
way to set up a Mod Matrix route, too (hold one,
There are two knobs on either side of the Right press another). For information about that, see The
display. They are “endless encoders”: parameters Mod Matrix (p. 61).
are edited from their current value, rather than
jumping to another value that was based on the Knob types
position of the knob.
The Control knobs play different roles depending Selection knobs
on the page that has been accessed:
These are only found in the Arpeggiator section. A
• On the Home page they are used as Macro “selection knob” clicks between positions to select
controls. a value. Of these four, only the Swing parameter
• On a parameter page they are used to adjust can be set to intermediate values (see Swing (p.
parameter values. 55)).

A vertical bar next to each Control knob indicates Variable knobs

value and range; the bar can be unipolar or
bipolar, depending on the parameter. If the Hydrasynth uses two types of variable knobs:
parameter is bipolar, the middle point of the bar = • 270° encoders: The range has an upper and
0.0; values above or below that show an increase lower limit. Examples: Master Volume, Filter
or decrease in the value. Cutoff
• Endless encoders: These have no range limits,
Control buttons so an edit always starts from the current value.
Each Control knob is paired with a Control button.
Their function also depends on the page that has The displays
been accessed.
At the center of it all are two high-resolution OLED
• On the Home page they can affect a Macro in displays, also known as the Left display and the
one of four ways (Toggle, Trigger, Switch, or Right display. They serve different purposes:
Reset). This choice is made on System Setup
• The Left display is for Patch selection and
Master: Page 2 (p. 70).
helpful graphics.
• On a parameter page they are used to:
• The Right display is for parameter selection
• select a parameter value for editing and adjustment. Each quadrant shows the
• toggle a value (Oscillator Solo on/off, for value and status of the current parameter:
example), or • A vertical bar shows value and range; it can
• enter a lower-level editing page (i.e., be unipolar or bipolar, depending on the
Wavelist Edit for a WaveScan oscillator). parameter. If it is bipolar, the middle point
= 0.0; values above or below that show an
A dot next to each Control button indicates the increase or decrease in the value.
toggle status of certain items (Macro enabled/
disabled, Solo on/off, etc.). • A dot shows the status of certain items
(Macro enabled/disabled, Solo on/off, etc.).
Module Select buttons When an Access button is pressed, the Right
display and its surrounding controls change
These buttons access the parameter pages of the functions to allow instant access to the most-used
selected Module (Osc 1, Delay, LFO 5, etc.) The parameters. The Page up/down buttons put all
signal path generally moves from left to right, but other parameters within easy reach.
vertical lines between two buttons indicate:
• a pre-wired connection (Env 1 / LFO 1 to
Filters, Env 2 / LFO 2 to Amp), or
• the ability to be routed in Series or Parallel, as
with the Filters, or
• order of operations, such as the output of the
Delay is fed to the input of the Reverb.

15
Main Systems
Patch selection All Notes Off
6 One of the major Sometimes MIDI signals are disrupted and a note
functions of this becomes stuck. If that happens, hold [SHIFT]
section is patch and press [HOME] to transmit an “All Notes Off”
selection. There are command. This will silence any stuck notes.
several methods, and
you might use them The SAVE button
all at different times
depending on what Whenever you’ve made an edit that you’d hate to
you’re doing. lose, press [SAVE] to access the Save page. You’ll
be able to select a new location for the edited
Patch knob patch, rename it, and choose a category for the
From the Home page sound (Bass, Pad, etc.). You can even decide which
you can select an color the knob will be when the patch is selected.
adjacent patch by There’s another feature that determines whether
turning the Patch the positions of the Macro knobs will be stored
knob a single click in either direction. You can also as-is, returned to zero, or saved as edits to the
jump between the banks if you hold [SHIFT] while parameters they control.
turning the knob.
For details on each of these functions, see Save the
Patch (p. 67).
Browse
This page lets you alter the way the patches are System Setup
presented in each bank. There are three different
sort orders: By Patch #, by Name, or by Category. This section has 18 pages. It holds all of the
The Browse page also contains a robust Compare global settings for the keyboard, the knobs, MIDI
feature, as well as a sub-menu where you can functions, the CV/Gate section, etc.
designate a patch as a Favorite. You can stash up [SAVE] and [SYSTEM SETUP] are used together to
to 32 patches in your Favorites bank for instant specify the boot-up patch for the Hydrasynth.
access.
For details about each page, see The System Setup
For details on each of these functions, see Using Pages (p. 70).
the Browser (p. 66) in the Patch Management
chapter. The INIT button
Favorites (Shift + Browse)
Reset a parameter
When you need to find your best sounds
immediately you can jump straight to your The INIT button will reset any parameter to its
Favorites bank from any other page. default value: just hold [INIT] and press the
Control button next to that parameter’s value. The
• Hold [SHIFT] and press [BROWSE] to access Control button will light up next to any parameter
your Favorites that has been edited, which helps you know
• Use the Page Down/Up arrows to move which one to press.
between the eight banks of Favorites
Initialize a Module
• Press the Control button next to the patch
name to select it. You can reset the parameters for an entire Module
using a similar method:
The HOME button • Hold [INIT].
The Home button is in the center of the top panel. • Press the Access button for the desired
It provides instant access to the Home page. Four module.
of the eight Macros are located here; press [Home] • Confirm the decision by pressing [INIT] again.
again to reach the second set of Macros.
• If you decide not the initialize, press [EXIT] to
cancel the procedure.
16
Initialize a Patch Left display shows “PATCHRND” after the first
press, and after the second press a random
If you want to build an entire patch from scratch, selection of values is pulled from other
press [INIT] twice in a row. This will erase the patches.
contents of the Edit buffer, so be sure to save any
edits you don’t want to lose. Sometimes the results can be strange, but that’s
okay; just try it again. Once you get something
The RANDOM button interesting, you can save it like that or tweak it as
needed.
If you’re the adventurous type, you will love
this button! It can randomize the value of any Percent of Randomization
parameter, any module, or even an entire patch. The Random feature lets you specify how much
randomization takes place in each module. Press
Randomize a parameter [RANDOM] to gain access to three pages, on which
To randomize a single parameter, hold [RANDOM] you are able to set the randomization limit for the
and press the Control button next to that modules listed below.
parameter’s value. The Control button of every
available parameter will light up, so you’ll know Page Modules Range
which ones not to press (the dark ones won’t do 1 OSC 1-3, Mutant 1-4, Mixer, 0-100%
anything). Filters
2 Macro, ModMtrx, ENV, LFO 0-100%
Randomize a Module
3 Voice, Amp, FX, Arp 0-100%
You can randomize the parameters for an entire
Module using a similar method: The SHIFT button
• Hold [RANDOM].
The Shift button is used in combination with
• Press the Access button for the desired various buttons and knobs to access secondary
module. functions. When these are available the secondary
• Confirm the decision by pressing [RANDOM] functions are indicated with a row of orange text
again. under the control.
• If you decide not the randomize, press [EXIT] In some cases [SHIFT] is used to accelerate value
to cancel the procedure. selection. For example, if you hold [SHIFT] and
turn the Patch knob you can jump between Patch
Random Patch generation banks, as opposed to the standard operation of
+/- 1 patch.
You can even randomize every value, including
the Effects! There are two ways: You can also use [SHIFT] to help fine-tune a value
that has a large range. For example, if you want
• Press [RANDOM] twice. The Left display shows to set a precise value for filter resonance, hold
“GENERATE” after the first press, and after the [SHIFT] and turn the appropriate Control knob.
second press a random selection of values is
generated. For a complete list of the available Shift functions,
see Control Combinations (p. 78).
• Hold [SHIFT] and press [RANDOM] twice. The

Master Control Section

Module is accessed the parameter values
7 are shown in the Right display, selected
with the Control buttons, and adjusted
with the Control knobs. The Page Up/Down
buttons provide access to more parameters
whenever a Module offers more than four.
We’ll cover the parameters of each Module in
Understanding the Modules (p. 21).
If you like to make your own patches, you might The Master Control section is also a lot of fun
enjoy this top-panel section the most. When a when you’re on the Home page, thanks to the

17
powerful Macro controls. For live performance MACRO ASSIGN button
or on-the-spot creativity, the Macros can kick
everything into high gear. See Mastering the This Access button opens a page that is like a
Macros (p. 58). hallway with eight doors, and behind each one
is a lab that makes a powerful performance
EXIT button control called a Macro. You can define up to eight
modulation routes for each Macro, and then
This button will light as soon as you enter any use the Control knobs and Control buttons to
page. It will take you back to the previous page, manipulate the Macros from the Home page. Each
and it can cancel a process if you decide not to do patch has its own set of 8 Macros.
something (Initialize, Randomize, Save, etc.). The
To learn more about what’s on the other side of
Home page is the only page where [EXIT] is not lit,
those doors, see the chapter Mastering the Macros
because that’s the top level of the patch.
(p. 58).
PAGE Up / Down buttons MOD MATRIX button
These two buttons are lit if the selected module
has more than one page. If one of those buttons The Mod Matrix button reveals a digital patch bay
is lit that means there are pages available in that that provides up to 32 sets of modulation routes
direction. If both are lit then pages are available per patch. These are in addition to the Macros,
in both directions. If neither is lit, there are no although they can be controlled by them (and vice
additional pages to select. versa).

Access buttons can be used to flip between pages • Potential sources for the modulation routes
too, which works great if there are only a few include LFOs, Envelopes, Velocity, the Sustain
pages. But if the module has a lot of pages and pedal, and any MIDI CC\# (Continuous Control
the parameter you want is more than a few pages number).
away, hold [SHIFT] and press one of the lit arrows • Destinations can be almost any Hydrasynth
to jump to the first or last page. Then use the Page parameter, including any Mod Matrix route.
Up/Down buttons to reach the desired page. Additional destinations include the Macros,
the Mod 1 and Mod 2 CV outputs, and any
VOICE button MIDI CC #.
There’s a lot to say about this topic, so you’ll want
This Access button takes you into a set of to read The Mod Matrix (p. 61).
patch-level features like Pitch bend range, Vibrato
settings, Mono/Poly/Unison voice modes, and
the Glide settings. This is also where the Scale is
defined for the keyboard.
Perhaps more subtle but equally important, the
Voice module is also home to the Analog Feel and
Random Phase settings. These can really bring a
patch to life.
See the Modules chapter for specifics about the
Voice module (p. 22).

Arpeggiator Section

4 The Hydrasynth Explorer provides a comprehensive,

cutting-edge set of arpeggiator features that you can enjoy
immediately.
If you’d like more information, there’s a chapter dedicated
to the ins and outs (or “ups and downs”, if you will) of The
Arpeggiator Section (p. 55).

18
Filter Controls
Sweeping the filter frequency of a sound is a great way to
5 heighten the emotional impact of the music. This is
especially true during an arpeggio or a sequenced passage.
Hydrasynth Explorer offers several controls for exactly this
purpose. You can sweep the filter frequency, adjust the
resonance, and increase the drive amount of Filter 1, for
example, and then switch to Filter 2 and perform similar
actions. However, for Filter 2 the third knob does not control the drive amount; instead it “morphs” the
filter between three states (Low Pass / Band Pass / High Pass or Low Pass / Notch / High Pass, depending
on the selected Type). For details, refer to The Filters and their Controls (p. 33).

Module Select
reference for the signal flow, which
8 starts with the Oscillators, moves
through the Filters, proceeds through
the effects, and is sent to the outputs.
Pressing a Module button will reveal
the first page of parameters for that
module. If more than one page exists,
the Page buttons are used to access
the other pages, as described earlier in PAGE Up
The Module Select section has 26 Access buttons / Down buttons (p. 18). Full details about the
which are used to view and edit the parameters parameters of each Module are found in the
for each patch. Their placement provides a visual chapters ahead.

Performance Controls
The Hydrasynth Explorer was designed to To create a chord, hold [CHORD] and it will flash.
encourage the spontaneous exploration of sound Then play the notes you want the chord to
and rhythm. Whether live or in the studio, the contain. You can press them all at once or one at
potential for unique performances is enhanced by a time, which allows you to build chords that are
the Macro controls on the Home page, as well as outside your normal reach. The lowest note you
dedicated Filter and Arpeggiator controls. Along enter will become the root note. When you’re
with those are a host of other interactive features, done, release the button.
such as 37 PolyTouch® keys, pitch/mod strips, There are a few things to remember about Chord
Octave buttons, Chord mode, and a headphone mode:
jack. And thanks to its portability and a healthy
number of CV outputs, the outside world can join • A chord can contain between 2-8 notes; <2
in on the fun! notes are not stored; notes >8 are ignored.
We offer several models with identical voice • The chord is not saved with a patch, and will
architecture and editing methods. And if you be erased when the Hydrasynth Explorer is
will forgive the shameless plug, if you buy any power-cycled.
one of the other models you can combine their • Chord mode puts the keyboard into mono
polyphony by enabling Overflow (p. 75). It’s a mode (last note priority).
very cost-effective way to multiply the creative
potential of your system. • All notes in the chord will be quantized to
notes within the selected scale. (See Select a
Twice the fun for less than twice the price! Scale (p. 54) in The Voice Module (p. 51).)
Chord mode • The chord is not transmitted over USB or MIDI.
A slaved device will only receive the played
A single key can play up to 8 notes at once by note.
activating the [CHORD] button. But a chord must
be created before the button can be used.
19
Rear Panel

1 2 3 4 5 6 7 9
8
10

Section Name Description

1 CV / Gate connectors Interface with modular synthesizers
2 Phones output Compatible with a wide range of impedance ratings
3 Outputs Left (mono), Right (for stereo)
4 Sustain pedal input Polarity sensing on startup
5 MIDI connectors In, Out
6 USB connector Type B for computer connection
7 DC power connector 12 volts DC, ≥1A
8 Power cable guard Helps prevent accidental disconnection
9 Power switch Gets the creative juices flowing!
10 Kensington lock Helps prevent unwanted relocation

CV/Gate connectors MIDI

These five connectors allow the Hydrasynth The Hydrasynth Explorer has two MIDI connectors
Explorer to interface with the wild and wonderful to let you interface with other devices that might
world of modular synthesizers. There are five not have a USB port or CV / Gate connectors.
outputs (Pitch, Gate, Mod 1, Mod 2, and Clock), • MIDI Out sends data from the Hydrasynth
and each one sends voltages and signals that can Explorer to another MIDI device
control external devices.
• MIDI In receives data from another MIDI device
The range of each voltage and what type of
signals are sent are defined in The System Setup
Pages (p. 70), and information about how to use USB
them is in The CV / Gate Section (p. 64).
Use this port to connect to your computer.
Outputs Power
Headphones Cable lock
The headphone volume is controlled with the
Master Volume knob. The cable lock provides an additional level of
protection for the power supply cord.
Stereo Outputs On/off switch
Connect the Left output if monaural signal is
desired; connect both outputs if stereo signal is There are only two options here: O=Off and |=On.
preferred.
Kensington lock
Sustain pedal input Let’s face it: the music you make with your
Hydrasynth Explorer will take people places! And
Connect a momentary footswitch here. Its polarity
just in case they get a bit carried away, we’ve
is detected on power-up, so any brand of pedal
included the Kensington lock system so you can
can be used.
keep your Hydrasynth Explorer from also being
carried away.
20
 Understanding the Modules
The orange-lettered Access buttons select particular modules for editing, and can also be used to create
new mod routes. They are arranged in the order of signal flow, from left to right: [Osc] > [Mixer] > [Filter]
> [Amp] > [FX]. The front panel graphics indicate this, and also show the interactions and independence
of the modules.
The Voice module is the lone exception to the signal flow rule. Located in the upper right corner, it
provides features such as the Unison modes and Scale.

Module Groups
We’ll only touch briefly on the modules here; most have their own chapters. Their purpose here is to
introduce operations that can be performed by any two modules from any module group.

Oscillator group Dotted lines connect ENV 1 to the Filter group

and ENV 2 to the Amp module, which means
The Oscillator group includes Oscillators 1-3, the they have pre-wired connections that show up as
four Mutant modules, and the Ring-Noise module. parameters in those modules. But all Envelopes
After the waveforms are generated by Oscillators can be used as modulation sources for any
1 and 2 they pass through their respective Mutant destination, and Envelopes 3-5 can be used as
modules before heading to the Mixer module, additional modulation sources for the Filters and
where they are joined by the outputs of Oscillator the Amp module.
3 and the Ring-Noise module. Note that Envelope 2 does not show up by name
The modules that are in the Oscillator group are inside the Amp module, but its input level is
described in The Oscillator Group (p. 24). controlled by the AmpLevel parameter.

Mixer module LFO group

This module has some simple but important All five LFOs have identical parameters. Dotted
functions, including the relative levels and lines connect LFO 1 to the Filter group and
panning of the oscillators, how they are routed LFO 2 to the Amp module, which means they
through the filters, and whether the filters are in a have pre-wired connections that show up as
series or parallel configuration. Full details are in parameters in those modules. But all LFOs can be
The Mixer Module (p. 31). used as modulation sources for any destination,
and LFOs 3-5 can be used as additional
Filter group modulation sources for the Filters and the Amp
module.
Filter 1 and Filter 2 are similar in name and
function but their features are very different. Amp module
• Filter 1 has 16 different filter models, including The Amp module contains only three parameters:
Low- / High- / Band Pass and vocal formant
options. • LFO 2 Amount adjusts the amount and polarity
of the effect LFO 2 has on the Amplitude of the
• Filter 2 is a multi-mode filter with two types: patch.
Low Pass / Band Pass / High Pass and Low Pass
/ Notch / High Pass. Each type can “morph” • Velocity controls the velocity response of the
between the three states. Amplitude stage. Negative values invert the
response: increased velocities reduce the
The filters can be placed in parallel or series. Full amplitude.
details are in The Filters and their Controls (p. 33).
• Amp Level can be used to compensate for
Envelope group quieter or louder output from the oscillators
and filters.
All five Envelopes have identical parameters, For information about how these parameters
and each can be triggered by up to four sources. interact, see The Amp Module (p. 37).

21
FX group Voice module
Rounding out each patch is a healthy array of Though it isn’t located in the Module Select
effects processors, from pitch effects to spatial section, the Voice module has a significant impact
emulations and much more. With these a raw on each patch. It determines how many notes
sound can become sweet or angry, pure or are available, which ones will play, and how they
distorted, straightforward or mangled. sound, through parameters such as Polyphony,
Detune, Analog Feel, Random Phase, Glide, and
Once the rest of the synth has had its way, the
Scale. These are fully described in The Voice Module
signal flow is [Pre-FX] > [Delay] > [Reverb] >
(p. 51).
[Post-FX] > Output. For specific details read The
Effects (p. 46).

Module Shortcuts
The front panel buttons can do a lot more than First the Hydrasynth Explorer must be on the
access parameters for editing. They can be used to Macro Assign page, where the module buttons
create a mod route within seconds, for example, or become shortcuts to select the parameters you
to copy parameters between similar modules. want to control. This is significantly faster than
scrolling through all of the other modules to reach
Create Mod routes the one you want.
Everything you need to know about setting up
There’s a shortcut to set up one or more mod Macros is in the chapter Mastering the Macros (p.
routes very quickly. Instead of accessing the Mod 58).
Matrix through its button and navigating to the
right page and field, try this from the Home page:
Copy / Paste settings
• Press and hold the module button for the
desired Modulation Sources (p. 62) Some modules are identical, and their parameter
• Press the module button for the destination values can be copied from one module to another.
you want to modulate. See Modulation For example, you can copy the settings from
Destinations (p. 63) Oscillator 1 to Oscillator 2, or vice versa, because
their data is interchangeable.
If you’ve chosen valid components for the route
the Right display will jump directly into the Mod Some modules have unique features and
Matrix at the first empty modulation slot, with capabilities and their data is not interchange-
the first parameter of the destination module able. For example: you can’t copy the settings
highlighted. From there you can select a different from Oscillator 3 to Oscillator 1 because their
parameter within that module using Control knob parameters are very different.
2 and set the modulation amount with Control
knob 4. If the destination parameter has a front Copy / paste procedure
panel knob available, turning that will select it as The process of copying the settings between
the destination. compatible modules is simple:
This technique can also be used inside the Mod • Press and hold the Save button: All modules
Matrix pages. The advantage to doing it there is that are potential copy sources are lit
that when you hold a source button, all of the
• Select the copy source: Only potential paste
potential mod route destinations will light up.
destinations remain lit
They don’t do that from the Home page.
• Select the paste destination. The process will
The Mod Matrix will be covered more fully in The
execute and all buttons will become unlit,
Mod Matrix (p. 61).
indicating success.
Select Macro Destinations Here’s a real-life example: Let’s say you want to
copy the settings from Envelope 1 to Envelope
When Hydrasynth Explorer is on the Home 2, and then make some slight adjustments so
page the Control knobs and Control buttons are Envelope 2 comes in more slowly and fades out
capable of the simultaneous manipulation of up sooner. It’s easy: Hold [SAVE], press [ENV1], and
to eight parameters each. The module buttons then press [ENV2]. Release the Save button and
make it easy to set these up. you’re ready to edit Envelope 2.
22
Modules that will
When the Save button is held some of the Module
buttons are lit. These are the ones that can be
copied and pasted. There are limitations, of course;
the parameters of an Oscillator cannot be pasted
to one of the Filters, for example. Here’s a chart
that shows the possible combinations.
Modules Copy/Paste is possible between...
Oscillators Oscillators 1 and 2
Mutants Mutants 1, 2, 3, or 4
Envelopes Envelopes 1, 2, 3, 4, or 5
LFOs LFOs 1, 2, 3, 4, or 5

Modules that won’t

When the Save button is held some of the Module
buttons are not lit. These have unique parameters
and can not be copied and pasted.
Modules Copy/Paste NOT possible...
Oscillators Oscillator 3, Ring-Noise
Filters Filter 1, Filter 2
Effects Pre-FX, Delay, Reverb, Post-FX
Others Mixer, Amp

23
 The Oscillator Group
Oscillators are the foundation of a patch. They generate the most basic component of the sound, which
is then shaped by other components such as Mutants, Filters, Envelopes, etc.
Hydrasynth Explorer has 3 oscillators per voice. Oscillators 1 and 2 can operate in two different modes:
Single and WaveScan. Oscillator 3 operates only in Single mode. The same waveforms are available in
both modes, but the features of each mode are very different.
The Mutant modules affect an oscillator the same way a mask or lipstick affect a face: they change the
way the underlying component is presented to the world. The Ring-Noise module does a similar thing:
it produces a sound based on the sum and the difference of two input signals.
The Oscillator, Mutant, and Ring-Noise modules form the Oscillator group. We’ll cover them all in this
chapter.

Settings can be copied between identical modules (Osc 1 and 2, Mutants 1-4): Hold [SAVE],
press and release the source, and then press and release the destination. Then release [SAVE].

Oscillators 1 and 2
The features of these oscillators are identical, so the following descriptions apply to both. For a list of
the available waveforms see the Waveform List (p. 30) at the end of this chapter.

Switching modes
To change an oscillator from Single mode to WaveScan mode or vice versa, access [OSC 1] or [OSC 2]
and use Control knob 1.

Single mode
Single mode provides only a single waveform to the sound, hence the name. There’s a lot you can do
with a single waveform, though: the Mutant modules and the Ring Modulator make sure of that.
Single mode has one page of parameters.
Page Control Parameter Range Description
1 1 Mode Single, WaveScan Select the oscillator mode
1 2 Semi +/- 36 semitones Coarse tuning of oscillator pitch [1]
1 3 Wave 219 options [2] Choose a waveform as the starting point
1 4 Cents +/- 50 cents Fine tuning of oscillator pitch
2 3 Keytrack 0–200% Sets keyboard pitch tracking. [3]
[1] Use [SHIFT] to jump by 12 semitones.
[2] See Waveform List (p. 30)
[3] 0 = fixed pitch; at 200% a 1-octave difference on the keyboard changes the pitch by 2 octaves.
Default = 100%.

24
WaveScan mode
This mode offers all of the same waveforms found in Single mode, but then allows you to select up to
eight of them in a Wavelist. WaveScan will morph gradually between the positions in the Wavelist, using
an LFO or some other source through the Mod Matrix.
We’ll list the parameters first and describe them in detail later. Some are also present in Single mode:
Page Control Parameter Range Description
1 1 Mode Single, WaveScan Select the oscillator mode.
1 2 Semi +/- 36 semitones Coarse tuning of oscillator pitch [1]
1 3 WaveScan 1.0 to 8.0 in steps of 0.1 Select the starting position of the
WaveScan. [2]
1 4 Cents +/- 50 cents Fine tuning of oscillator pitch
2 1 Wavelist Edit... (access) Press Control button 2 to access the list.
(See Wavelist Edit page below.)
2 3 Keytrack 0-200% Sets keyboard pitch tracking. [3]
[1] Use [SHIFT] to jump by 12 semitones.
[2] Hold [SHIFT] to jump by whole numbers. An intermediate value morphs between two waveforms, as
seen in the Left display.
[3] 0 = fixed pitch; at 200% a 1-octave difference on the keyboard changes the pitch by 2 octaves.
Default = 100%.

Wavelist Edit page • Press the corresponding Control button to solo

that WAV position. The dot next to the Control
This lower-level page lets you pick a waveform for button will flash slowly to indicate the wave
each of the 8 WAV locations. Options include OFF, being auditioned.
Silence, and any one of the 219 waveforms.
• Hold [SHIFT] and turn a Control knob to
The eight WAV slots correspond to the x.0 change that waveform and all that follow it.
positions of the WaveScan parameter on page For example,
1 of the upper level: WAV 1 = position 1.0, WAV
2 = position 2.0, etc. A WaveScan value of 1.5, • Hold [SHIFT] and turn Control knob 3.
for example, is derived by “morphing” halfway • As WAV 3 selects waveform X, WAV 4
between WAV 1 and WAV 2. selects waveform X+1, WAV 5 selects
Two additional features make waveform selection waveform X+2, etc.
and auditioning very easy:

When a WAV is set to OFF, any WAV after it is treated as if it were located in an earlier position.
For example, if WAV 7 = OFF but WAV 8 = Pulse4, the Hydrasynth handles Pulse4 as if it were
WAV 7.

Oscillator 3
Oscillator 3 operates in Single mode only, so it does not have the Mode select option in edit field 1. See
the description of Single mode in Oscillators 1 and 2 (p. 24).

While creating a patch it can be useful to solo an oscillator to see what it is contributing to the
sound. This feature is located on the first page of The Mixer Module (p. 31). Ring & Noise can
also be soloed.

25
Mutants 1–4
Each of the Mutant modules is identical so we will describe them all at the same time. They are arranged
in pairs: two for Oscillator 1 and two for Oscillator 2. Depending on the selected mode, the output of
one of the Mutants in a pair can be fed into the next Mutant and/or into any other Mutant, including
itself. In some modes the Mutants are dedicated to the oscillators with which they are paired.
The first edit field of the Mutant module selects the mode. There are eight:
Mode Description
FM-Lin Modulate the oscillator frequency with the selected Source
WavStack Adds phase-shifted copies of the waveform; simulates many oscillators using only one
OSC Sync Force the harmonics of the oscillator to synchronize with those of the selected Source
PW-Orig Classic method of adjusting the pulse width of a waveform
PW-Sqeez Time-compressed pulse width modulation method
PW-ASM Customizable pulse width modulation via FM; targets specific sections of the waveform
Harmonic Emphasizes individual harmonics in the waveform, de-emphasizes all others
PhazDiff Generates the difference of the source wave and an inverted, phase-shifted copy

FM-Lin
This module provides a type of synthesis known as Linear FM (Frequency Modulation). Each voice is the
equivalent of a 2-operator stack, with a carrier and a modulator. Unlike the most famous synth of the
mid-1980s, which used only sine waves, the Hydrasynth Explorer can use any of its 219 waveforms as
both the carrier and the modulator. The FM Source can also be generated by the Mutant itself (Sine or
Triangle), another Mutant module, or the Ring-Noise module.
Page Control Parameter Range Description
1 1 Mode 8 species (focus: FM-Lin) See list of Mutants in previous section
1 2 Ratio 0.250-64.000; increments vary Relative tuning of Source & oscillator [1]
1 3 Depth 0-128 in increments of ~0.1 FM input level to oscillator
1 4 Dry/Wet 0-100% Osc/Mutant mix; 100% = pure Mutant
2 1 Source 11 options [2] Selects FM source
2 3 Feedback 0-150% Feeds FM output into itself
[1] Source = Sine or Triangle only. Hold [SHIFT] to jump by harmonics.
[2] Potential modulators: Sine, Triangle, Osc 1-3, Ring Mod, Noise, Mutant 1-4

WavStack
This mode stacks five detuned copies of the waveform on top of itself, which makes for a fat sound
using only a single oscillator. Pro tip: Spreading out multiple voices with the StereoWidth parameter
([VOICE] page 1) can make the sound HUGE.
Depth controls the amount of detuning between each of the five copies. Dry/Wet adjusts the balance
between the unprocessed input and the mutated output.

OSC Sync
Oscillator Sync is a classic analog synthesizer technique where an oscillator is forced to align its
harmonics with another oscillator. Traditionally this is done with simple waveforms, and with the
second oscillator affecting the first. Hydrasynth Explorer provides many more options, including the use
of all 219 waveforms in either position, the ability to sync Osc 1 and/or Osc 2, and the ability for any of
the three oscillators to be used as the sync source.

26
 Page Control Parameter Range Description
1 1 Mode 8 species (focus: Osc Sync) See list of Mutants on previous page
1 2 Ratio 0.250-64.000; increments vary # of times wave resyncs in one cycle [1]
1 3 Depth 0-128 in increments of ~0.1 Controls strength of sync effect
1 4 Dry/Wet 0-100% Mix raw waveform + sync result; 100%
= pure Mutant
2 1 Source Osc 1, Osc 2, Osc 3 Select sync source
2 2 Window 0-128 in increments of ~0.1 Applies Hann window to sync source
2 3 Feedback 0-150% Feeds sync output into itself
[1] Hold [SHIFT] to jump by whole numbers.
The Ratio parameter is unusual for oscillator sync. Normally the sync operates at a 1:1 ratio: the synced
oscillator conforms to a single cycle of the host waveform, and that’s that. But the Ratio parameter sets
the number of times the oscillator will resync within that single cycle. See the next section for a more
complete explanation.

About Ratio Window

The Ratio parameter is part of what makes the A Hann window applies a sort of “bell curve” filter
Hydrasynth voice engine unique. It gives you to the Osc Sync source. It rolls off the high and low
control over how many times PWM or Oscillator input frequencies at ~18dB / octave, which can
Sync happens during a single waveform cycle, help tame any harshness in the output
instead of happening only once per cycle as with
other synthesizers. It may help to think of it like Pulse Width modulation
this:
• 1:1 = one process for one cycle of the wave. Pulse Width Modulation (PWM) alters the basic
shape of the waveform by shifting its internal
• 2:1 = two processes for one cycle of the wave. structure over time, making some areas narrower
So at 2:1 the PWM is happening twice in a cycle and others wider. This is usually done to square
instead of once (the way “normal” PWM does); the waves, but the Hydrasynth Explorer voice engine
Oscillator Sync is happening twice in the cycle. can apply PWM to any of its 219 waveforms.
The ratio can be as high as 64:1 or as low as And there’s more! Hydrasynth Explorer takes PWM
0.250:1. This means that the mutation process in entirely new directions by providing not one,
can occur as many as 64 times in the space of one but *three* types of PWM. Each has the same
waveform cycle, or as few as one time in the space parameters (with one exception as noted below),
of four waveform cycles. but the results of each type can be radically
different!
Page Control Parameter Range Description
1 1 Mode 8 species (focus: PW-Orig / See list of Mutants on previous page
-Sqeez / -ASM [Warp])
1 2 Ratio 0.250-64.000; increments # of times PWM happens in one cycle. [1]
vary
1 3 Depth 0-128 in increments of ~0.1 Controls harmonic range of PWM
1 4 Dry/Wet 0-100% Mix raw waveform + PWM result; 100%
= pure Mutant
2 3 Feedback 0-150% Feeds sync output into itself
2 4 Custom Edit (access) Press Control button 7 to access Warp
(PW-ASM points. See PW-ASM [Warp] (p. 28).
only)
[1] Hold [SHIFT] to jump by whole numbers.

27
PW-Orig 1. Press the Page Down arrow to access page 2.
2. Press Control button 4 to access Custom
This is the “vintage” PWM used by many analog Edit.
polysynths in the ‘70s and ‘80s: a waveform is fixed
at its center and both of its edges are moved to 3. Hold the low C key and turn Control knob 2
compress or expand its width. The PWM source slowly.
is often an LFO, though an Envelope or other 4. Listen and watch the display as Warp2
sources can yield excellent results. changes from 0 to 128 and back. Note how
the waveform is affected only in one specific
PW-Sqeez area (i.e., Warp point 2).

This form of Pulse Width modulation grabs the 5. Press the Page Down arrow to access Warp
start and end points of the modulation and then points 5-8.
squeezes them to the right. It might help to think 6. Repeat steps 7 and 8 with one or more
of this as “time-warping” a waveform: It makes the Warp points at various values.
oscillator go slow at first and then go fast, all in the
7. Also try different settings for Ratio,
space of a single cycle.
Feedback, and Dry/Wet. The sonic potential
is nearly limitless.
PW-ASM [Warp]
PW-ASM mode is actually a form of Frequency
PW-ASM mode divides the selected waveform into Modulation (FM). It allows you to draw your own
8 sections that are framed by Warp points. The modulator waveform by selecting different values
values chosen for each Warp point determine how for each of the 8 Warp points. Construct a slope, a
warped each section of the waveform can become. valley, a mound, jagged peaks, pseudo-random,
etc.; your design will become an FM source (i.e.,
Here’s an example of PW-ASM mode in action. the modulator).

Each Warp point can be a destination in the Mod Matrix, so timbral changes can be as subtle or
wild as you like. For example, use synced LFOs as mod sources and various Warp points as
destinations.

Harmonic
At its maximum Depth and impact (100% wet) the Harmonic mutator emphasizes individual harmonics
in a waveform and de-emphasizes the others. Its effect is heard more obviously on waveforms rich in
harmonics, like a sawtooth wave, than on a simpler waveform such as a sine wave.
Page Control Parameter Range Description
1 1 Mode 8 species (focus: Harmonic) See list of Mutants 1–4 (p. 26)
1 2 Ratio 0.250-64.000; increments vary Selects emphasis harmonic. [1]
1 3 Depth 0-128 in increments of ~0.1 Controls harmonic range
1 4 Dry/Wet 0-100% Mix raw waveform + harmonic; 100% =
pure Mutant
2 3 Feedback 0-150% Feeds harmonic output into itself
[1] Hold [SHIFT] to jump by whole numbers.

28
Try this experiment to see how the Harmonic mutator affects different waveforms:
1. Initialize the patch by pressing [INIT] twice. 6. Slowly increase the Depth to 128. Each of
This provides a Single mode saw wave from the frequencies in the harmonic series is
oscillator 1. emphasized.
2. Access [MUTANT 1] and turn Control knob 1 7. Return the Depth slowly to 0. Gradually all
to select the Harmonic mode. harmonics disappear, even the fundamental.
3. Set the Depth parameter to 0.0. 8. Release the note.
4. Set the Dry/Wet parameter to 100% so only 9. Access [OSC 1] and change the Wave to
the effect will be heard. Square.
5. Hold the lowest C until step 8. You should 10. Access [MUTANT 1] and repeat steps 5-8.
hear almost nothing at this point. You will hear a limited set of harmonics
emphasized.
Here’s why they were different: As the depth increased the Harmonic effect revealed the harmonics that
are present in each waveform. A sawtooth wave contains all harmonics, but a square wave contains
only odd-numbered harmonics.
Try the experiment with other waveforms. It’s a good way to learn why the various waveforms sound
different: each contains a different set of harmonics in varying strengths.

PhazDiff
PhazDiff generates the difference of the incoming wave and a version that is inverted and
phase-shifted.
Parameter Range Description
Depth 0-128 in increments of 0.1 Controls the phase of the output waveform
Feedback 0-150% Feeds the phase-shifted output back into itself
Dry/Wet 0-100% Mix raw and phase-shifted waveforms; 100% = pure
Mutant
Here’s how to explore this Mutant. But be careful with high Feedback values in step 5! The results can be
very loud.
1. Initialize the patch by pressing [INIT] twice.
2. Press [MUTANT 1] to access that Mutant module.
3. Use Control knob 1 to select the PhazDiff mode.
4. Use Control knob 4 to set the Dry/Wet control to 50%. This provides an equal blend of the raw wave and
its mutation.
5. Experiment with different values of Depth and Feedback to hear what they do.
6. Try step 5 with other waveforms, and try different Dry/Wet values.
This is especially fun to watch in the display as the waveform peaks are shifted and inverted. The
changes are easier to see with simpler waveforms such as Horizon5 or Spect A1, but the results are
always audible. Modulating the Depth via the Mod Matrix is a great way to introduce subtle shifts in the
sonic landscape, too.

29
Ring-Noise Module
This module contains two additional sound bell-like and pure, or it can be wiry, robotic, trashy,
sources that can be blended with the oscillators to and/or pleasingly unnatural.
make sounds that are even more interesting. A noise generator produces random, simulta-
Ring Modulation (Ring Mod or RM) takes two neous frequencies across a broad range. The
audio signals and generates a sound based on the different colors represent specific frequency
sum and the difference of their frequency content. ranges and power levels.
Depending on the sources the result can be
Page Control Parameter Range Description
1 1 Source 1 Osc 1-3, Noise, Mutant 1-4 Selects first input source
1 2 Source 2 Same as Source 1 Selects second input source
1 3 RM Depth 0-128 in increments of ~0.1 Depth of Ring Modulation
1 4 Ring Vol 0-128 in increments of ~0.1 RM volume [1]
2 1 Noise Type White, Pink, Brown, Red, Blue, Violet, Grey Selects noise type
2 2 Noise Vol 0-128 in increments of ~0.1 Noise volume [2]
[1] Parameter is shared with Mixer page 2, edit field 1; changing one also changes the other.
[2] Parameter is shared with Mixer page 2, edit field 2; changing one also changes the other.

Waveform List
Waveform group Waveforms Waveform group Waveforms
Classic Sine, Triangle, TriSaw, Particl Particl 1-3
Saw, Square
Pulse Pulse 1-6 Vokz Vokz 1-6
Horizon Horizon 1-8 Flux Flux 1-5
SyncLav SyncLav 1-5 Alweg Alweg 1-8
Esquire Esquire 1-4 Tronic Tronic 1-6
ChriMey ChriMey 1-6 Duotone Duotone 1-6
Spect A Spect A 1-7 Bobanab Bobanab 1-4
Spect X Spect X 1-7 Melotic Melotic 1-7
Klangor Klangor 1-5 Cluster Cluster 1-8
Induct Induct 1-3 Micoten Micoten 1-5
Scorpio Scorpio 1-9 Orland Orland 1-8
Belview Belview 1-5 Neuton Neuton 1-7
Chendom Chendom 1-8 Xfer Xfer 1-7
Glefan Glefan 1-7 Resyn Resyn 1-4
Sqarbel Sqarbel 1-2 Sano Sano 1-4
Obob Obob 1-3 SquRoo SquRoo 1-15
Ingvay Ingvay 1-3 Harmon Harmon 1-23

30
 The Mixer Module
This module has six pages of parameters which perform simple but important functions.

Mixer parameters: pages 1-2

Page Control Parameter Range Description
1 1 Osc 1 0-128 Osc 1 level
1 2 Osc 2 0-128 Osc 2 level
1 3 Osc 3 0-128 Osc 3 level
1 4 Solo On/Off First press: all 5 sources are active. Use Control buttons to solo
a source. [1]
2 1 Ring 0-128 Ring mod level
2 2 Noise 0-128 Noise level
2 4 Solo On/Off First press: all 5 sources are active. Use Control buttons to solo
a source. [1]
[1] Pages 1 and 2 share this parameter; changing one also changes the other.

Setting Levels
To set the relative levels of the sources, access [MIXER]. Page 1 contains the levels for Oscillators 1-3, and
the levels for Ring and Noise are on page 2. Use the appropriate Control knob to adjust the level of each
item, and use [SHIFT] + Control knob X to fine-tune the level.

The Solo Function

When creating a patch you may want to hear one of the sources on its own while making adjustments
to that source. Rather than setting the other levels to zero temporarily and restoring them later,
Hydrasynth Explorer includes a Solo function.
It’s easy to use:
• On pages 1 and 2, use Control button 4 to toggle Solo from Off to On. Those pages share this
parameter, so changing it on one page changes it on the other.
• When Solo is engaged the Control buttons for all 5 sources will light on their respective pages. This
means they are still active.
• Press the Control button of the source you want to hear. Its Control button will become brighter
than the others.
• Press another Control button to solo that source. The first Control button will dim and the selected
one will brighten.
• You can switch between pages 1 and 2 and solo any one source on either page.
• Press Control button 4 on either page 1 or 2 to defeat the Solo function.

Mixer parameters: pages 3-4

Page Control Parameter Range Description
3 1 Osc 1 pan -/+ 64 (as named)
3 2 Osc 2 pan -/+ 64 (as named)
3 3 Osc 3 pan -/+ 64 (as named)
4 1 Ring pan -/+ 64 (as named)
4 2 Noise pan -/+ 64 (as named)
31
Set the Pan Positions

Osc 1-3 Pan Ring + Noise Pan

To set the stereo placement of the oscillators, To set the stereo placement of the Ring modulator
access [MIXER] and use the Page Down arrow to and Noise generator, access [MIXER] and use the
select page 3. Control knobs 1-3 contain the pan Page Down arrow to select page 4. Control knobs
positions for Oscillators 1-3. Use the appropriate 1 and 2 contain the parameters Ring Pan and Noiz
Control knob to adjust the pan position of Pan, respectively. Use the appropriate Control
each item, and use [SHIFT] + Control knob X to knob to adjust the pan position of each item, and
fine-tune the value. use [SHIFT] + Control knob X to fine-tune the
value.

Mixer parameters: pages 5-6

Page Control Parameter Range Description
5 1 Osc1Filt 100:0 - 0:100 Ratio of Osc 1 fed to the two filters
5 2 Osc2Filt 100:0 - 0:100 Ratio of Osc 2 fed to the two filters
5 3 Osc3Filt 100:0 - 0:100 Ratio of Osc 3 fed to the two filters
5 4 Filter Routing Series, Parallel Places the filters in Series or Parallel configuration [1]
6 1 Ring Filt 100:0 - 0:100 Ratio of Ring mod fed to the two filters
6 2 Noise Filt 100:0 - 0:100 Ratio of Noise source fed to the two filters
6 4 Filter Routing Series, Parallel Places the filters in Series or Parallel configuration [1]
[1] Pages 5 and 6 share this parameter with Filter 1 page 3; changing one also changes the other.

Filter Routing of Sources

Osc 1-3 Filter routing Ring + Noise Filter routing

To adjust the routing of each oscillator between To adjust the routing of the Ring modulator and
Filter 1 and Filter 2, access [MIXER] and use the Noise generator between Filter 1 and Filter 2,
Page Down arrow to select page 5. Control knobs access the [MIXER] module. Hold [SHIFT] and press
1-3 contain the filter routing values for Oscillators the Page Down arrow to jump to page 6. Control
1-3. Use the appropriate Control knob to adjust knobs 1 and 2 contain the parameters RingFilt
the filter routing of each item: and NoizFilt. Use the appropriate Control knob to
adjust the filter routing of each item:
• 100:0 sends the source only to Filter 1.
• 100:0 sends the source only to Filter 1.
• 0:100 sends the source only to Filter 2.
• 0:100 sends the source only to Filter 2.
• Intermediate values send the source to both
filters in varying amounts. • Intermediate values send the source to both
filters in varying amounts.
Use [SHIFT] + Control knob X to fine-tune the
values. Control knob 4 sets the Filter configuration Use [SHIFT] + Control knob X to fine-tune the
(see below). values.

Filter Configuration
This setting specifies whether the filters operate in Series or Parallel mode. When they are in Series,
Filter 1 always passes through Filter 2. When they are in Parallel, sources can be routed so they pass
through only one of the filters or through both filters in varying amounts (as described above in Filter
Routing of Sources (p. 32)).
Pages 5 and 6 share this parameter with Filter 1 page 3, edit field 1; changing one also changes the
other.

32
 The Filters and their Controls
Filters are second only to oscillators in defining the sound of a patch. If the oscillators were passengers
in a car, for example, then the filters are the doors: Some open and close luxuriously to reveal the
occupants; others have more grit and meet a different need. The Hydrasynth Explorer filters cover the
range from a silky Lamborghini to a rugged Jeep, with all the sophistication and aggression implied by
those extremes. You’re ready for any sort of musical journey with Hydrasynth Explorer.
There are two filters available, each with its own characteristics. They can be used in series, with Filter 1
feeding Filter 2, or used in parallel, where each filter has a direct path to the output.

Filter 1
This filter is actually a collection of filter types. Each one has its own character, and some may be similar
to analog filters you have encountered. But we didn’t want Hydrasynth Explorer to sound like a clone of
any instrument, so we took some of the flavor of the original filters and made something new. As with
the oscillators, you will find that the Hydrasynth Explorer filters add their own signature to the sound.

Filter 1 types
Name Description Name Description
LP Ldr12 12dB Uncompensated Ladder filter HP 3-Ler The High Pass flavor of a boutique
LP Ldr24 24dB Uncompensated Ladder filter modular synth
LP Fat12 12dB Compensated Ladder filter LP Stn12 Our version of a popular 12dB Low
LP Fat24 24dB Compensated Ladder filter Pass filter
LP Gate Low Pass Gate filter BP Stn12 Our version of a popular 12dB Band
LP MS20 Low Pass filter with an MS-20 flair Pass filter with dual 6dB slopes
HP MS20 High Pass filter with an MS-20 flair HP Stn12 Our version of a popular 12dB High
LP 3-Ler The Low Pass flavor of a boutique Pass filter
modular synth LP 1 Pole A gentle 6dB Low Pass filter
BP 3-Ler The Band Pass flavor of a boutique LP 8 Pole A steep 48dB Low Pass filter
modular synth Vowel Vocal formant filter

Compensated vs. Uncompensated filters

Filter compensation could be an unfamiliar concept. It’s another way in which ASM has adapted the
sonic profile of various analog synthesizers. Here’s the difference:
• Uncompensated filters: As resonance increases the low frequency content of the sound
is reduced.
• Compensated filters: The bass response is not reduced as resonance is increased.

Filter 1 parameters: page 1

All of the Filter 1 types have the same parameters, with one exception as noted. Access [FILTER 1] and
turn Control knob 1 to select the Type, then adjust these parameters as needed:
Control Parameter Range Description
1 Type 16 options See Filter 1 types above
2 Cutoff 0.0-128.0 Cutoff frequency for most; vowel control for
Vowel filter
3 Control (type = Vowel only) 0.0-128.0 Formant control
4 Resonance 0.0-128.0 Controls resonance or Q
33
Control Resonance
This parameter is visible only when the Filter type This adjusts the resonance of the filter. When Filter
is set to Vowel. It provides control over location 1 is selected on the top panel, the Resonance
and spread of the formants, which are certain knob in the Filter Controls section also controls
peaks and nodes in the filter frequencies that help this parameter.
to approximate the resonance of the human vocal
apparatus. Use this with the Cutoff, Resonance,
and Vowel Order parameters for greater precision.

Cutoff
This controls the Cutoff frequency for every filter
type except the Vowel filter, for which it becomes
the vowel control. When Filter 1 is selected on
the top panel, the Cutoff knob also controls this
parameter.

Filter 1 parameters: page 2

Control Parameter Range Description
1 ENV 1 amount +/- 64.0 Sets amount & polarity of Env 1 effect on filter
2 LFO 1 amount +/- 64.0 Sets amount & polarity of LFO 1 effect on filter
3 Vel Env +/- 64.0 Allows velocity to set maximum range of filter envelope
4 Keytrack +/- 200% Scales filter response across keyboard; C2 = center note

ENV 1 amount Vel Env

This parameter defines the amount and polarity of This is an abbreviation for “Velocity to Envelope”. It
the effect Envelope 1 will have on Filter 1. There is adjusts the depth of the filter envelope based on
a similar, separate parameter for Filter 2. note velocity: notes played at maximum velocity
allow Envelope 1 to have maximum impact on the
Envelope 1 has a pre-wired connection to the
filter frequency, within the range set by the Env 1
Filter section, which saves a mod route. But a
amount parameter. It can be set negatively, so that
different envelope can be used to control the filter
higher velocities reduce the range of a positive-
if you want; just set this value to 0 and create a
going filter envelope or increase the range of a
new route via The Mod Matrix (p. 61).
negative-going filter envelope.
Keyboard model only: When Filter 1 is selected on
There is a similar, separate parameter for
the top panel, the ENV 1 knob in the Filter Controls
Filter 2.
section also controls this parameter.

LFO 1 amount Vel Env operates within the range set by

the Env 1 Amount parameter;
This parameter defines the amount and polar­ity if you have no envelope amount set, the
of the effect LFO 1 will have on Filter 1. There’s a parameter will do nothing.
similar, separate parameter for Filter 2.
LFO 1 has a pre-wired connection to the Filter
section, which saves a mod route. But a different
Keytrack
LFO can be used to control the filter if you want; This parameter scales the filter response across
just set this value to 0 and create a new route via the keyboard, with C2 as the center note. A
The Mod Matrix (p. 61). positive value means that notes above the center
note increase the filter cutoff frequency, and
Keyboard model only: When Filter 1 is selected on
notes below the center note decrease the filter
the top panel, the LFO 1 knob in the Filter Controls
cutoff frequency. A negative value means that
section also controls this parameter.
notes above the center note decrease the filter
cutoff frequency, and notes below the center
note increase the filter cutoff frequency. There is a
similar, separate parameter for Filter 2.
34
Filter 1 parameters: page 3
Control Parameter Range Description
1 Filter Route Series, Parallel Places filters in Series or Parallel configuration
2 Drive 0.0-128.0 Drive amount
3 Vow Order (type = 8 orders Changes formant order during frequency sweeps
Vowel only)
4 Drive Route Pre, Post Drive placement in signal path

Filter Route Drive Route

This setting specifies whether the filters operate There are two configurations for routing the
in Series or Parallel mode. When they are in Series, Drive effect: Pre or Post. The difference is whether
Filter 1 always passes through Filter 2. When they the waveform is boosted before it hits the filter
are in Parallel, sources can be routed so they pass or whether the filter output is boosted before it
through only one of the filters or through both reaches the Amp stage.
filters in varying amounts (as described in Filter • Pre places the Drive effect between the
Routing of Sources (p. 32)). waveform and the filter.
The setting is linked to the parameter on Mixer • Post places the Drive effect after the filter.
page 3, edit field 4; changing one also changes the
other.
Vowel Order
Drive This parameter is only visible when the Vowel
filter type is selected. It provides eight different
To add extra warmth or grit to a patch, try arrangements of the vocal formants, ranging from
adjusting the Drive parameter. As the value climbs AEIOU to UIEAO. Combined with creative use of
the waveform begins to clip, and at the highest the Cutoff and Resonance parameters, nearly any
settings the waveform can be radically distorted. vowel or diphthong can be achieved.
The Drive route setting determines the point at
which the overdrive is applied (see below).
When Filter 1 is selected on the top panel, the
Drive parameter is shared with the Drive / Morph
knob in the Filter Controls section.

Filter 2
Filter 2 is our adaptation of a classic 2-pole state-variable filter. True to form, Filter 2 can toggle between
two filter types: Low Pass / Band Pass / High Pass, and Low Pass / Notch / High Pass. Each provides a
perfect complement to Filter 1.

The filters can be used in Series or Parallel.

This setting is found on page 3 of Filter 1.

Filter 2 parameters: page 1

Control Parameter Range Description
1 Type LP-BP-HP, LP-NO-HP Selects filter type
2 Cutoff 0.0-128.0 Cutoff frequency
3 Morph 0.0-128.0 Adjusts filter: 0 = LP, 64 = BP or NO, 128 = HP, with
gradual changes
4 Resonance 0.0-128.0 Controls resonance or Q

35
Filter 2 Types Morph
Filter 2 provides two filter types, each with Low This parameter adjusts the filter between its
Pass and High Pass modes to process the high various states, with a Low Pass filter at one
and low frequencies. The major difference is what extreme, a High Pass filter at the other, and a
happens in the middle, as Morph approaches a Band Pass or Notch filter at the middle setting.
value of 64: Along the way there are hundreds of intermediate
settings. As the value changes, a graphic indicates
• Band Pass emphasizes the middle frequencies,
the filter character.
in a range defined by the Resonance setting.
When Filter 2 is selected on the top panel, the
• Notch reduces the middle frequencies, in a
Morph parameter is shared with the Drive / Morph
range defined by the Resonance setting.
knob in the Filter Controls section.
The differences are more pronounced with higher
The rest of the Page 1 parameters are identical in
resonance values. You’ll also notice that the Band
function to the same parameters in Filter 1 (Cutoff,
Pass and Notch filters affect the Low Pass and
Resonance, ENV 1 amount, LFO 1 amount, Velocity,
High Pass modes differently as you sweep the
and Keytrack). Please refer to Filter 1 parameters:
filter frequency. Between these two filter types the
page 1 (p. 33) for their descriptions.
Hydrasynth can achieve an astonishing variety of
sounds.

Filter 2 parameters: page 2

Control Parameter Range Description
1 ENV 1 amount +/- 64.0 Sets amount & polarity of Env 1 effect on filter
2 LFO 1 amount +/- 64.0 Sets amount & polarity of LFO 1 effect on filter
3 Vel Env +/- 64.0 Allows velocity to set maximum range of filter envelope
4 Keytrack +/- 200% Scales filter response across keyboard; C2 = center note

Set up mod routes quickly from an Envelope or LFO to the Filter: Hold the module button for
the desired source, then press the module button for the destination.

36
 The Amp Module
The Amp module is relatively simple, and has only three parameters.

Control Parameter Range Description

1 LFO 2 amount +/- 64.0 Sets amount & polarity of LFO 2 effect on amplitude
3 Vel Env +/- 64.0 Lets velocity set maximum range of Amp envelope
4 Amp Level 0.0-128.0 Controls pre-FX level of patch

How the Parameters Interact

All three of the parameters in the Amp module work together. The LFO 2 amount and Velocity Envelope
parameters operate within the limits set by the Amp Level setting.

LFO 2 Amount As the Vel Env value is increased the amplitude

will decrease if a note is played at less than
This parameter adjusts the amount and polarity maximum velocity. What the Vel Env parameter
of the effect LFO 2 has on the Amplitude of the does is create “headroom” for the velocity-to-
patch. It uses the current value of the Amp Level amplitude response.
parameter as its starting point. In other words, the Amp Level parameter sets
A negative value for LFO 2 Amount literally inverts the upper limit for the velocity response. That
the phase of the LFO waveform. For example, if way a note cannot push the amplitude of the
the LFO 2 wave is set to Saw Up, it will behave like patch higher than the Amp Level value. This helps
a Saw Down wave when the LFO 2 Amount is set prevent unwanted clipping of the signal as it
to a negative value. heads into the Effects section.
The Amp Level setting also sets the upper limit
of the amplitude modulation. In other words, Amp Level
a bi-polar LFO waveform will not cause the
The Amp Level parameter is the boss, or at least
amplitude of the patch to rise higher than the
“middle management”; it sets the maximum
Amp Level value. This helps prevent unwanted
output level for the signal path before it heads
clipping of the signal as it heads into the Effects
into the Effects section. This helps prevent a
section.
situation that could cause the Amp Level output
to exceed a value of 128 and cause clipping in the
Velocity Envelope (Vel Env) Effects.
The Vel Env parameter determines how much Another way to think of the Amp Level parameter
the amplitude envelope will respond to note is that it can be used to compensate for quieter or
velocity. Negative values invert the response, so louder output from the oscillators and filters.
that an increase in velocity reduces the amplitude
envelope response.
When Vel Env is set to 0 the amplitude envelope
will not respond to changes in velocity. However,
other parameters might still respond to velocity,
depending on the settings in the Mod Matrix and
elsewhere in the signal path.

37
 The Envelopes
What’s an Envelope?
An envelope defines the shape of a modulation: how it begins, how it ends, and how big it will be in
the middle. Hydrasynth Explorer has 5 envelopes that can be used to shape any available parameter
through the Mod Matrix. All 5 have identical parameters, so every description applies equally to all.

Envelope features as four sources once a voice is active. Once it is

triggered an envelope can run freely (Freerun: On),
reset with each new note (Reset: On), or reset only
ADSR plus if all other notes have been released (Legato: On).
A Hydrasynth envelope provides the classic ADSR It’s easier to hear an envelope reset with a mono-
form factor (Attack, Decay, Sustain, and Release). phonic patch than with a polyphonic patch. For an
But they’ve been enhanced with delay and hold example see the description of Reset (p. 40).
stages, so technically the form factor is DAHDSR.
Looping envelopes
Adjustable curves
Hydrasynth envelopes can loop a specific number
The Attack, Decay, and Release segments have of times or indefinitely.
curves that can be adjusted gradually from
Logarithmic to Linear to Exponential. They can be Modulation and interaction
snappy, lazy, or anything in-between. This allows
you to specify exactly how you want the patch to An envelope can be used as a modulation source
proceed from start to finish. for any destination, and individual envelope
segments can be modulated (shortened or
Time-based segments lengthened) by LFOs or by other envelopes.
Envelopes can operate in one of two modes: Thanks to the Mod Matrix, envelopes and LFOs can
synchronized or unsynchronized. If the BPM Sync interact and evolve in a nearly infinite number of
option is On each segment can occupy a specific ways. For a quick tip on how to do this, see Envelope
rhythmic value. If the BPM Sync option is Off the Shortcuts (p. 41) at the end of this chapter.
duration of each segment is measured in seconds
(or milliseconds). Every envelope and segment will Envelopes 1 and 2
last exactly as long as you want.
Hydrasynth Explorer has pre-wired connections
Note that the BPM Sync setting affects all stages linking ENV 1 to the Filters and ENV 2 to the
except Sustain, which is merely a level (i.e., a place, Amp module. This is because every sound has
not an event). amplitude and timbre, even if a distinct pitch is
not present. More envelopes can be routed to
The wonderful thing about triggers these destinations as needed through The Mod
Hydrasynth envelopes can be triggered by as many Matrix (p. 61).

Envelope parameters: page 1

Control Parameter Range Description
1 Attack [1] After delay period, the time Env takes to reach full amplitude
2 Decay [2] After hold period, the time Env takes to reach sustain level
3 Sustain 0.0 to 128.0 The resting level prior to note off
4 Release [2] The time Env takes to reach the zero point after note off
[1] BPM = Off: 0 ms to 36.0 seconds; BPM = On: 0, 1/64T to 64’ (16 measures)
[2] BPM = Off: 0 ms to 60.0 seconds; BPM = On: 0, 1/64T to 64’ (16 measures)

To set the length of an envelope segment quickly: While on page 1, hold [SHIFT] and press the
appropriate Control button for the desired length of time. This works with BPM On or Off.
38
Envelope parameters: page 2
Control Parameter Range Description
1 Delay [1] The time before onset of attack segment
2 Hold [2] The time between attack and decay segments
4 BPM Sync Off, On Toggles all segments from seconds to beats/bars
[1] BPM = Off: 0 ms to 32.0 seconds; BPM = On: 0, 1/64T to 64’ (16 measures)
[2] BPM = Off: 0 ms to 36.0 seconds; BPM = On: 0, 1/64T to 64’ (16 measures)

BPM Sync settings Value Duration

When the BPM Sync parameter is set to On, all 1/16 Sixteenth note
of the segments with durations are measured in 1/16Dot Dotted sixteenth note
rhythmic values. This includes the Delay, Attack,
Hold, Decay, and Release stages of the envelope. A 1/16T Sixteenth note triplet
duration can be set to 0, which means it happens 1/1 Whole note, or one measure
instantly and therefore has no rhythmic value. 8’ Eight quarter notes, or two measures
All other settings have a quantized duration 64’ Sixty-four quarter notes, or sixteen
ranging from 1/64T (a sixty-fourth note triplet) to measures
64’ (64 quarter notes, or 16 measures in 4/4 time).
Dotted values are also available. The chart on the
right contains examples of how the values are
shown:

Envelope parameters: page 3

Control Parameter Range Description
1 AtkCurve [1] Sets attack segment curve
2 DecCurve [2] Sets decay segment curve
4 RelCurve [2] Sets release segment curve
[1] Exp (-64) > Lin (0) > Log (64) [2] Log (-64) > Lin (0) > Exp (64)

Envelope curves
Adjacent logarithmic curves look like a mound: and accelerates upward; the decay and release
The attack segment rises quickly and its rate segments start falling quickly and decelerate until
of change slows as it nears the peak; the decay they reach the resting state.
and release segments start falling slowly and A linear curve rises and falls at the same rate
accelerate until they reach the resting state. throughout its duration. However, linear changes
Exponential curves are the opposite of logarithmic seem less natural or “musical” to the human ear
curves: The attack segment starts rising slowly than the other curves.

Envelope parameters: page 4

Control Parameter Range Description
1 Legato Off, On On = Env won’t reset until all notes are released
2 Reset Off, On On = Env resets when polyphony is exceeded [1]
3 Freerun Off, On On (note held): Env runs from Delay to Sustain stage
On (note released): Env runs from Delay through Release stage
4 Env Loop Off, 2-50, Toggles Env looping, sets # of loops
Infinite
[1] If Legato = On the Reset parameter is hidden.
39
Legato 10. Wait until the filter stabilizes for voice 8,
then play C again.
When sheet music uses the term “Legato” it means
to play a passage smoothly, with no rests between 11. Listen as the filter sweeps from the sustain
the notes. Likewise, when this parameter is set level, not the lowest frequencies.
to On, the envelope will not retrigger if previous 12. Release the pedal.
voice has not been released. This allows a filter
envelope to remain at its sustain stage when a 13. Press the Page Down arrow and set Reset to
series of notes are played, for example, which can On.
help a solo or a bass line to be more expressive. 14. Repeat steps 6-12.
Reset 15. The difference: The filter sweeps through all
frequencies for all notes, not just the first 8.
The Reset parameter is only available when Legato
is Off. When Reset is On an envelope will reset In summary, here’s what to expect with a
when a new note is played, even if the previous polyphonic patch:
note has not been released. • Reset = On: The 9th voice starts the envelope
The difference between Reset On and Off is easy from its beginning.
to hear with a monophonic patch. But with a • Reset = Off: The 9th voice starts the envelope
polyphonic patch the behavior is more obvious from the sustain level.
after the available polyphony has been exceeded.
You’ll need a sustain pedal for the following Freerun
example.
An envelope set to Freerun passes through all
1. Set speaker/headphone levels low; this segments, even if the note is released before
could be loud. the end of the decay segment. If the note is held
2. Press [INIT] twice to initialize the patch then the envelope proceeds to the sustain level
and remains there until the note is released, after
3. Access [FILTER 1] and set Type to HP MS20 which the envelope proceeds through the release
4. Set Cutoff to 50, Resonance to 100, and segment.
ENV1 amount to 64
Envelope loop
5. Access [ENV 1] and set Attack and Decay to
~1 second This parameter enables an envelope to loop a
specific number of times (between 2 and 50), and
6. Hold down the sustain pedal when set to Infinite it can loop forever. This means
7. Play 7 notes on the lowest C an envelope can even be used as a complex LFO
(if 5 LFOs aren’t enough!). The loop includes the
8. Wait for the filter to reach the sustain level attack, hold, and decay segments.
for all 7 voices
9. Play the 8th note and listen as the filter
sweeps through all frequencies

Envelope parameters: pages 5-6

Page Control Parameter Range
5 1 TrigSrc1 OFF [1], Note On, LFO 1-5, Rbn On, Rbn Release, SusPed On
5 2 TrigSrc2 OFF, Note On, LFO 1-5, Rbn On, Rbn Release, SusPed On
5 3 TrigSrc3 OFF, Note On, LFO 1-5, Rbn On, Rbn Release, SusPed On
5 4 TrigSrc4 OFF, Note On, LFO 1-5, Rbn On, Rbn Release, SusPed On
6 3 Tap Trigger Tap button to trigger envelope. It does not sustain while the
button is held.
[1] In order for audio output to be possible, TrigSrc1 of Envelope 2 is set to Note On and cannot be
changed. All four TrigSrc values can be changed for the other envelopes.

40
Envelope Shortcuts
These are described in greater detail in other chapters, but they’re so easy and useful we’ve included
them here too.

Copy Env A to Env B Create a direct Mod route

1. Hold [SAVE] To set up a mod route to a specific parameter from
inside a module:
2. Press and release the source (Envelope A)
1. Hold [ENV X] to select the source
3. Press and release the destination
(Envelope B) 2. Press the Control button for the desired
destination parameter, then release both
4. Release [SAVE].
buttons
3. Those items appear in the first open Mod
Matrix slot as the source and destination,
respectively
4. Set the modulation amount with the lower
Control knob.

41
 The LFOs
What’s an LFO?
LFO is an abbreviation for Low Frequency Oscillator. LFOs are the cause of familiar effects like vibrato
and tremolo, but they can be used in very complex ways (as the presets will attest). Hydrasynth Explorer
has 5 LFOs that can modulate any available parameter through the Mod Matrix. All 5 have identical
parameters, so every description applies equally to all.

LFO features
These LFOs might be more flexible than any you • Independent LFO per voice
have encountered. Here are some highlights: • LFOs can modulate themselves, each other,
• Delayed onset through the Delay and Fade-in and/or anything else
parameters • An LFO can be triggered a single time or loop
• Adjustable phase: start the modulation from indefinitely
any point in the LFO waveform • Design your own LFO, arpeggio, or mini-
• Synchronized or unsynchronized modes sequence with the Step LFO features
• A wide range of rates, from super slow to
audio

The Vibrato feature is a sixth LFO dedicated to the mod strip. It is not available as a source or
destination in the Mod Matrix. For details, see the Vibrato settings (p. 52) of the Voice module
chapter.

LFOs 1 and 2
Hydrasynth Explorer has pre-wired connections linking LFO 1 to the Filters and LFO 2 to the Amp
module. More LFOs can be routed to these destinations as needed through The Mod Matrix (p. 61).

LFO parameters: page 1

Control Parameter Range Description
1 Wave Sine, Triangle, Saw Up, Saw Down, Square, Selects LFO waveform. “Step”
Pulse27%, Pulse13%, S&H, Noise, Random, Step is user-defined
2 Rate BPM = Off: 0.02 to 150.0 Hz Sets duration of LFO cycle
BPM = On: 0, 64’ to 1/64T
3 Phase 0° - 360° Defines starting point of LFO
4 Level 0.0 - 128.0 Maximum amplitude of LFO

There’s a quick way to set the LFO rate: While on page 1, hold [SHIFT] and then hold Control
button 2 for the desired period of time. This works with BPM On or Off.

Phase Level
An LFO doesn’t need to start at a zero-crossing You may wonder why this parameter is needed,
point. This parameter allows you to specify the when the Mod Matrix allows you to set a level for
exact point at which it will begin, as measured in each modulation route. That’s a good question
degrees from zero to 360. with a great answer.

42
For example, imagine that an LFO is routed to rather than needing to adjust each mod route
multiple destinations in the Mod Matrix (which is separately. The LFO Level parameter is a fine-tune
often the case). This parameter makes it possible control that allows you to dial in a modulation
to adjust all of those routes with a single edit, amount with precision.

LFO parameters: page 2

Control Parameter Range Description
1 Delay BPM = Off: 0 ms to 32.0 seconds The time before LFO begins
BPM = On: 0, 1/64T to 64’ (16 bars)
2 Fade In BPM = Off: 0 ms to 5943 ms The time LFO takes to reach full
BPM = On: 0, 1/64T to 64’ (16 bars) amplitude
3 BPM Sync Off, On Toggles LFO rate from Hz to beats/bars
4 TrigSync Poly, Single, Off Poly: independent LFO per voice
Single: LFO affects all voices; each new
note retriggers LFO
Off: LFO runs freely

BPM Sync option TrigSync

When the BPM Sync parameter is set to On the This parameter governs whether an LFO resets
LFO rates are represented by rhythmic values. with each new note or operates independently
These range from 1/64T (a sixty-fourth note triplet) per voice.
to 64’ (64 quarter notes, or 16 bars in 4/4 time). • Poly: Each new note triggers its LFO indepen-
Dotted values are also available. Here are some dently. Use this for lush pads, etc.
examples of how the values are shown:
• Single: Each new note retriggers the LFO of
Value Duration each voice.
64’ Sixty-four quarter notes, or 16 bars • Off: The LFOs run freely, regardless of when
8’ Eight quarter notes, or two bars notes are triggered. An LFO could be anywhere
1/1 Whole note, or one bar in its cycle when it appears.
1/16Dot Dotted sixteenth note
1/16 Sixteenth note
1/16T Sixteenth note triplet

LFO parameters: page 3

Control Parameter Range Description
1 Smooth 0-127 Slows waveform changes
2 One-Shot Off, On On = LFO runs 1 cycle and stops

Smooth One-Shot
Also known as “slew”, this parameter softens the An LFO will run its course only once if this
transitions from one amplitude of an LFO to the parameter is set to On. For example, it could:
next. When a waveform with abrupt changes is • allow a single warble from a sine wave LFO
selected (Saw, Square, S&H, Step) the Smooth
parameter makes the LFO “glide” between • introduce a short burst of chaos from the Noise
adjacent values. At the highest setting the square waveform
and triangle LFO waveforms are identical. • run the Step LFO sequence one time, etc.
“Step LFO sequence?” Let’s discuss that feature
next.

43
LFO parameters: page 4
Page 4 is only visible when the LFO wave is set to Step.
Control Parameter Range Description
1 Steps 2-64 Sets # of steps within the LFO
3 SemiLock Off, On On = use semitone values in Step Edit pages
4 Step Edit.. (access) Enters the Step Edit page

The Step LFO LFO to play standard 12-tone pitches. Let’s try an
example with SemiLock On this time.
Page 4 of the LFO module only appears when the
LFO wave is set to Step. This page contains the 1. Press [INIT] twice to initialize the patch
Step LFO parameters, which let you define up to 2. Hold [LFO 1] and press [OSC 1] to create a
64 stages through which the LFO will pass. mod route
There are three parameters on page 4: Steps, 3. Use Control knob 4 to set Depth to 128.0
SemiLock, and Step Edit. Those are described
briefly in the previous chart, and we’ll cover 4. Access [LFO 1]
SemiLock more thoroughly in the next section. 5. Use Control knob 1 to select the Step wave
Let’s walk through an example with SemiLock Off
for now. 6. Hold [SHIFT] and press the Page down arrow
to reach page 4
1. Press [INIT] twice to initialize the patch
7. Notice that the Steps value is set to 8. Leave
2. Hold [LFO 1] and press [OSC 1] to create a it there for now.
mod route
8. Use Control knob 3 to set SemiLock to On
3. Use Control knob 4 to set Depth to 128.0
9. Use Control button 4 to access the Step Edit
4. Access [LFO 1] page
5. Use Control knob 1 to select the Step wave 10. Notice that steps 1, 2, and 3 are set to
6. Hold [SHIFT] and press the Page down arrow +12semi, -12semi, and 0semi, respectively.
to reach page 4 These are the chromatic equivalents of the
non-SemiLock values.
7. Notice that the Steps value is set to 8. Leave
it there for now. 11. Hold a note. Three octaves of the same pitch
will play.
8. Use Control button 4 to access the Step Edit
page 12. Enter values on the other steps to see how
that affects the Step LFO output.
9. Notice that steps 1, 2, and 3 are set to 60.0,
-60.0, and 0.0, respectively. Note: Multiples So what happens when step values aren’t a
of 5 provide specific pitches, but intermedi- multiple of 5? Continuing with the previous
ate values can be used. example:
10. Hold a note. Three octaves of the same pitch 1. Press [EXIT] and use Control knob 3 to set
will play. The third pitch is longer because SemiLock to Off
the last six steps are set to the same value. 2. Access the Step Edit page via Control button
11. Keep holding the note and notice that the 4 and set any step to a value that is not a
8-step sequence repeats. multiple of 5 (e.g., 9.9)
12. Enter values on the other steps to see how 3. Press [EXIT] and use Control knob 3 to set
that affects the Step LFO output. SemiLock back to On
Now that you know your way around the Step 4. Access the Step Edit page again (Control
LFO, let’s dive deeper. button 4). The non-multiple step has an
asterisk (e.g., +1semi*)
SemiLock 5. As the related Control knob is turned the
SemiLock displays the steps inside the Step Edit value changes to exact semitone values and
page in semitone values. This makes it easy for an the asterisk disappears.

44
Now let’s try a Step LFO with more than 8 steps. values to quantize to the chromatic scale, be sure
to do the following:
1. Press [EXIT] and use Control knob 1 to select
a different number of Steps • Set the LFO output level to 128.
2. Enter the Step Edit page via Control button 4 • In the Mod Matrix, route the LFO to the pitch
of an oscillator with a depth of 128.
3. Use the Page up/down buttons to access
steps 5-8, 9-12, etc. With those conditions met, the Step LFO semitone
values will always match the 12 pitches in the
4. Select semitone values for each step as
chromatic scale.
needed.
To dive even deeper, press [EXIT] and try different Keyboard entry
settings for Smooth, Rate, BPM = On, etc. With 64
steps available and a synced LFO rate of 1/16, for You can select semitone values inside the Step
example, an LFO can play a 4-bar melody! Edit page with the keyboard. Simply hold the
Control button for the desired step, then press a
Remember, in order for the Step LFO semitone key inside the two lowest octaves to set the value.

You might hear the wrong pitch at first if you hold Control button 1 and play a note to set the
semitone value for step 1. The reason: LFO1 starts as step 1 is entered, and it restarts with every
new note (unless TrigSync = Off ). The result: double-transposition of the first note. The right
pitch will play when the LFO loops.

More Step LFO ideas

Here are more ways to use the Step LFO: same value as the previous step or the next one.
• The maximum Step values are +/- 64.0, so • For longer step sequences, use LFO Delay so
the total range is a little wider than an octave LFO 2 comes in for the 2nd bar (set LFO 1 to
above and below the root pitch. One-Shot = On).
• Try using one or more oscillators with a Step • Try the Copy feature described below: Copy
LFO and BPM set to ON. Different Rate values one LFO to another and make slight changes
provide interesting rhythms. to create counterpoint or to harmonize. Be sure
to copy The Mod Matrix (p. 61) settings also.
• Osc 1 and 2 could play step sequences while
Osc 3 drones on the root pitch, for example. • You can invert a melody with mod route level
of -128.
• Use different values of the Steps parameter to
create odd time signatures like 5/4, 6/8, 7/8, etc. • Remember, if you run out of LFOs, you can use
a looping envelope as an LFO.
• To hold a pitch for one or more steps, use the

LFO Shortcuts
These are described in greater detail in other chapters, but they’re so easy and useful we’ve included
them here too.

Copy LFO A to LFO B Create a direct Mod route

1. Hold [SAVE] To set up a mod route to a specific parameter from
inside a module:
2. Press and release the source (LFO A)
1. Hold [LFO X] to select the source
3. Press and release the destination (LFO B)
2. Press the Control button for the desired
4. Release [SAVE].
destination parameter, then release both
buttons
3. Those items appear in the first open Mod
Matrix slot as the source and destination,
respectively
4. Set the modulation amount with the lower
Control knob.
45
 The Effects
The Hydrasynth voice engine is so powerful that it only made sense to pair it with an equally powerful
effects section. There are four independent effect modules available, two of which provide awe-inspir-
ing delay and reverb effects, while the other two are the aural equivalent of a set of Swiss Army knives.
Any tool you need for your music, Hydrasynth Explorer has it.

Some parameter names are shown below in [brackets]. These are available as mod destinations
for Macros and the Mod Matrix. The values for these parameters have finer increments than the
others, which ensures maximum resolution when they are being modulated.

Pre- and Post-FX

The only difference between these two FX modules is that one precedes the Delay and Reverb and the
other follows them. They serve different purposes due to their placement in the signal path, so they will
often have different settings. But since their FX types and parameters are identical, both modules will
be covered in this section.
These are the FX types available for the Pre-FX and Post-FX modules:
• Chorus • Flanger • Rotary • Phaser • Lo-Fi
• Tremolo • EQ • Compressor • Distort
Each FX type has preset templates that can be used as starting points for your own creations. When the
patch is saved the FX settings are preserved.

Bypass
This is the default option. To disable the effect module, set it to Bypass.

Chorus
Page Control Parameter Range Description
1 1 FX Type 9 types (see list above) Selects effect
1 2 [Rate] 0.02-10.0 Hz Controls chorus rate
1 3 [Depth] 0.0-128.0 Controls chorus depth
1 4 [Dry/Wet] 0-100.0% Sets dry signal/effect blend
2 1 Preset 1-3 Selects template
2 2 Offset +/- 180° Sets initial effect phase relative to input
2 3 Feedback +/- 63 Feeds chorus into itself (positive/negative
polarity)
2 4 Mono/St Mono, Stereo Selects output mode

Flanger
Page Control Parameter Range Description
1 1 FX Type 9 types (see list above) Selects effect
1 2 [Rate] 0.02-10.0 Hz Controls flanger rate
1 3 [Depth] 0.0-128.0 Controls chorus depth
1 4 [Dry/Wet] 0-100.0% Sets dry signal/effect blend
2 1 Preset 1-3 Selects template
2 2 Offset +/- 180° Sets initial effect phase relative to input
46
 2 3 Feedback +/- 63 Feeds flanger into itself (positive/negative
polarity)
2 4 Mono/St Mono, Stereo Selects output mode

Rotary
Page Control Parameter Range Description
1 1 FX Type 9 types (see Pre- and Post-FX (p. 46) Selects effect
1 2 [Hi-Speed] 0.02-10.0 Hz Sets high rotor speed
1 3 [Lo-Speed] 0.02-10.0 Hz Sets low rotor speed
1 4 [Dry/Wet] 0-100.0% Sets dry signal/effect blend
2 1 Preset 1-3 Selects template
2 2 Lo-Depth 0-127 Controls low rotor depth
2 3 Hi-Depth 0-127 Controls high rotor depth
2 4 Low/High -/+ 63 Low/high rotor balance

Phaser
Page Control Parameter Range Description
1 1 FX Type 9 types (see Pre- and Post-FX (p. Selects effect
46)
1 2 [Rate] 0.02-10.0 Hz Controls phaser rate
1 3 [Feedback] +/- 63.0 Feeds phaser into itself (positive/
negative polarity)
1 4 [Dry/Wet] 0-100.0% Sets dry signal/effect blend
2 1 Preset 1-3 Selects template
2 2 Depth 0-127 Controls phase modulation depth
2 3 Phase 0-127 Adjusts lowest frequency point of
phase modulation
2 4 Offset +/- 180° Sets initial effect phase relative to
input

Lo-Fi
Page Control Parameter Range Description
1 1 FX Type 9 types (see Pre- and Post-FX (p. 46) Selects effect
1 2 [Cutoff ] 160-20,000 Hz Filter cutoff frequency
1 3 [Resonance] 1.0-12.0 Filter resonance
1 4 [Dry/Wet] 0-100.0% Sets dry signal/effect blend
2 1 Preset 1-2 Selects template
2 2 Filter Type Thru, PWBass, Radio, Tele, Clean, Low Selects filter model
2 3 Output - 6 / + 36 dB Gain compensation
2 4 Sampling 44,100-2,756 Hz Sets downsampling rate

47
Tremolo
Page Control Parameter Range Description
1 1 FX Type 9 types (see Pre- and Post-FX (p. Selects effect
46)
1 2 [Rate] 0.02-10.0 Hz Controls tremolo rate
1 3 [Depth] 0.0-128.0 Controls chorus depth
1 4 [Dry/Wet] 0-100.0% Sets dry signal/effect blend
2 1 Preset 1-3 Selects template
2 2 LFO shape Sine, Square Selects tremolo waveshape
2 3 Phase +/- 180° Phase relationship of left/right LFOs
2 4 Pitch Mod 0-127 Vibrato depth

EQ
Page Control Parameter Range Description
1 1 FX Type 9 types (see Pre- and Post-FX (p. 46) Selects effect
1 2 [HighGain] - 36.0 / + 24.0 dB High frequency cut/boost
1 3 [LowGain] - 36.0 / + 24.0 dB Low frequency cut/boost
1 4 [Dry/Wet] 0-100.0% Sets dry signal/effect blend
2 1 Preset Flat, LowBoost, Bass Cut, High Cut, Selects template
Smile, Lo-Fi, Warm
2 2 MidGain - 36.0 / + 24.0 dB Mid frequency cut/boost
2 3 Xover Lo 32-2,000 Hz Sets low/mid crossover point
2 4 Xover Hi 512-16,000 Hz Sets mid/high crossover point

Compressor
Page Control Parameter Range Description
1 1 FX Type 9 types (see Pre- and Post-FX (p. Selects effect
46)
1 2 [Ratio] 1.0 :1 to 20.0 :1 Sets compressor strength above
threshold
1 3 [Threshold] -64.0 to 0.0 dB Level at which compression begins
1 4 [Dry/Wet] 0-100.0% Sets dry signal/effect blend
2 1 Sidechain Off, BPM Duck, Tap Source: Arp clock, Tap Tempo
2 2 Attack 1-400 ms Time to maximum compression
2 3 Release 5-560 ms Time to zero compression if signal is
below threshold
2 4 Output 0-512 Gain compensation

48
Distort
Page Control Parameter Range Description
1 1 FX Type 9 types (see Pre- and Post-FX (p. Selects effect
46)
1 2 [Drive] 0.0-128.0 Signal level sent to distortion circuit
1 3 [Tone] +/- 64.0 Output bandwidth:
-64.0 to -0.1: high cut
0.0: bypass
0.1 to 64.0: low cut
1 4 [Dry/Wet] 0-100.0% Sets dry signal/effect blend
2 1 Preset Drive 1-3 Selects template
2 2 Asym 0-128 Changes how clipping is applied:
0 = balanced (symmetrical) output
>0 = greater asymmetry
2 3 Curve 0-128 Changes saturation curve of
distortion:
0 = overdrive
>0 = increasingly harsh distortion
2 4 Output -36 / +24 dB Gain compensation

Delay Types
Hydrasynth Explorer offers 5 delay types, each with distinct characteristics:
• Basic Mono combines the stereo input signal and produces a mono delay.
• Basic Stereo preserves the stereo positioning of the input signal.
• Pan Delay alternates between the right and left input signals.
• LRC Delay outputs the left input, then the right input, then both, and repeats that pattern.
• Reverse takes whatever comes in during the delay period and plays it backward.

Delay Parameters
All of the delays have identical parameters, so we’ll describe them once.
Page Control Parameter Range Description
1 1 Type 5 types (see list above) Select delay
1 2 [Time] BPM = Off: 1 ms to 3.00 seconds Delay period
BPM = On: 0, 1/64T to 1/1 Dot
1 3 [Feedback] 0.0-128.0 Delay fade-out time
1 4 [Dry/Wet] 0.0-100.0% Sets dry signal/effect blend
2 1 [Wet Tone] -/+ 64.0 Wet signal filter control:
-64.0 to -0.1: Low pass
0.0: No filtering
0.1 to 64.0: High pass
2 3 [Feed Tone] 0.0-128.0 Feedback high-frequency decay
2 4 BPM sync Off, On Toggles delay sync

49
Reverb Types
Hydrasynth Explorer provides 4 reverb types, each with distinct characteristics:
• Hall
• Room
• Plate
• Cloud

Reverb Parameters
All of the reverbs have identical parameters, so we’ll describe them once.
Page Control Parameter Range Description
1 1 Type 5 types (see list above) Select reverb
1 2 PreDelay 0.5-250 ms Length of time before reverb
1 3 [Time] 120 ms - 90 seconds, Freeze Decay time of reverb
No damping = indefinite Freeze
1 4 [Dry/Wet] 0-100.0% Blends dry signal with effect
2 1 [Tone] -/+ 64.0 Wet signal filter control:
-64.0 to -0.1: Low pass
0.0: No filtering
0.1 to 64.0: High pass
2 2 [Hi Damp] 0.0-128.0 High-frequency decay
2 4 [Lo Damp] 0.0-128.0 Low-frequency decay

Freeze the Reverb

While on Reverb module page 1, hold [SHIFT] and press Control button 3 and the reverb time will jump
to Freeze. If the Hi / Lo Damp parameters are set to zero, the Freeze setting will hold the reverb indefi-
nitely. Any notes that are played will be added to the effect.
A Macro button can toggle the Freeze value on and off; just set the BTN VALUE to 128.0. To learn more
about setting up a Macro, see Mastering the Macros (p. 58).

Mod Route Shortcut

Here’s how to set up mod routes quickly from an Envelope or LFO to an effect:
• Hold the module button for the desired source
• Press the module button for the destination. This will create a mod route in the Mod Matrix at the
first available slot with the first parameter of the effect selected.
• Change the selected parameter if needed
• Set the mod amount with the appropriate Control knob.
Remember: not all FX parameters are available as mod destinations.

50
 The Voice Module
Technically the Voice module isn’t in the signal path, so it isn’t located in the Module Select section of
the top panel. But its functions have a significant impact. Many settings related to the playability and
performance of the patch are found here.

Voice Parameters: page 1

Control Parameter Range Description
1 Polyphony Poly, Mono, MonoLo, MonoHi, Sets polyphony mode, note priority
Unison, UnisonLo, UnisonHi
2 Analog Feel 0-127 Adjusts parameter drift (see below)
3 Density 1-8 Density of voices in Unison modes
4 Detune 0-127 Detune amount in Unison modes

Polyphony settings How does Analog Feel?

It’s possible to stack all 8 voices on a single note, Another thing that makes an analog synthesizer
if you like. There are seven settings here, but they seem so “alive” is its inherent instability. This
fall into three main groups: unpredictability is an issue not only in the tuning
of the oscillators but throughout the signal path.
Poly, Mono, Unison The Analog Feel parameter allows you to dial in as
much of this behavior as you like, from “a little bit”
The Poly setting allows all eight of the Hydrasynth
to an amount that would summon a repair tech if
Explorer voices to trigger independently. Mono
you hadn’t done it on purpose.
and Unison modes are monophonic; they only
allow you to play one note from the keys.
Density & Detune
Lo, Hi, or both
The Density and Detune parameters are only
Both Mono and Unison modes have additional active when one of the Unison modes is selected.
Lo- and Hi- options. Here’s the difference: Density sets the number of voices that are
• Lo (low note priority): The only way to trigger a triggered by the monophonic note. Detune
new note is to play one below the held note. offsets the tuning of each of those voices equally
within the range set by the Detune value.
• Hi (high note priority): The only way to trigger a
new note is to play one above the held note.
• If an option doesn’t say “Lo” or “Hi”, it’s both: A
new note can be triggered by any note above
or below the held note.

Voice Parameters: page 2

Control Parameter Range Description
1 Stereo Mode Rotate, Alter, Random Stereo voice allocation (see below)
2 Stereo Width 0-127 Stereo dispersion for Unison and Poly modes. Has
no effect on Mono mode.
3 Random Phase Off, On Toggles random phase per voice
4 Warm Mode Off, On Simulates a “warm” frequency curve

Stereo mode Rotate

This setting arranges the 8 voices in an orderly
The Stereo mode setting is only noticeable when fashion across the stereo field. The Hydrasynth
Stereo Width is > 0 and Polyphony is not set to Explorer will change voices every time a note is
one of the Mono modes.
51
played, even if the same note is repeated. The Random Phase
voices will play in order from left to right (1-2-3-
4-5-6-7-8), with the stereo spread defined by the Part of what breathes life into the sound of an
Stereo Width value. analog synth is that its oscillators are always
The Unison modes follow the same pattern. The running; waveforms could be anywhere in their
results may seem somewhat random for odd- cycles when they are triggered. It’s the nature
numbered Density values, but they’re predictable. of their circuits; they must be told to reset. This
For example, with a Density of 3 voices you’ll hear parameter emulates that behavior by telling the
1-2-3, 4-5-6, 1-7-8, 2-3-4, 5-6-7, 1-2-8, etc. digital oscillators not to reset their phase to 0°
when they are triggered.
Alter
Warm mode
With this option the voices take turns spreading
further and further from center. Stacked voices Warm Mode simulates the frequency curve of a
progress in the same fashion (3-1-2-4, 7-5-6-8, etc.). popular “warm” synthesizer. As you can see in the
When all notes are released the voice order resets image below, it reduces the high end a bit and
so that the next note on will trigger voice 1 in the boosts the low end.
center. And again, the stereo spread is defined by
the Stereo Width value.

L------------------- C--------------------R
7 5 3 1 2 4 6 8
Alter
Stereo mode: Alter

Random White noise from Hydrasynth with Warm Mode ON

(left) and OFF (right)
This option randomizes the voice position in the
stereo field every time a new voice is triggered.

Voice Parameters: page 3

Control Parameter Range Description
1 Pitch Bend 0-24 Positive/negative pitch bend range in
semitones
2 Vibrato Amount 0-12 Maximum depth of mod strip vibrato in
semitones
3 Vibrato BPM Off, On Toggles Vibrato from Hz to tempo divisions
4 Vibrato Rate BPM = Off: 0.30-10.00 Hz Sets rate of Vibrato effect
BPM = On: 1/4 to 1/32Dot

Pitch Bend Vibrato settings

This parameter enables the pitch bend strip to The Vibrato feature provides a sixth LFO that
cover as much as a four-octave range: two octaves modulates the pitch of all 3 oscillators at once. It
up and two octaves down (+/- 24 semitones). You is controlled by the mod strip. This avoids having
can set the range to a whole step, or a musical to use a mod route to make the same connection.
fifth, or whatever you prefer. The setting is saved The mod strip can still be used for other purposes
when you save the patch. through the Mod Matrix.
The Vibrato rate locks to tempo when its BPM
parameter is set to On. This enhances the
musicality of the vibrato; singers and musicians do
this naturally to match the music.

52
Voice Parameters: page 4
Control Parameter Range Description
1 Glide Off, On Toggles Glide effect
2 Glide Time 0-127 Controls Glide rate [1]
3 Glide Curve Exp (-64) > Lin (0) > Log (64) Sets Glide curve [1]
4 Glide Legato Off, On If On, only legato playing activates Glide [1]
[1] This parameter is hidden when Glide = Off.

Glide settings
Glide causes the pitch to slide between notes • A logarithmic curve does the opposite: It rises
rather than changing in chromatic steps. When quickly at first and its rate of change slows as
the Glide effect is enabled it reveals another three it nears the peak. In the opposite direction
parameters on Voice page 4. it starts falling slowly and accelerates until it
reaches its resting state.
The Glide curves are similar in shape to the
envelope segment curves: • A linear curve rises and falls at the same rate
throughout its duration.
• An exponential curve rises slowly at first and
accelerates upward. When moving downward Enabling the Glide Legato setting changes the
it starts falling quickly and slows down as it way Glide works: staccato notes will not glide;
approaches its destination. notes played in a legato fashion will glide.

Glide Legato can be less predictable when Polyphony mode = Poly. The reason: Each individual
voice has its own legato, and legato playing only happens when the same voice is retriggered.
For example, if voice 1 is the next one that will be triggered, playing a legato note will glide
voice 1 from its current note to the new note.

Voice Parameters: page 5

Control Parameter Range Description
1 Key Lock (Chromatic octave) Lock keyboard to specific key. No effect if Scale
= Chromatic or Micro#(x).
2 Scale Custom See Custom Scale (p. 54);
+ 38 presets see Scales (p. 80) for preset scale list;
+ 32 Micro scales see Master: Page 4 (p. 71) for Microtuning info.
3 Snap Off, On Quicker attack, for sharp initial transients
4 Scale Edit [1] (access) [1] See [1]
Microtuning Scale [2] Scale name [2] See [2]
[1] The Scale Edit button becomes visible when Scale = Custom. Use it to access Scale Edit (p. 54).
[2] This read-only field becomes visible when a microtuning scale is selected. See Master: Page 4 (p.
71) for Microtuning operations

Key Lock Snap

The Key Lock parameter works with the preset Snap shortens the initial attack time to provide
scales to specify which notes the keyboard are sharper initial transients. When Snap is Off the
allowed to play. It only applies to preset scales original timing on the fade in of the waveform is
(not Custom, Chromatic, or Microtuning). retained; when it’s On the start time is shortened
to be nearly instant. This gives bass and percussive
patches more presence.

53
Select a Scale
There are 38 preset scales and 32 microtuning also affects the incoming MIDI notes.
scales available. If you don’t find the one you want, However, outgoing MIDI notes are not affected; if
you can create a custom 12-tone scale inside the C#3 is not in the scale and you play the C#3 key, a
Hydrasynth Explorer or import new microtuning C#3 will be transmitted over MIDI and USB.
scales.
For a list of the scales and the notes they contain,
When a non-chromatic scale is selected, notes that See Scales (p. 80). For information about
are not in the scale are filtered out. So if you play working with microtuning scales, see Master: Page
notes outside of the selected scale, they will be 4 (p. 71).
quantized to the pre-determined scale notes. This

Custom Scale
The Custom scale option is located at the bottom of the scale list. To get there from Voice page 5, turn
Control knob 2 fully counter-clockwise.

Scale Edit Note that if the root note is entered it will be

ignored (it’s the Key). It’s okay to enter the notes
After the Custom scale is selected, press Control out of order; they’ll be placed in chromatic order
button 4 to enter the Scale Edit page. Here’s what when Control button 1 is released.
you’ll see:
• Control button 1: This is the first note in the Clear a note
custom scale, and it is based upon the Key
To clear one or more notes, hold [INIT] and press
Lock setting. The Control knob is disabled.
the corresponding Control button(s). You can’t
• Control knobs 2-4: These represent notes 2-4 clear the Key selection on Control button 1; that’s
of the custom scale. Press the Down arrow to the root key of the scale. To change it, exit this
access notes 5-8 of the scale. page and adjust the Key Lock parameter.

Quick assign Individual note assign

To assign notes quickly to the custom scale, hold If you entered a wrong note, hold the related
Control button 1 and play the desired notes on Control button and play the correct note. The
the keyboard. The existing notes will be cleared as Control knob also can be used to select the note.
soon as you play the first note. Again, it’s okay if the new note is not in chromatic
order; this will be corrected after pressing [EXIT].

Microtonality
Microtonal scales open up a new world of musical expression beyond the 12 tones most prevalent
in the music of the West. Now you can compose and perform music from any culture or harmonic
discipline.
There are 32 memories for loading custom scales. Hydrasynth Explorer includes 32 scales provided by
various artists from around the world, but any of these can be replaced. You can create your own scales
using a freeware application such as Scala, for example, as well as download new scales from the www.
AshunSoundMachines.com web page.

Selecting a Microtuning Scale

To select a microtuning scale, navigate to the Scale options on page 5 of the [VOICE] menu and use
Control knob 2 to scroll through the list of scales. The 32 microtuning scales show up at the end of the
list. The name of the selected microtuning scale is shown in display field 4.
For more information about working with microtuning scales, see Master: Page 4 (p. 71).

54
 The Arpeggiator Section
A well-designed arpeggiator can make someone who’s new to music sound like a pro. Add a bit of
music theory and some sound design chops to the mix and the results can be amazing. The presets
make an ironclad case for that.
An overview of the Hydrasynth Explorer arpeggiator features was provided in the Arpeggiator basics
(p. 12) section of the Quick Start Guide. The main focus of this chapter is to describe the arpeggiator
parameters and how to use them.

Arp Edit Mode

To enter Arp Edit mode, hold the [SHIFT] button and press [ON] in the Arpeggiator section of the top
panel. The Right display will reveal the first four parameters of Arp Edit mode. Use the Page Down arrow
to access the other parameter pages.

Arp parameters: page 1 Arp parameters: page 2

Tempo Octave mode

Use Control knob 1 to adjust the tempo, or press This parameter is not present on the top panel.
[TAP TEMPO] three or more times to set the tempo It works together with the Octave setting, which
manually. Hold [SHIFT] while turning Control knob must be >1 or you may not hear a difference. Use
1 to fine-tune the tempo. Control knob 1 to select the options. The descrip-
tions are based on an Octave setting of 2 except as
If Clock Sync is set to an external source the letters
noted:
EXT will be shown prior to the tempo. This setting
is found on MIDI: Page 7 (p. 73). • Up plays the notes in the original octave and
then repeats the pattern an octave higher.
Division • Dn (down) plays the notes in the original
Control knob 2 selects the basic time division of octave and then repeats the pattern an octave
the arpeggiator relative to the tempo. There are 12 lower.
settings here, 4 more than the top panel controls • UpDn (Octave = 3) plays the notes in the
can reach. The Triplet options are there too, and original octave, repeats them in the next 2
the Triplet LED will light as they are selected. You octaves, repeats them in the middle octave,
can also press [TRIPLET] to select that setting and starts over.
immediately.
• Alt plays the notes in the original octave,
Swing repeats them in the next octave, and then
reverses the entire pattern. The top and
The top panel Swing knob offers eight settings, bottom notes are repeated.
including Off. But there are actually 26 settings
between 50% and 75%. Use Control knob 3 to • Alt 2 is identical to Alt except the top and
select a value, or use the Swing knob first and bottom notes are not repeated.
then Control knob 3 to select a nearby value.
Octave
Gate Use Control knob 2 to set the range of the
Turn Control knob 4 to adjust the relative duration arpeggiator. Minimum range is 1 octave;
of the arpeggiator notes. The parameter range is maximum range is 4 octaves.
5% to 100%.

55
Mode • Increase Length to 9. The lowest note of the
chord will be repeated in the first octave and
Control knob 3 is used to specify the direction the pattern will repeat.
of the arpeggio and other behaviors. For the
following descriptions we’ll use a 3-note chord • Increase Range to 3. The lowest note of the
with Octave Mode = Up and Range = 2. chord will appear in the third octave instead of
the first octave.
• Up plays the notes from low to high in each
octave and starts again from the bottom. When Length = Default the arpeggios play their
full length based on the various settings and the
• Down plays the notes from high to low in each number of held notes.
octave and starts again from the top note of
the low octave.
Arp parameters: page 3
• Up / Dn plays the notes forward/backward in
each octave and starts again from the bottom.
The top and bottom notes are repeated in Tap Trig
each octave. When Tap Trig is enabled the arpeggiator triggers
• Up & Dn is identical to Up / Dn except the top a note every time [TAP TEMPO] is pressed. This lets
and bottom notes are not repeated in each you walk through the pattern one note or chord
octave. at a time, depending on the Mode and other
settings.
• Order plays the notes in the order they were
played, repeats the pattern in the next octave, Note that Tap Trig sends signals only to the Gate
and starts again from the bottom. output. The Clock out still runs at the selected
clock rate.
• Random plays the notes in a random order in
each octave. Phrase
• Chord plays all held notes at one time in the The Phrase selection is made here. To audition the
first octave and then plays them again in the phrases the Mode must be set to Phrase on Arp
second octave. Edit page 2.
• Phrase provides preset musical phrases that
repeat in each octave. There are 64 phrases, Ratchet
and the selection is made on Arp Edit page 3. This specifies how many subdivisions of an
arpeggiator step are possible (1, 2, 4, or 8). A
Length Ratchet event is sent to the Gate output, but does
This parameter specifies the number of notes that not affect the clock output.
will be part of the arpeggio before the pattern Note that Ratchet and Tap Trig work together:
repeats itself. When Mode = Phrase the Length Ratchet events are still generated but are
setting determines how many steps of the Phrase triggered manually.
will be allowed to play.
We’ll give a couple of examples, but it is necessary Chance
to try different settings to gain an understanding This determines the likelihood of a Ratchet event
of the way this parameter interacts with the other happening on a given arpeggiator step. Its values
settings. For these examples use Mode = Up, Oct range from 0% (no chance) to 100% (highly likely
Mode = Up, and Range = 2. on every step).
• With Length = 3, hold a 4-note chord. The
arpeggiator will only play the first 3 notes in
the chord. To hear all four, set Length to 4. They
will only play in the first octave.
• Increase Length to 5. The lowest note of the
chord will appear in the second octave.
• Increase Length to 6, then 7, then 8. Gradually
each note of the chord will appear in the
second octave.

56
Arp parameters: page 4

ClkLock
This locks the arpeggiator phase to the system the master clock source, the arpeggio starts when
clock so it will sync to other clocked elements the first note is played. With ClkLock set to On,
such as an LFO with BPM Sync set to On. the arpeggio starts at the next quantized value
after the first note is played. In this case you might
Here’s something else you might notice: With
experience a slight delay between triggering a
ClkLock set to Off and the Hydrasynth Explorer as
note and the onset of the arpeggio.

Additional Arp Features

Latch and Sustain The Arpeggiator & MIDI
Press [LATCH] to activate Latch mode. This enables The setting of Arp TX (p. 75) determines whether
you to take your fingers off the keys and use both the arpeggiator will transmit notes or respond to
hands to adjust parameters. It works whether an incoming notes via MIDI / USB. These two states
arpeggio is running or not. are mutually exclusive. The following table may
help illustrate the different capabilities of the Arp
Use [SHIFT] + [LATCH] to activate Sustain mode.
TX settings.
This also works whether an arpeggio is running
or not. It’s the same response as using a sustain Arp TX setting On Off
pedal.
MIDI/USB outputs will transmit the Yes No
Between these two parameters there are four arpeggiator notes
potential combinations, as shown in the chart. The
Latch button will latch outgoing MIDI Yes No
status of the [LATCH] button LED provides a visual
notes [1]
clue as to which settings are active.
Incoming MIDI/USB notes will trigger No Yes
Latch Sustain [LATCH] LED status and outline an arpeggio
On Off Button lit constantly Incoming MIDI/USB notes can be No Yes
latched by the Latch button [1]
On On Flashing cycle: 0.8s lit, 0.2s
unlit Arpeggiator can be triggered and/or Yes Yes
latched locally
Off On Flashing cycle: 0.5s lit, 0.5s
unlit [SHIFT] + [LATCH], Sustain pedal will Yes Yes
sustain incoming/outgoing MIDI/USB
Off Off Button dimly lit notes

Initialize the Arp [1] [LATCH] has the same effect on notes whether
the arpeggiator is running or not.
Hold [INIT] and press the [ON] button to initialize
the Arpeggiator module. All parameters will return
to their defaults.

57
 Mastering the Macros
Macros are powerful, expressive tools for song creation and live performance. Every factory patch
has up to 8 Macros that maximize their creative potential. Each Macro is a combination of one of the
Control knob / button pairs and a list of destinations, sort of like a private Mod Matrix grouped around
the Right display. In fact, Macros can even control the Mod Matrix mod routes (and vice versa). You can
create and modify Macros to match your music and your style.

Home Page
There are two pages of Macros on the Home page (4 per page). Each Control knob is paired with
a Control button to affect up to 8 parameters at once: The knobs sweep parameter values and the
buttons toggle, trigger, or reset them; see Master: Page 2 (p. 70). Modulation levels can be positive or
negative, so a Macro can reduce values, increase them, or do both at the same time.
It’s easy to see which Macros are active on the Here’s a handy tip when using Macros on the
Home pages: If a Macro field displays a zero or Home page: If you hold [INIT] and turn a Control
some other number, it has at least one parameter knob, the Macro will jump to 0.0 from its current
assigned. If the Macro field has a dash, not a value. This prevents the generation of intermedi-
number, then it is empty. ate values.

Make a Macro
Press [MACRO ASSIGN] and let’s explore how they work. At this point every Macro shows its name and
“Edit...” whether it’s empty or not. From here you can inspect or modify an existing Macro by pressing its
Control button to enter the Macro Edit page. After that, here’s what you’ll see in the Right display:
• Destination 1 is listed in the upper left. Use the 5. For this example, press [OSC 1] to select it.
Page arrows to select Des 2-8. Instantly the right column is populated with
Osc 1, Pitch, and zeroes.
• The top 2 lines on the right show the
destination module and the specific 6. Turn Control knob 4 to set an amount of
parameter. 120.0. Use [SHIFT] to fine-tune the value.
• The bottom 2 lines show the Button Value and 7. Press Control button 4 to reach the Button
the modulation Depth for the knob. Value field.
• Use Control buttons 2 and 4 to move up and The bottom Control button cycles through all
down the right side of the display. of the fields, and also escapes the value fields.
The Module buttons cannot change the page
Assign a Destination when a highlight cursor is visible.
For the purposes of this exercise, let’s start with an 8. Use Control knob 2 and [SHIFT] to set a
empty Macro. We’ll be working with Macro 1. value of 20.0.
Additional information for some steps is included The upper Control knob always edits the
below in italics. highlighted field.
1. If you’re not already there, press [MACRO 9. Hold a note and use Control knob 3 and
ASSIGN]. Control button 3 to audition the Macro. All 8
routes will respond.
2. Hold [INIT] and press Control button 1 to
initialize Macro 1. The Macro knob/button pair you are editing
will behave this way on the Home page.
3. Release [INIT] and press Control button 1
again to enter the Macro Assign page. 10. With these settings the knob sweeps an
octave; the button jumps a whole step.
4. Press Control button 2 to activate the Assign
function. The MacroBtn parameter on System Setup
page 2 defines the behavior of the Macro
Many orange-lettered Access buttons are lit buttons: If the setting is “Trigger” or “Reset”
now; these are potential destinations. the button is a Trigger. When set to “Toggle” or
“Switch,” the button behaves as a Toggle.
58
 The Macro button is exclusive; when it is engaged the Control knob is locked out temporarily.
This allows you to change the Control knob “behind the scenes”, so that the new Macro value is
revealed after disengaging the Macro button.

Name the Macro

Macros can be given a name with up to 8 4. Control knob 1 selects the naming function:
characters, so you’ll know at a glance what the List name or Custom name.
Macro does. The name is displayed on the Home 5. List name: Use Control knob 2 to choose
page and on the Macro Assign page. Here’s what a preset name. There are 100+ of them;
to do: see Preset Macro Name List (p. 60) at the
1. From the Home page, press [MACRO bottom of this chapter.
ASSIGN]. 6. Custom name: Control knob 2 chooses
2. Select the Macro you want to edit by characters; use Control button 2 to select
pressing its Control button. the next character.
3. Hold [SHIFT] and press the Page down
arrow to reach page 9.

Save the Patch: Macro Options

The [SAVE] button has its own chapter, but we want point out this part of it now. While saving the patch,
Control knob 1 of Save page 2 lets you specify whether the current positions of the Macro knobs will be
returned to zero (Return), stored in their current positions (Save), or converted into new values for the
parameters they control (Convert). For more information see Patch Management (p. 66).

Macro Button Response

There’s a separate chapter for The System Setup Pages (p. 70), but this information affects how the
Macro buttons behave on the Home page and while auditioning a Macro during editing.
To access the Macro Button settings, press [SYSTEM SETUP] and press the Page Down arrow twice to
reach page 3. Use Control knob 4 to select one of the four options: Toggle, Trigger, Switch, and Reset.
• Toggle: The Macro button toggles between • Switch: Only one Macro button can be
the Button Value setting and the current selected at a time.
Control knob value. • Reset: The Macro button resets the corre-
• Trigger: The Macro button triggers the sponding Macro Knob to zero
Button Value On when pressed and Off when
released.
Using a Macro button on the Home page while holding [SHIFT] changes the behavior.
When MacroBtn setting is... [SHIFT] + Macro button response is...
Toggle Trigger the Button Value On when pressed and Off when released.
Trigger Hold the Button Value setting until released manually
Switch Allow more than one Macro Button to be selected
Reset (no response)

59
Preset Macro Name List
These are the preset Macro names found on Macro Edit page 4. You can also create your own Macro
names; see Name the Macro (p. 59).
Macro name Macro name Macro name Macro name Macro name
2nd Crystal Harmony Phrase Stretch
3rd Cutoff Hurt Pitch Sub
4th CV 1 Itch Pressure Swing
5th CV 2 Jianbing PulsWdth Teardown
6th Darken Level Purr Thicken
7th Decay LFO Amt PWM Thin
Air Delay Mai Tai Range Time
Amp Depth Major Ratchet TimeDiv
ArpMode Distort MakeHuge Rate Twist
Attack Dry/Wet Mangle Ratio Velocity
Bacon Env Amt Massage Release Vowel
Bark EQ - Hi MIDI CC Reso Warp
BassDrop EQ - Low Minor Reverb Wavescan
Beef EQ - Mid Mod 1 RingMod WavStack
Bend Fast Mod 2 Rotary Width
Bite Feedback Mod Amt Rumble Wobble
Bleed Filter Morph Scratch Woof
Breath Flanger Noise Slow Wow
Brighten FM Oct - Snarl -
Buildup Force Oct + Space -
Chance Funk Oh Speed -
Chord GateTime Ouch Spin -
Chorus Glide Overdriv Spread -
Compres Go Pan Stank -
Crunch Harmonic Phase Stop -

60
 The Mod Matrix
Modular synthesizers use cables to make connections. Hydrasynth Explorer has a much neater solution:
an easy-to-use internal patch bay with 32 sets of modulation sources and destinations.

Creating Mod Routes

There are three ways to create a new mod route in the Mod Matrix. The first is to access one of the 32
Mod Matrix pages directly. Additional notes are entered below some steps in italics.

The Whole Process 8. Scroll the top Control knob to change the
destination parameter...
1. Press [MOD MATRIX] to access the Mod ...unless you used Shortcut 3 in step 6 already.
Matrix pages.
9. Press the bottom Control button to exit
2. Use the Page up/down arrows to select the assign mode.
desired mod route.
10. The bottom Control knob can change the
3. Press one of the Control buttons (top or modulation depth at any time during steps
bottom) to enter assign mode. 4-9.
The orange-lettered buttons are now lit; these
are the available source modules. The Shortcut
4. Scroll the top Control knob to select a
Mod routes can be established quickly from
source.
almost any page:
Shortcut 1: Hold [SHIFT] while turning the
1. Press and hold the module button for the
Control knob to jump through modules by
Modulation Sources (p. 62).
category.
2. Press the module button for the Modulation
Shortcut 2: Press the desired module button to
Destinations (p. 63).
select it.
The Mod Matrix opens at the first available
5. Press the bottom Control button to access
slot with the first parameter of the destination
the destination field.
module highlighted.
The orange-lettered buttons are now lit; these
3. To select a different target parameter from
are the available destination modules.
that module, use the bottom Control button
6. Scroll the top Control knob to select the to enter the next field.
destination module. Its default parameters
Shortcut: If the parameter has a top-panel
appear in rows 2-4.
knob, turn it to select that destination.
Shortcut 1: Hold [SHIFT] while turning the
4. Use the upper Control knob to select the
Control knob to jump through modules by
desired parameter.
category.
5. Use the Control knob on the bottom row to
Shortcut 2: Press the desired module button to
set the modulation amount.
select it.
The modulation amount can be positive or
Shortcut 3: Turn one of the top-panel knobs to
negative.
select that parameter.
7. Press the bottom Control button to access
the next row.

The shortcut method works inside and outside of the Mod Matrix page. The difference: Inside
the Mod Matrix the available destination module buttons light up when the source module
button is held. Outside the Mod Matrix they don’t.

61
Direct Assignment Notes About Mod Routes
Mod routes can be established between a source Here are some concepts to keep in mind while
and a specific parameter using this method. working with Mod Routes:
After you access the page with the parameter • Some modules cannot be modulation sources,
to be modulated, hold the modulation source such as the Oscillators or the Mutants.
button and press the Control button next to the
parameter in the Right display. This creates a link • Some modules can be used as sources and
between the source and destination in the fewest destinations, such as the Envelopes and the
possible number of steps. LFOs. In this case, the order in which you
press them determines the source and the
For example, here’s how to route ENV 5 to the LFO destination.
1 Amount of Filter 1:
• Only the first two parameters and the Wet/Dry
• Press [FILTER 1] twice to access page 2 of that mix of the Pre-/Post-FX can be modulated.
module.
• Some modules only have one parameter that
• Press and hold [ENV 5] to select it as the mod can be modulated, such as the Ring-Noise
source. module; in this case, there is nothing else for
• Press Control button 2 to select LFO1amt as the upper Control knob to select when that
the destination. field is highlighted.
• The mod route ENV 5 to Filter 1’s LFO 1
Amount is created.
• Use the Control knob on the bottom row to set
the modulation amount, and you’re done!

If all 32 modulation routes are occupied and you try to add another, the Hydrasynth Explorer
will show a message for two seconds that says “Mod Matrix Slots Full!”

More Shortcuts
Clear a Mod Slot Be Random
To clear a single Mod matrix slot, hold [INIT] and If you’re looking for something crazy, randomize
press its top Control button. the entire Mod Matrix! You might get lucky or you
might get nothing. You can always try again!
Clear the Entire Mod Matrix Before you do, though, try a few mod sources:
the pitch and mod strips, aftertouch, start the
If you want to start over with all new mod routes, arpeggiator, etc. There could be a hidden gem
hold [INIT] and press the [MOD MATRIX] button. there. And once you get something interesting, dial
A prompt will ask you to confirm the decision, in a few changes to make it perfect. It’s okay, you
because it’s a big one. If you’re sure, press [INIT] can take all the credit! You’re the one who saw what
again. was cool about it; we just rolled the dice.

Modulation Sources
These are the mod sources available in the Hydrasynth Explorer. A few may need explanation; see
below the chart.

Group Modulators
Env Env 1, Env 2, Env 3, Env 4, Env 5
LFO [1] LFO 1, LFO 2, LFO 3, LFO 4, LFO 5, LFO 1+, LFO 2+, LFO 3+, LFO 4+, LFO 5+
Aftertouch MonoAftT (Channel Aftertouch), PolyAftT (Polyphonic Aftertouch)
Keytrack Keytrack (center note = C4 for all mod sources except filter keytrack [center = C2])
62
Velocity Velo On (Note On velocity), Velo Off (Note Off velocity)
Wheel PitchWhl (Pitch wheel), ModWhl (Modulation wheel)
Ribbon [2] RbnAbs (Ribbon Absolute bipolar), RbnAbs+ (Ribbon Absolute unipolar), RbnRel
(Ribbon Relative)
Pedal ExpPedal (Expression pedal), SusPedal (Sustain pedal)
MPE MPE-X (pitch bend), MPE-Yabs (CC# 74 in some devices [absolute mode]),
MPE-Yrel (CC# 74 in some devices [relative mode])
MIDI CC [000-127]
[1] An LFO is normally a bipolar source. A plus sign [+] indicates a unipolar source derived from
that LFO.
[2] The Hydrasynth Explorer doesn’t have a ribbon controller, but it will respond appropriately
to another Hydrasynth model that does!

Modulation Destinations
These are the potential mod destinations in the Hydrasynth Explorer. A few may need
explanation; see below the chart.
Group Parameters
Arp Mode, Division, Swing, Gate, Octave,
OctMode, Length, Phrase, Ratchet, Chance
Osc 1–2 Pitch (+12/-12 semitones), Wave, WaveScan
Osc 3 Pitch (+12/-12 semitones), Wave
All Osc [1] Pitch (+12/-12 semitones)
Mutator 1–4 Ratio, Depth, Window, Feedback, Dry/Wet, Warp [1-8]
Ring Mod Depth
Mixer Osc1Vol, Osc2Vol, Osc3Vol, RingVol, NoiseVol, Osc1Pan, Osc2Pan, Osc3Pan,
RingPan, NoisePan, Osc1F1/2, Osc2F1/2, Osc3F1/2, RingF1/2, NoisF1/2
Filter 1 Cutoff, Resonance, Drive, Control, ENV1amt, LFO1amt, Keytrack
Filter 2 Morph, Cutoff, Resonance, ENV1amt, LFO1amt, Keytrack
Amp LFO2Amt, Level
Pre-FX Param1, Param2, Dry/Wet
Delay Time, Feedback, Wet Tone, FeedTone, Dry/Wet
Reverb Time, Tone, HiDamp, LoDamp, Dry/Wet
Post-FX Param1, Param2, Dry/Wet
Env 1–5 Attack, Hold, Decay, Sustain, Release
LFO 1–5 Rate, Level
ModMtrx [2] Depth [1-32]
Macro Macro 1– Macro 8
Voice Detune, AnalogFL, PitchBnd, Vib Amt, Vib Rate, GlidTime
CV ModOut 1, ModOut 2
MIDI [3] CC [000-127]
[1] All Osc: A mod route can be applied to all three oscillators simultaneously.
[2] ModMtrx: A source can modulate the depth of any mod route. “Depth 1” targets
mod route 1, etc.
[3] MIDI CC #: Incoming MIDI data can modulate certain parameters, and they can return
the favor.
63
 The CV / Gate Section
CV/Gate connectors have a longer history in the music world than MIDI does! This is how the modules
of early synthesizers were connected, using cables to carry the control voltages, gate triggers, and clock
signals. And the resurgence of modular synths and Eurorack modules in the 21st century has brought
these connection protocols back to the forefront of the music creation process for many musicians.
Hydrasynth Explorer is well-stocked in this area too, with three CV outputs, a Gate Out connector, and
another that transmits clock signals. Each of the CV/Gate connectors can be configured to match the
voltages and signal types of the most popular formats.

Basic Concepts
If you’re new to the world of CVs and Gates, here are a few descriptions and ideas on how to put this
stuff to work.
First, “CV” stands for “Control Voltage”. It’s a quick The Mod Matrix is able to route almost any signal
way to say “Use a change in this voltage value the Hydrasynth Explorer can produce to the
to control that device.” A “gate” is something Mod 1 and Mod 2 outputs. In other words, the
that opens and shuts, allowing the passage of keys, the pitch bend and mod strips, the LFOs
electricity and preventing it, respectively. In and envelopes, even incoming MIDI data can be
practical terms, when a note is triggered by a key, routed to the inputs of a modular synthesizer
Hydrasynth Explorer generates a CV (Pitch) and through the CV/Gate section. There has never
two Gate voltages (high and low, for “Note on” and been a better time to own a synth!
“Note off”).
This is done by converting digital data into analog
voltages, which are then regulated by the System
Setup preferences and supplied to the CV/Gate/
Clock connectors.

A Few More...
CV/Gate Polyphony Compatibility
The output of the CV connectors is naturally There are several voltage standards that
monophonic, so they are best suited for companies use, so the Hydrasynth Explorer allows
monophonic applications. Depending on you to set the voltage ranges to match the source
the desired results, it may be good to try the device. Those are defined on System Setup pages
Mono or Unison options found on page 1 of 12-15. More later about that.
the [VOICE] menu.

Clocks and Sync

The arpeggiator can drive or be driven by
external sequencers. (See The Arpeggiator & MIDI
(p. 57) for more info). Set BPM Sync to On
elsewhere too (LFOs, Envelopes, and Delay).
The Clock connector in the CV/Gate section
can send one of several sync rates to non-MIDI
devices, as can the MIDI and USB ports. But
incoming clocks must arrive via USB or MIDI.
These options are set on pages 7 and 14 of The
System Setup Pages (p. 70).

64
Output Connectors
The output connectors (Pitch, Gate, Mod 1, Mod 2, and Clock) convert data from the Hydrasynth
Explorer into voltages, which can then be used to trigger notes and control parameters on an external
device.
Each of the five output connectors has a different purpose.

Pitch Mod 1 and 2

A control voltage from this connector is intended These are also control voltage outputs. They
to control the pitch on an external device. The can be used to modulate almost anything on a
output voltage is derived from the MIDI note modular synth, but a common scenario is to route
number that corresponds to the key being Mod 1 to a VCA (Voltage Controlled Amplifier) and
played. This output is monophonic, so for the best Mod 2 to a VCF (Voltage Controlled Filter). The
results use one of the Mono or Unison options. A combined use of these two outputs and the Pitch/
description of each of those modes and their note Gate outputs enable the Hydrasynth Explorer
priority variations is available in the Polyphony to control the entire signal path of an external
settings (p. 51). The voltage ranges for this monophonic device from start to finish.
output are defined on CV – Pitch Gate: Page 12 (p. The settings for these outputs are defined on CV –
76). Mods: Page 15 (p. 77).
Gate Clock
When a key is played, two Gate signals are As stated earlier, four different sync rates are
generated: Gate high (note played) and Gate low available for this connector. This selection and
(note released). The same signals are sent by the those for three related parameters are found and
Tap Tempo button for each held note when the explained on CV – Clock: Page 14 (p. 76).
Tap Trig parameter is active on Arp Edit page 3.
Gate signals are normally transmitted to the
same device that receives the control voltages
generated by the Pitch output, and will conform
to the note priority settings. Two types of gate
signals are available (V-trig or S-trig); please refer
to the documentation for the external device so
you’ll know which type to use.
The settings for this output are defined on CV –
Pitch Gate: Page 13 (p. 76).

CVs and Arpeggios

The Hydrasynth Explorer’s arpeggiator can be used to modulate external devices, too. When the
arpeggiator plays a note it’s the same as playing the keyboard manually: each note sends a Pitch CV and
Gate signal. Again, for the best results use a monophonic Mode (p. 56).

65
 Patch Management
The process of saving a patch and finding it later are closely related, so both are covered in this chapter.

Using the Browser

Whether you’re hunting for a specific patch or looking for something in a particular category, the
Browser has several features that will help you quickly locate what you need.

Browse parameters: page 1

Press the [BROWSE] button to reveal these features:
Control Parameter Range Description
1 Patch select 5 banks x 128 patches Scroll to select; [SHIFT] + scroll jump +/- 10
2 Patch name (view only) Shows name of selected patch
3 Category (view only) [1] Lead, Pad, Bass, etc.
4 Find By Patch #, Name, Category Sorting method (see below)
[1] Control knob 3 is only active when the Find By option is set to Category.
Browsing is fairly simple. This page presents all of the main functions:
• Turn Control knob 1 to select a patch (or use • The patches will appear in a different order
the big knob). depending on the “Find By” selection.
• Basic information about each patch is shown
in fields 2 and 3.

Sort Methods
There are three ways to sort the patches. What this does is reorganize the patch list based on the
selected sort method. The patches stay where they are, they’re just displayed in a different order.

Find by Patch # Find by Category

This puts the patches in order first by the Bank This sorts the patches by their categories (Arp,
they occupy (A-E) and then in numerical order Bass, FX, etc.). The categories themselves are
within the Banks. sorted in alphabetical order, and Control knob
3 is used to scroll through the categories. Note
Find by Name that Control knob 3 is only active when Find By
Category is selected.
This option puts all of the patches in alphabeti-
cal order. As Control knob 1 is turned the patch Control knob 1 is used to select individual patches
Bank and number might jump around a lot; this within the selected category. As it is turned the
is because the patches are still in their original patch Bank and number might jump around a lot;
locations. They are not relocated when the Find By this is because the patches are not relocated when
option is changed. the Find By option is changed.

Browse parameters: page 2

Control Parameter Range Description
1 Compare 5 banks x 128 patches Compare active patch to another
2 Favorite Assign (access) Press Control button 2 to assign Favorites [1]
[1] Patches are assigned to the Favorites banks on this page. Use [SHIFT] + [BROWSE] to access current
Favorites.

66
Compare 1. Press [BROWSE] to access the Browse page.
2. Press the Down arrow to reach page 2.
The patch shown in edit field 1 of page 2 can be
used to compare the current state of an edited 3. Press Control button 2 to access the Favorite
patch with its unedited version (the default Assign page.
selection) or with any other Hydrasynth Explorer 4. To assign that patch to the first Favorites
patch. Control knob 1 is used to scroll through the slot, press Control button 1. The button will
patches, which are always displayed here in their flash quickly to confirm the assignment.
original order (by Bank and number). To jump
through that list 10 patches at a time, hold [SHIFT] 5. Use the Down/Up arrows to select the next
while turning Control knob 1. group of 4 patches, if the current patch
belongs there too.
Once the desired patch number appears in edit
field 1, use Control button 1 to make the patch The Left display indicates which of the 8
active. Toggle that button as often as needed groups is selected.
to compare it to the edited patch. Note that 6. Return to the Home page to select another
temporary edits can be made to the comparison patch, then repeat steps 1-4 to place it in a
patch, but those edits will be lost as soon as Favorites group.
Control button 1 is toggled back to the patch
being edited. 7. Repeat steps 1-5 until the Favorites groups
are full.
Favorite Assign... During the steps above the Patch knob is disabled.
This helps prevent the accidental replacement of a
There are times when it is very useful to group Favorite within one of the groups.
certain patches together without having to
relocate them. This feature helps you to prepare Browse Favorites
by designating certain patches as Favorites. It
makes them available for rapid selection later. Your Favorite patches can be accessed from any
There are eight banks of Favorites containing other page.
four patches each. You can put the same patch in • Hold [SHIFT] and press [BROWSE] to access the
several of those locations if you know you’ll need Favorites.
that patch more than once during a performance,
for example. • Use the Page Down/Up arrows to move
between the eight groups of Favorites.
Favorites are not selected from inside the Favorites
Assign page; this will be explained shortly. So • Press one of the Control buttons to select a
the first step is to select the desired patch on the patch within the current group.
Home page. After that, here’s how to add that The Control button and the display field for the
patch to the Favorites list. active patch are brightly lit.

Save the Patch

Patch Protection
There’s a Protect setting in System Setup that is on If you know you’ll be using the Hydrasynth
by default. So the first time the [SAVE] button is Explorer somewhere that a curious person might
pressed the Left display might show the message have access to it, it’s probably a good idea to
“Protection is On!” This will need to be disabled turn Protect back to On. This is a simple thing
before a patch can be saved. to change, and it could prevent the loss of an
important patch later.
It’s easy to find: press [SYSTEM SETUP] and the first
page will appear. The Protect feature is in edit field For now, set protect to Off and then press the
4. Turn Control knob 4 to deactivate or reactivate [SAVE] button so we can learn about the features
the feature. Press [EXIT] and the setting will be of the Save pages.
saved. Note: This setting is remembered when
power is turned off.

67
Save parameters: page 1
Control Parameter Range Description
1 Select target location 5 banks x 128 patches Scroll to select; [SHIFT] + scroll to jump
+/- 10
2 Patch name Numbers, letters, Select up to 16 characters (see below)
symbols
3 Category (various) Choose patch category (Arp, Bass, FX, etc.)
4 Name of current target (in memory) This patch will be replaced if you [SAVE]
It’s fairly easy to save a patch. This page presents Name the Patch
all of the main functions:
• Turn Control knob 1 to select a location for the The naming of a patch happens in edit field 2. The
patch (the Patch knob is disabled). Use [SHIFT] current character is highlighted. Turn Control knob
+ Control knob 1 to skip through the list 10 2 to select a character. Use [SHIFT] + Control knob
patches at a time. 2 to select the first character of the next character
group: blank, 0-9, A-Z, a-z, and other characters (!,
• Give the patch a name up to 16 characters #, +, -, etc.).
long. The process is described in the next
section. Press Control button 2 to advance to the next
character field. Use [SHIFT] + Control button 2 to
• Select one of the preset patch categories with select the previous character field.
Control knob 3.
• Switch to page 2 and specify what will happen Select a Category
with the current Macro settings when the
patch is saved (see Macro Options below). Turn Control knob 3 to select one of the preset
patch categories.
• Choose one of 32 colors for the Patch knob
LEDs.

Save parameters: page 2

Control Parameter Range Description
1 Macro options Return, Save, Convert Process current Macro values (see below)
2 Color 32 colors Select LED color for Patch knob

Macro Options Convert

This option converts the positions of all Macro
Control knob 1 lets you decide what will happen knobs and buttons into new values for the
with the current settings of the Macro knobs and parameters they control.
buttons when the patch is saved.
Here’s what else happens with the Macro Convert
Return option:
This option returns all Macro knobs to zero and • After the patch is saved, the depth of all Macro
sets the Macro buttons to Off. knobs returns to zero and all buttons are set to
Off.
Save • If the current relative value of a parameter
This option preserves the positions of all Macro exceeds that parameter’s range, the value will
knobs and the status of all Macro buttons (On or be limited to the lowest or highest possible
Off ). value depending on its current state. The Left
display will show a warning when this is true.
• External CV and MIDI parameters under Macro
control will be returned to their zero values.

68
Choose a Color
As an added degree of personalization, you can
choose one of 32 colors when saving a patch. The
selection affects the LED ring around the Patch
knob.

Patch Backup
Whenever you get to the point where you’d hate to
lose something you’ve created on the Hydrasynth
Explorer, be it a patch or a list of Favorites, that’s
the time to back them up to your computer.
Our free Hydrasynth Manager application is the
best way to do this: It will send or receive a single
patch, several patches, a full bank, or the entire
memory quickly and easily. You’ll find Hydrasynth
Manager at https://www.ashunsoundmachines.
com/downloads.

69
 The System Setup Pages
Operational Notes
Navigation Saving the Settings
The System Setup pages work the same way all Press [EXIT] or any module button to save System
other modules do, but here are some reminders: Setup changes. The message “System saving...” will
be shown in the Left display for about 1 second.
• To access the next or previous page, use the
Note that sound output is silenced while the
Page Down / Up arrows.
settings are being saved.
• Cycle forward to the desired page quickly by
pressing [SYSTEM SETUP] repeatedly. Save System State
• Use [SHIFT] + the Page Down / Up arrows to
jump to the last page or back to first page. You can specify which patch you see first when
the Hydrasynth Explorer is powered up. It’s a
simple process:
Access, Action
• Select your favorite patch (that’s the hard part).
• Some fields have Control buttons that execute
• Hold [SAVE] and press [SYSTEM SETUP].
a function, such as the Factory Reset. These are
indicated by the word (action) in the charts. • The display shows “STATE SAVED!” to confirm
the action.
• Some pages have access buttons that open
another page. These are indicated by the word
(access) in the charts. Follow the instructions in
the Left display to calibrate the selected item.

Notes About Notes

Some parameters are self-explanatory, but others have additional information below the chart.

Master: Page 1
Control Parameter Range Description
1 Transpose - / +11 semitones Transposes keyboard chromatically
2 Tuning 380 to 500 Hz Sets center tuning frequency
3 O’Scope On, Off Toggles waveform animation in Left display
4 Memory protect On, Off Prevents overwriting of patches

Master: Page 2
Control Parameter Range Description
1 Left contrast 0 to 127 Sets contrast for Left display
2 Right contrast 0 to 127 Sets contrast for Right display
3 LED Dim On, Off Toggles LED brightness between 50% and full
4 Light show Off, 10 / 30 seconds, Sets timeout period for onset of light show
1 / 5 / 15 / 30 minutes

70
Master: Page 3
Control Parameter Range Description
1 Knob Mode Absolute, Pickup, Scale How Direct knobs edit values when moved
2 Knob Speed Slow, Medium, Fast Sets Control knob response speed
3 Tempo Lock On, Off Selects Global tempo or per-patch tempo
4 Macro Button Toggle, Trigger, Switch, Reset Determines behavior of Macro Buttons

Knob Mode Knob Speed

This setting governs the response of the Variable This determines the response speed of the Control
knobs (p. 15) in the Filter and Arpeggiator knobs only. It also affects the finer [SHIFT] + scroll
sections, not the Selection knobs (p. 15). movements. With a setting of Slow a full turn is
required to cover the full parameter range; with a
• Absolute: the parameter value jumps to the
setting of Fast it takes less than half a turn, which
physical position of the knob
can also sacrifice parameter resolution.
• Pickup: the knob must pass through the
parameter value before an edit will happen Tempo Lock
• Scale: parameter value edit begins from the
current knob position; the remaining throw Each patch stores its own Tempo setting. Setting
of the knob covers the remaining range of Tempo Lock to On enables the tempo to remain
the parameter. After the knob reaches its the same while selecting patches.
minimum or maximum position the parameter
value range conforms to the physical position Macro Button
of the knob (see Absolute).
These settings are described in the Macro Button
Response (p. 59) section of the Mastering the
Macros chapter.

Master: Page 4
Control Parameter Range Description
1 Safe Edit On, Off Prevents accidental loss of edited patch
2 Battery type Alkaline, Ni-MH Specify the type of batteries being used
4 Microtun menu… (access) Opens Microtuning menu

Safe Edit Important notes about battery power:

• Use only 1.5V alkaline or 1.2V Ni-MH recharge-
With this parameter set to On, if you try to select able batteries.
another patch before saving an edited patch, a
message will ask for confirmation first. If a Macro • DO NOT MIX BATTERY TYPES; all 8 batteries
control was the only thing changed, the confirma- must match.
tion message will not be displayed. • The Hydrasynth Explorer does not recharge
Note: This does not prevent Hydrasynth Explorer the Ni-MH batteries.
from responding to MIDI program changes. • Replace all batteries at the same time with
fresh batteries.
Battery type • Be sure to observe the +/- polarity markings
It’s important to specify the type of batteries inside the battery compartment.
you’re using so the battery level indicator will be • Always remove the batteries once they are
accurate. An icon in the upper right corner of the depleted, or if the unit will not be used for an
Left display indicates the power source type and extended period of time.
battery levels (when used).

71
Microtuning Menu
The microtuning scale is selected in the Voice Parameters: page 5 (p. 53) menu. This section describes
how to send and receive them.
After accessing the microtuning menu the following options are shown in the Right display:
Control Parameter Range Description
Knob 1 Scale select 1–32 Selects the Microtuning scale location
2 (view only) Scale name 1–16 characters Define with third-party software (Scala, etc.)
Button 3 Receive Scale (action) Puts Hydrasynth Explorer into Scale Receive mode
(send scale from computer)
Button 4 Send Scale (action) Press to send selected scale sys-ex from
Hydrasynth Explorer via MIDI / USB

Scale Select Receive Scale

Use this field to choose the scale location that will Press Control button 3 to put the Hydrasynth
receive a new scale or send its scale via MIDI / USB. Explorer into sys-ex waiting mode. At this point,
you can send the sys-ex scale file from your
Scale Name computer.
The scale name is shown in this field. It cannot
be edited here. When creating your own scales, Send Scale
be sure to set the scale name in the third-party Press Control button 4 to send your scale via
software before exporting it as an MTS file (MIDI sys-ex.
Tuning Standard). In Scala, for example, the name
is taken from the Description section for the scale,
not from the file name. Note that Hydrasynth
Explorer only uses the first 16 characters in the
name.

Keys: Page 5
Control Parameter Range Description
1 Velocity On, Fix 60 / 80 / 100 / 110 / 127 Select velocity response or fixed value
2 Velocity Curve Very Soft, Soft, Medium, Hard, Select velocity response
Very Hard, NeoSoft, Neo,
NeoHard
3 Aftertouch On, Off Toggle aftertouch sensitivity [1]
4 Aftertouch Curve 6 options from Softer to Harder Select aftertouch response [2]
[1] This will also disable or enable polyphonic aftertouch.
[2] See the Aftertouch settings section on the next page for information.

Velocity settings
To disable keyboard velocity sensitivity, select a fixed value (Fix 60, Fix 80, etc.). This only affects local
response and outgoing MIDI; incoming velocity response is unaffected.
Velocity Curve defines the amount of force needed to reach maximum velocity, and also the curve from
zero to maximum. The Very Soft through Very Hard curves vary from exponential to logarithmic. Neo
curves are based on a new velocity calculation that allows for a more sophisticated response.

72
Keys: Page 6
Control Parameter Range Description
1 Aftertouch Delay 0-400 ms (see description below)
2 Aftertouch Fade 0-400 ms (see description below)
3 Aftertouch Offset - 4 to + 4 (see description below)
4 Aftertouch Release 0-400 ms (see description below)

Aftertouch settings
• Aftertouch Delay: the time that transpires minimum point, so it takes more pressure to
between note on and the onset of aftertouch. start the aftertouch. Negative values set a
lower maximum point, so it takes less pressure
• Aftertouch Fade: the time it takes to ramp
to reach the maximum aftertouch value.
aftertouch to its current value from 0.
• Aftertouch Release: more like a compressor
• Aftertouch Curve: determines the amount of
than an envelope, this applies to all upwards
force required to reach maximum aftertouch
movements. This can help avoid unwanted
values.
modulation “wobble” while pressure is applied,
• Aftertouch Offset: reduces the dynamic range and can sustain even after note off.
of the aftertouch. Positive values set a higher

MIDI: Page 7
Control Parameter Range Description
1 Clock Sync Internal, USB, MIDI In, Clock source for Arp, LFOs, Envelopes, Delay
Auto FX (see below)
2 Local On, Off Disconnect keyboard from internal engine
3 MIDI TX 1-16 Set MIDI transmission channel
4 MIDI RX Omni, 1-16 Set MIDI receive channel

Clock Sync • AUTO: Hydrasynth Explorer sets the clock

source automatically to the first source that
• INT RUN: selects Hydrasynth Explorer as the arrives. If the clock signal is interrupted,
master tempo clock. Sync signals are sent to another is selected. Order of priority: USB >
MIDI, USB, and the CV Clock output. MIDI > Internal.
• USB: selects the DAW as the clock master.
Sync signals are sent to MIDI and the CV Clock Local
output. Tempo cannot be changed from the
Hydrasynth Explorer. When working with a DAW, setting Local to Off
can prevent a MIDI loop. Most DAWs have the
• MIDI In: slaves the Hydrasynth Explorer to ability to prevent this also.
incoming MIDI clock data. Sync signals are sent
to USB and the CV Clock output. Tempo cannot
be changed from the Hydrasynth Explorer.

73
MIDI: Page 8
Control Parameter Range Description
1 Aftertouch transmit Off, Mono, Send channel, polyphonic, or no aftertouch
Poly data to USB / MIDI
3 Mod wheel transmit (MIDI CC #1) On, Off Send mod strip data via USB / MIDI
4 Mod wheel receive (MIDI CC #1) On, Off Receive mod wheel data via USB / MIDI

Aftertouch Transmit
Polyphonic aftertouch is an amazingly expressive tool. But it also generates a lot of control information,
which can clog the MIDI data stream. Setting this to Off still allows both forms of aftertouch to be used
locally but stops them from being transmitted. Mono enables Channel aftertouch values to be sent
(one value for all active voices); Poly allows polyphonic aftertouch values to be sent.

MIDI: Page 9
Control Parameter Range Description
1 Sustain pedal transmit On, Off Send sustain pedal data via USB / MIDI
2 Sustain pedal +, -, Auto Set polarity of sustain pedal or detect on power-up
4 [1] MPE support On, Off Send / receive MPE data
[1] This will lock out, change or disable some system parameters (see note).

What is MPE?
MPE stands for “MIDI Polyphonic Expression”. It’s a newer MIDI protocol used mainly by alternate
controllers like Roli instruments, Haken Continuum, and LinnStrument. When active, the voices of your
Hydrasynth Explorer break into individual channels so each note can have its own pitch bend, timbre
and pressure control.
Hydrasynth Explorer already supports polyphonic aftertouch, so MPE pressure is mapped automati-
cally to Poly aftertouch. Any patch that uses PolyAftT as a mod source should respond automatically to
pressure sent by an MPE controller.
There are also several mod sources dedicated to MPE. For a list, see Modulation Sources (p. 62).

Enabling MPE will lock out, change or disable certain system parameters:
• MIDI page 4: MIDI Tx & MIDI Rx = MPE Lock
• MIDI page 5: At TX = MPE Lock
• MIDI page 6: Overflow = MPE Lock (disabled).

MIDI: Page 10
Control Parameter Range Description
Knob 1 Parameter transmit Off, NRPN, CC Select data format sent by controls
Knob 2 Parameter receive Off, NRPN, CC Select data format received by parameters
Button 3 Send Patch (action) Sends sys-ex of the current patch via MIDI / USB
Button 4 Send All Patches (action) Sends sys-ex of all patches and banks via MIDI / USB

74
Parameter send/receive options Send Patch / All Patches
These parameters determine whether the These actions allow you to transmit the sys-ex
Hydrasynth Explorer will transmit (TX) or receive data of a patch or all patches to another
(RX) 7-bit MIDI CC’s or NRPNs during parameter Hydrasynth model. Note that doing that over MIDI
changes. This allows for more user-friendly requires two MIDI cables. Ideally both units would
automation on DAWs that do not support the MIDI be connected to the same computer via USB and
NRPN standard. then patches and banks could flow freely between
the two.
The CC numbers for each control are listed in the
MIDI CC Charts (p. 82). The simplest, most elegant solution is to use our
free Hydrasynth Manager application (https://
What’s a NRPN? www.ashunsoundmachines.com/downloads). It
makes it easy to store your patches to a computer
NRPN stands for Non-Registered Parameter and share them between two or more Hydrasynth
Number. It’s a way of allowing higher- models.
resolution control data to be sent and received.
Implementation is not standardized, so each
manufacturer uses different methods. The NRPN
implementation data for Hydrasynth Explorer is
available at AshunSoundMachines.com.

MIDI: Page 11
Control Parameter Range Description
1 Overflow [1] Off, On Connect two Hydrasynth models for extra polyphony
2 Arp TX [1][2] Off, On Send Arp note on/off messages via MIDI / USB
3 Pgm Chg TX Off, On Send MIDI Program Change upon patch selection
4 Pgm Chg RX Off, On Receive MIDI Program Change commands
[1] The Arp TX setting has no effect when Overflow is set to On. Overflow must be set to Off to transmit
the arpeggiator notes.
[2] This also toggles the arpeggiator response to incoming MIDI/USB notes.

Overflow • The two units will play the same sound. If

you want to layer different sounds, disable
Two Hydrasynth models can act like a single unit Overflow mode.
using Overflow mode. We’ll assume you’re using • When a Mono or Unison patch is selected, the
two 8-voice Hydrasynth Explorers for this example. voices on both units are stacked as a single
It’s simple: Connect a MIDI cable from the MIDI instrument.
Out of one unit (the “master”) to the MIDI In of
the other unit (the “slave”). Next, enable Overflow Arp TX
for both units. Connect the audio outputs of each
unit to your sound system, set good levels for Set this parameter to On if you want the
each, and then: arpeggiator to transmit note on/off commands
over MIDI / USB. It also toggles the arpeggiator
1. Select a patch on the master: it is sent via
response to incoming notes. See The Arpeggiator
sys-ex and appears on the slave.
& MIDI (p. 57) for more info. Sync information is
2. Play 9 notes on the master: the first 8 voices sent whether Arp TX is On or Off.
come from the master; the ninth comes
from the slave. Pgm Chg TX / RX
Here are some other things to know about
Overflow mode: These parameters determine whether the
Hydrasynth Explorer will transmit (TX) or receive
(RX) MIDI program change commands.

75
CV – Pitch Gate: Page 12
These settings are compatible with most modular synthesizer equipment. Please refer to the specifica-
tions of other devices and match those settings on the Hydrasynth Explorer.
Control Parameter Range
1 Control Voltage Range [1] Octave 0-5V, -/+5V
Hz 0-5V
Octave 1.2V
2 Reference note [2] C-1 to G9
3 Control Voltage Offset -99 cents to +99 cents
[1] Octave = Volt per octave, Hz = Hz/Volt
[2] 1V reference note for Hz/V, or lowest V reference note for V/Oct.

CV – Pitch Gate: Page 13

Control Parameter Range
1 Gate Type V-trig, S-trig
2 Gate Volt 3V, 5V

CV – Clock: Page 14
These are the settings required to synchronize with most non-MIDI devices. Please refer to the specifica-
tions of other devices and match those settings on the Hydrasynth Explorer.
Control Parameter Range
1 Clock Control Voltage 3V, 5V
2 Clock Rate 1 PPS, 2 PPQ, 24 PPQ, 48 PPQ
3 Clock Division Off, 1/2, 2, 4
4 Clock Offset -100ms to +100ms
PPS (Pulse Per Step) sends a single cycle of the clock output with every Arpeggiator step, or every time
[TAP TEMPO] is pressed when the Tap Trig parameter is active on Arp Edit page 2. PPS works well with
modular synths: the clock output behaves a bit like a Gate output (with Tap Trig) or even as a square
wave LFO.
PPQ stands for Pulse Per Quarter note. Between these three options and the Clock Division value it is
possible to generate a wide variety of clock signals from 1/2 PPQ to 96 PPQ.

Clock Division
This subdivides or multiplies the clock output: 1/2 divides by 0.5, so the clock speeds up (to double
tempo); 2 and 4 slow down the clock to half tempo and one-quarter tempo, respectively. A setting of
Off = no change.

76
CV – Mods: Page 15
These settings enable the use of devices with different CV standards. For example, Output Mod 1 can be
set to +/- 5V while Output Mod 2 are set to 0-5V. The Offset ranges are independent, which allows the
voltages to be fine-tuned to compensate for the idiosyncrasies of individual devices.
Control Parameter Range
1 OM1 Range (Mod 1 output) +/- 5V, 0-5V, 0-1V
2 OM2 Range (Mod 2 output) +/- 5V, 0-5V, 0-1V
3 OM1 Offset (Mod 1 output) +/- 3.0V
4 OM2 Offset (Mod 2 output) +/- 3.0V

The allowable range for output voltages is from -5V to 5V. If an output value attempts to exceed
the range, it will be clipped automatically to the lowest or highest possible value depending on
which value has been exceeded.

Calibration: Page 16
Control Parameter Range Description
1 Calibrate Wheels (access) Full-range motion of the pitch and mod strips

Calibrate Wheels
Press Control button 1 to access the calibration page and follow the instructions on Left display. Move
each strip slowly through its entire range, then press [EXIT]

System: Page 17
Control Parameter Range Description
1 Self Test (action) Hold the button and all LEDs and displays are lit at maximum for
visual inspection.
2 Factory Reset (action) Resets all parameters in System Setup to their default values. This
does not erase the patch banks.

OS: Page 18
There are only two items on this page: the OS version and the embedded serial number. Please include
these in any communications you might have with our Technical Support department.
And always install the latest firmware in your Hydrasynth Explorer so you can take advantage of new
features as they are added!

77
 Control Combinations
[INIT] + Button X
The following modules can be initialized by holding [INIT] and pressing the Access button.
• Amp • Env (1-5) • Macro Assign • Mutant (1-4) • Pre-FX • Voice
• Arp On • Filter (1, 2) • Mixer • Osc (1, 2, 3) • Reverb
• Delay • LFO (1-5) • Mod Matrix • Post-FX • Ring-Noise

[INIT] + Control Button X

These parameters can be initialized by holding [INIT] and pressing the appropriate Control button.
Location Parameter
Arp Time Div, Swing, Gate, OctMode, Range, Mode, Length, Ratchet, Chance
Voice Density, Detune, AnalogFL, StWidth, PitchBnd,Vib Amt, Vib Rate, GlidTime,
GlidCurv
Voice / Scale Edit Note 2-8
Macro / Assign Edit Depth (or turn Control knob to initialize Depth value)
Mod Matrix Depth (or turn Control knob to initialize Depth value)
Osc Wave, Semi, Cents, WaveScan, Density, Detune, Keytrack
Mutant Smooth, Ratio, Depth, Window, Feedback, Dry/Wet
Mutator / Custom Edit Warp 1-8
Ring Noise RMDepth, RingVol, NoiseType, NoiseVol
Mixer Osc1Pan, Osc2Pan, RingPan, NoisePan, Osc1Filt, Osc2Filt, RingFilt, NoisFilt
Filter Type, Morph, Cutoff, Resonance, Drive, Control, Env1Amt, LFO1Amt, Keytrack
Amp LFO2Amt, AmpLevel
Pre-FX [Param1-5], Dry/Wet
Delay Time, Feedback, HiDamp, LoDamp, PreDelay, Dry/Wet
Reverb Size, Time, Tone, HiDamp, LoDamp, PreDelay, Dry/Wet
Post-FX [Param1-5], Dry/Wet
Env Attack, Decay, Sustain, Release, Delay, Hold, AtkCurve, DecCurve, SusCurve,
RelCurve, Repeat
LFO Wave, Rate, TrigSync, Delay, Fade In, Phase, Level, Steps, Smooth
LFO / Step Edit Step 1-8

[RANDOM] + Button X
The following modules can be randomized by holding [RANDOM] and pressing the Access button.
Button Button Button Button
Amp LFO (1-5) Osc (1, 2, 3) Ring-Noise
Arp On Macro Assign Post-FX Voice
Delay Mixer Pre-FX < or > (select random patch)
Env (1-5) Mod Matrix Reverb -
Filter (1, 2) Mutant (1-4) -

78
[SHIFT] + Button X
These shortcuts are available by holding [SHIFT] and pressing the button.
Button Function
Octave Down Jump to lowest octave (-4)
Octave Up Jump to highest octave (+4)
Arp On Access Arp Edit page
Arp Latch Sustain Hold toggle
Browse Access Browse Favorites page
Home Send All Notes Off command to engine, USB, and MIDI; turn off all voices and end all
Envelopes; set all Gates to Off
Page Up Jump to top page
Page Down Jump to bottom page
Random (2x) Press [RANDOM] twice. After the second press a random selection of values is pulled
from other patches.

[SHIFT] + Control Knob X

The following value jumps are available by holding [SHIFT] and turning the appropriate Control knob.
Location Control knob Behavior
Arp Tempo Fine-tune by 0.1
Arp Length Jump to the closest special value [1, 2, 4, 8, 16, 32]
Arp Phrase Jump to the closest first phrase of each group
Browse Patch Jump by 10
Browse Compare Jump by 10
Patch Save Patch # Jump by 10
Voice Pitchbend Jump to the closest special value [0, 2, 4, 5, 7, 12, 24]
Macro Assign Edit Destination Module Jump to the closest first group of each type
Mod Matrix Source Jump to the closest first modulator of each group
Mod Matrix Destination Module Jump to the closest first group of each type
Osc X Wave Jump to the closest first wave of each group
Osc X Semi Jump to the closest special value
[-36, -24, -12, 0, 12, 24, 36]
Osc X Wavescan Jump to the point of Wave position shown in inverted
color [1.0, 2.0, 3.0, 4.0, 5.0, 6.0, 7.0, 8.0]
Mutant X Ratio Jump to the closest special value
[0.25, 0.5, 1, 2, 3, 4, 5, 6, 7... 64]

[SHIFT] + Control Button X

Location Control Button Behavior
Home Macro Depends on settings on System Setup page 2. See Macro
Button Response (p. 59).
Reverb Time Toggle activation of Time Freeze
Envelope Delay, Attack, Hold, Duration of holding the button determines the time value.
Decay, or Release
LFO Rate, Delay, Fade In Duration of holding the button determines the time value.
79
 Scales
Preset Standard Scales
Below are the notes of each preset scale relative to the key of C. An “x” means that note is in the scale; a
dash means it is not.

Scale C C /D D D /E E F F /G G G /A A A /B B
Chromatic x x x x x x x x x x x x
Major x - x - x x - x - x - x
BeBop Maj x - x - x x - x x x - x
BeBop x - x - x x - x - x x x
Mixolydian x - x - x x - x - x x -
Harmonic Major x - x - x x - x x - - x
Lydian x - x - x - x x - x - x
Lydian Aug x - x - x - x - x x - x
Acoustic x - x - x - x x - x x -
Pentatonic Maj x - x - x - - x - x - -
Locrian Maj x - x - x x x - x - x -
Prometheus x - x - x - x - - x x -
Whole Tone x - x - x - x - x - x -
Melodic Minor [1] x - x x - x - x x x x x
Half Diminished x - x x - x x - x - x -
Aeolian x - x x - x - x x - x -
Dorian x - x x - x - x - x x -
Harmonic Minor x - x x - x - x x - - x
Algerian x - x x - x x x x - - x
Gypsy x - x x - - x x x - x -
Hungarian x - x x - - x x x - - x
Ukranian x - x x - - x x - x x -
Dim. Whole Tone x x - x x - x - x - x -
Locrian x x - x - x x - x - x -
Neapolitan Major x x - x - x - x - x - x

[1] For the Melodic Minor scale both the ascending and descending scales are included.
80
Scale C C /D D D /E E F F /G G G /A A A /B B
Neapolitan Minor x x - x - x - x x - - x
Phrygian x x - x - x - x x - x -
Flamenco x x - - x x - x x - - x
Persian x x - - x x x - x - - x
Phrygian Dominant x x - - x x - x x - x -
Enigmatic x x - - x - x - x - x x
Tritone x x - - x - x x - - x -
In x x - - - x - x x - - -
Insen x x - - - x - x - - x -
Augmented x - - x x - - x x - - x
Blues x - - x - x x x - - x -
Pentatonic Minor x - - x - x - x - - x -
Hirajoshi x - - - x - x x - - - x

Preset Microtuning Scales

Micro scale # Name Scale Name
1 1/4 Tone 17 Diaphonic 12-tone
2 19 Tone 18 Eikosany 1 3-11
3 31 Tone 19 Greek Aeolic
4 Al-Farabi SynChrom 20 H. Partch 43-note
5 Arabic 12-tone 21 Harmonic A 1-60
6 Archytas Chromatic 22 Hexany 1 3 5 9
7 Archytas Enharmonic 23 Hexany 1 3 7 11
8 Belafon Singapore 24 Hexany 13 11 13
9 Belafon W. Africa 25 Indian Raga
10 Bendeler Well-Tempered 26 Japanese Koto
11 Bohlen 11-tone 27 Just Major C
12 Chinese 300 B.C. 28 Just Minor C
13 Chinese DiziFlute 29 Mean tone C
14 Crysanthos Byzantine 30 Pelog / Slendro
15 Dekany 1 3 5 11-3 31 Sk8board 17-65 Tun
16 Dekany 1 3 5 7 11 32 W. Carlos Harmonic

81
 MIDI CC Charts
Sorted by Module
Module Parameter CC Filter 2 Filter 2 Cutoff 55
Amp Amp LFO2amt 62 Filter 2 Filter 2 Res 56
ARP ARP Division 106 Filter 2 Filter 2 Type 57
ARP ARP Gate 107 Filter 2 Filter 2 Keytrack 58
ARP ARP Mode 108 Filter 2 Filter 2 LFO1amt 59
ARP ARP Ratchet 109 Filter 2 Filter 2 Vel Env 60
ARP ARP Chance 110 Filter 2 Filter 2 ENV1amt 61
ARP ARP Octave 120 LFO 1 LFO1 Gain 70
ARP ARP Length 122 LFO 1 LFO1 Rate 72
Delay Delay Feedback 14 LFO 2 LFO2 Gain 28
Delay Delay Time 15 LFO 2 LFO2 Rate 73
Delay Delay Wet tone 63 LFO 3 LFO3 Gain 75
Delay Delay Dry/Wet 92 LFO 3 LFO3 Rate 76
ENV 1 ENV1 Attack 81 LFO 4 LFO4 Gain 77
ENV 1 ENV1 Decay 82 LFO 4 LFO4 Rate 78
ENV 1 ENV1 Sustain 83 LFO 5 LFO5 Gain 79
ENV 1 ENV1 Release 84 LFO 5 LFO5 Rate 80
ENV 2 ENV2 Attack 85 Macros Macro 1 16
ENV 2 ENV2 Decay 86 Macros Macro 2 17
ENV 2 ENV2 Sustain 87 Macros Macro 3 18
ENV 2 ENV2 Release 88 Macros Macro 4 19
ENV 3 ENV3 Attack 89 Macros Macro 5 20
ENV 3 ENV3 Decay 90 Macros Macro 6 21
ENV 3 ENV3 Sustain 96 Macros Macro 7 22
ENV 3 ENV3 Release 97 Macros Macro 8 23
ENV 4 ENV4 Attack 25 Mixer Noise Vol 03
ENV 4 ENV4 Decay 27 Mixer Noise Pan 08
ENV 4 ENV4 Release 124 Mixer Ring Mod Vol 09
ENV 4 ENV4 Sustain 125 Mixer Ring Mod Pan 10
ENV 5 ENV5 Attack 102 Mixer RM12 Depth 43
ENV 5 ENV5 Decay 103 Mixer OSC1 Vol 44
ENV 5 ENV5 Sustain 104 Mixer OSC1 Pan 45
ENV 5 ENV5 Release 105 Mixer OSC2 Vol 46
Filter 1 Filter 1 Drive 50 Mixer OSC2 Pan 47
Filter 1 Filter 1 Keytrack 51 Mixer OSC3 Vol 48
Filter 1 Filter 1 LFO1amt 52 Mixer OSC3 Pan 49
Filter 1 Filter 1 Vel Env 53 Mixer OSC 3 FRate 114
Filter 1 Filter 1 ENV1amt 54 Mixer Noise FRate 115
Filter 1 Filter 1 Res 71 Mixer Ring Mod FRate 116
Filter 1 Filter 1 Cutoff 74 Mixer OSC1 FRate 118
82
 Sorted by CC Number
Mixer OSC2 FRate 119 Module Parameter CC
Mutator 1 Mutator1 Ratio 29 System Bank select MSB 00
Mutator 1 Mutator1 Depth 30 System Modulation wheel. 01
Mutator 1 Mutator1 Dry/Wet 31 Mixer Noise Vol 03
Mutator 2 Mutator2 Ratio 33 Voice GlidTime 05
Mutator 2 Mutator2 Depth 34 System Master Volume 07
Mutator 2 Mutator2 Dry/Wet 35 Mixer Noise Pan 08
Mutator 3 Mutator3 Ratio 36 Mixer Ring Mod Vol 09
Mutator 3 Mutator3 Depth 37 Mixer Ring Mod Pan 10
Mutator 3 Mutator3 Dry/Wet 39 System Expression pedal 11
Mutator 4 Mutator4 Ratio 40 Pre-fx PRE-FX Param1 12
Mutator 4 Mutator4 Depth 41 Pre-fx PRE-FX Param2 13
Mutator 4 Mutator4 Dry/Wet 42 Delay Delay Feedback 14
OSC 1 OSC1 wavscan 24 Delay Delay Time 15
OSC 1 OSC 1 Cent 111 Macros Macro 1 16
OSC 2 OSC2 WavScan 26 Macros Macro 2 17
OSC 2 OSC 2 Cent 112 Macros Macro 3 18
OSC 3 OSC 3 Cent 113 Macros Macro 4 19
Post-fx POST-FX Param1 68 Macros Macro 5 20
Post-fx POST-FX Param2 69 Macros Macro 6 21
Post-fx POST FX Mix 94 Macros Macro 7 22
Pre-fx PRE-FX Param1 12 Macros Macro 8 23
Pre-fx PRE-FX Param2 13 OSC 1 OSC1 wavscan 24
Pre-fx PRE-FX Mix 93 ENV 4 ENV4 Attack 25
Reverb Reverb Time 65 OSC 2 OSC2 WavScan 26
Reverb Reverb Tone 67 ENV 4 ENV4 Decay 27
Reverb Reverb Dry/Wet 91 LFO 2 LFO2 Gain 28
System Bank select MSB 00 Mutator 1 Mutator1 Ratio 29
System Modulation wheel. 01 Mutator 1 Mutator1 Depth 30
System Master Volume 07 Mutator 1 Mutator1 Dry/Wet 31
System Expression pedal 11 System Bank select LSB 32
System Bank select LSB 32 Mutator 2 Mutator2 Ratio 33
System Sustain pedal 64 Mutator 2 Mutator2 Depth 34
System All notes off 123 Mutator 2 Mutator2 Dry/Wet 35
Voice GlidTime 05 Mutator 3 Mutator3 Ratio 36
Voice Glide 66 Mutator 3 Mutator3 Depth 37
Voice Detune 95 Mutator 3 Mutator3 Dry/Wet 39
Voice StWidth 117 Mutator 4 Mutator4 Ratio 40
Mutator 4 Mutator4 Depth 41
Mutator 4 Mutator4 Dry/Wet 42
83
Mixer RM12 Depth 43 ENV 2 ENV2 Attack 85
Mixer OSC1 Vol 44 ENV 2 ENV2 Decay 86
Mixer OSC1 Pan 45 ENV 2 ENV2 Sustain 87
Mixer OSC2 Vol 46 ENV 2 ENV2 Release 88
Mixer OSC2 Pan 47 ENV 3 ENV3 Attack 89
Mixer OSC3 Vol 48 ENV 3 ENV3 Decay 90
Mixer OSC3 Pan 49 Reverb Reverb Dry/Wet 91
Filter 1 Filter1 Drive 50 Delay Delay Dry/Wet 92
Filter 1 Filter1 Keytrack 51 Pre-fx PRE-FX Mix 93
Filter 1 Filter1 LFO1amt 52 Post-fx POST FX Mix 94
Filter 1 Filter1 Vel Env 53 Voice Detune 95
Filter 1 Filter1 ENV1amt 54 ENV 3 ENV3 Sustain 96
Filter 2 Flt2 Cutoff 55 ENV 3 ENV3 Release 97
Filter 2 Flt2 Res 56 ENV 5 ENV5 Attack 102
Filter 2 Flt2 Type 57 ENV 5 ENV5 Decay 103
Filter 2 Filter2 Keytrack 58 ENV 5 ENV5 Sustain 104
Filter 2 Filter2 LFO1amt 59 ENV 5 ENV5 Release 105
Filter 2 Filter2 Vel Env 60 ARP ARP Division 106
Filter 2 Filter2 ENV1amt 61 ARP ARP Gate 107
Amp Amp LFO2amt 62 ARP ARP Mode 108
Delay Delay Wet tone 63 ARP ARP Ratchet 109
System Sustain pedal 64 ARP ARP Chance 110
Reverb Reverb Time 65 OSC 1 OSC1 Cent 111
Voice Glide 66 OSC 2 OSC2 Cent 112
Reverb Reverb Tone 67 OSC 3 OSC3 Cent 113
Post-fx POST-FX Param1 68 Mixer OSC3 FRate 114
Post-fx POST-FX Param2 69 Mixer Noise FRate 115
LFO 1 LFO1 Gain 70 Mixer RM12 FRate 116
Filter 1 Filter1 Res 71 Voice StWidth 117
LFO 1 LFO1 Rate 72 Mixer OSC1 FRate 118
LFO 2 LFO2 Rate 73 Mixer OSC2 FRate 119
Filter 1 Filter1 Cutoff 74 ARP ARP Octave 120
LFO 3 LFO3 Gain 75 ARP ARP Length 122
LFO 3 LFO3 Rate 76 System All notes off 123
LFO 4 LFO4 Gain 77 ENV 4 ENV4 Release 124
LFO 4 LFO4 Rate 78 ENV 4 ENV4 Sustain 125
LFO 5 LFO5 Gain 79
LFO 5 LFO5 Rate 80
ENV 1 ENV1 Attack 81
ENV 1 ENV1 Decay 82
ENV 1 ENV1 Sustain 83
ENV 1 ENV1 Release 84
84
 Specifications
Physical
Dimensions: 55.4 x 24.7 x 5.8 cm (21.81 x 9.72 x 2.28 inches)
Weight (without batteries): 3.46 kg (7.63 lbs)

Connections: Rear Panel

• MIDI In/Out • CV/Gate/Clock outputs: Five (1/8” TS)
• USB type B port, class-compliant • Pitch • Gate • Mod 1 • Mod 2 • Clock
• Headphone output • Power:
• Impedance: 16 – 75 Ohm • 12 V DC, ≥1A (Center: positive)
• Stereo 1/4” outputs (balanced) • 8 x AA batteries (optional): Alkaline or
Ni-MH
• Sustain pedal input (polarity-sensing)

CV/Gate/Clock outputs:
Control Voltages
• Range: -5V to 5V
• Pitch: + / - 99 cents
• Mod: + / - 3.0V
• Standards: 1V / octave,
1.2V / octave, Hz/Volt

Gate Output
• Range: 3V, 5V
• Type: V-trig, S-trig

Clock Output
• Range: 3V, 5V
• Rates: 1 PPS, 2PPQ, 24 PPQ, 48PPQ
• Offset: + / - 100ms
• Division: 1/2x, 2x, 4x

85
 Declaration of Conformity
USA
Important Notice: operation to other electronic devices. Compliance
DO NOT MODIFY THE UNIT! with FCC regulations does not guarantee that
interference will not occur in a particular instal-
This product, when installed as indicate in the in-
lation. If this equipment does cause harmful
structions contained in this manual, meets FCC re-
interference, which can be determined by turning
quirements. Modifications not expressly approved
the equipment off and on, please try to correct
by Ashun Sound Machines could void your FCC
the interference by one or more of the following
authorization to use this product in the USA.
measures:
IMPORTANT: When connecting this product to
• Relocate either this product or the device that
accessories and/or another product, use only
is affected by the interference.
high-quality shielded cables. The cable(s) supplied
with this product MUST be used. Follow all instal- • Use power outlets that are on different branch
lation instructions. Failure to follow instructions (circuit breaker or fuse) circuits or install AC
could void your FCC authorization to use this line filter(s).
product in the USA. • In the case of radio or TV interference, relocate
NOTE: This product has been tested and found to and/or reorient the antenna. If the antenna
comply with the limit for a Class B Digital device, lead-in is a 300 ohm ribbon lead, change the
pursuant to Part 15 of the FCC rules. These limits lead-in to the coaxial cable.
are designed to provide a reasonable protection • If these corrective measures do not achieve
against harmful interference in a residential satisfactory results, please consult the dealer
environment. This equipment generates, uses, and or an experienced radio/TV technician for help.
may radiate radio frequency energy and, if not
installed and used in accordance with the instruc- The above statements apply ONLY to those
tions, may cause interferences harmful to the products distributed in the USA.

CANADA
NOTICE: This class B digital apparatus meets all AVIS: Cet appareil numérique de la classe B
the requirements of the Canadian Interference- respecte toutes les exigences du Règlement sur le
Causing Equipment Regulation. matériel brouilleur du Canada.

EUROPE

This product complies with the requirements of

European Directive 89/336/EEC
This product may not work correctly as a result of
electro-static discharge. If that happens, simply
restart the product.

86