Owner’s Manual PHONES POWER DC USB MIDI IN MIDI OUT CV / GATE INPUTS MIDI THRU EXPRESSION SUSTAIN L/MONO OUTPUTS BROWSE MOD 1 MOD 2 PITCH GATE MOD 1 MOD 2 FAVORITE CLOCK SAVE ARPEGGIATOR SYSTEM SETUP TEMPO UP & DN UP / DN DOWN UP RATCHET CHANCE GATE ORDER 1 1 32 58 62 RANDOM 2 1 16 54 66 CHORD 3 18 52 70 PHRASE 4 14 OFF 75 INIT RANDOM MODE MASTER VOLUME GLIDE DOWN RIBBON UP CHORD OCTAVE MAX MIN OUTPUT MAIN SY OCTAVE DIVISION SWING ON LATCH TR
OCTAVE MAX MIN
Special Thanks DESIGN & DIRECTION • Glen Darcey PRODUCT MANAGER • Dominic Au ENGINEERING • Chen Jiejun (engine) • Banner Xu (software) • Ye Haipeng (electronic) • Yang Zhihang (software) • Chen Si (electronic) • Fu Jieming (Mechanics) • Zhou Peng (Mechanics) • Luo Liangsheng (electronic) • Liang Weiming (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
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: 7.
Contents Master Control Section . . . . . . . . . . . . . . . . . . . 17 Important Safety Instructions . . 4 Welcome to Hydrasynth Explorer! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 EXIT button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 PAGE Up / Down buttons . . . . . . . . . . . . . . . . . . . 18 VOICE button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 MACRO ASSIGN button . . . . . . . . . . . . . . . . . . . . .
Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Pulse Width modulation . . . . . . . . . . . . . . . . . . . . 27 PW-Orig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 PW-Sqeez . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 PW-ASM [Warp] . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Harmonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 PhazDiff . . . . . . . . . . . . . . . . . .
Using the Browser . . . . . . . . . . . . . . . . . . . . . . . 66 Microtonality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 The Arpeggiator Section . . . . . . . . . 55 Browse parameters: page 1 . . . . . . . . . . . . . . . . 66 Sort Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Browse parameters: page 2 . . . . . . . . . . . . . . . . 66 Compare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Favorite Assign... . . . . . . .
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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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.
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
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.
USB MIDI Hydrasynth Explorer is a USB class-compliant device, so there are no drivers to install. Just plug it into your computer and it will be available immediately as a MIDI input/output device. The Hydrasynth Explorer has two 5-pin MIDI connectors to allow you to interface with other MIDI devices. MIDI Out sends data from the Hydrasynth Explorer and MIDI In receives data from other MIDI devices.
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.
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.
Control knobs There are two knobs on either side of the Right display. They are “endless encoders”: parameters are edited from their current value, rather than jumping to another value that was based on the position of the knob. The Control knobs play different roles depending on the page that has been accessed: • On the Home page they are used as Macro controls. • On a parameter page they are used to adjust parameter values.
Main Systems 6 Patch selection All Notes Off One of the major functions of this section is patch selection. There are several methods, and you might use them all at different times depending on what you’re doing. Sometimes MIDI signals are disrupted and a note becomes stuck. If that happens, hold [SHIFT] and press [HOME] to transmit an “All Notes Off” command. This will silence any stuck notes.
Initialize a Patch If you want to build an entire patch from scratch, press [INIT] twice in a row. This will erase the contents of the Edit buffer, so be sure to save any edits you don’t want to lose. The RANDOM button If you’re the adventurous type, you will love this button! It can randomize the value of any parameter, any module, or even an entire patch. Randomize a parameter To randomize a single parameter, hold [RANDOM] and press the Control button next to that parameter’s value.
powerful Macro controls. For live performance or on-the-spot creativity, the Macros can kick everything into high gear. See Mastering the Macros (p. 58). EXIT button This button will light as soon as you enter any page. It will take you back to the previous page, and it can cancel a process if you decide not to do something (Initialize, Randomize, Save, etc.). The Home page is the only page where [EXIT] is not lit, because that’s the top level of the patch.
Filter Controls 5 Sweeping the filter frequency of a sound is a great way to 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.
Rear Panel 1 2 3 4 5 6 7 8 9 Section 1 2 3 Name CV / Gate connectors Phones output Outputs Description Interface with modular synthesizers Compatible with a wide range of impedance ratings Left (mono), Right (for stereo) 4 5 6 7 8 9 10 Sustain pedal input MIDI connectors USB connector DC power connector Power cable guard Power switch Kensington lock Polarity sensing on startup In, Out Type B for computer connection 12 volts DC, ≥1A Helps prevent accidental disconnection Gets the creative juice
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.
FX group Voice module Rounding out each patch is a healthy array of effects processors, from pitch effects to spatial emulations and much more. With these a raw sound can become sweet or angry, pure or distorted, straightforward or mangled. Though it isn’t located in the Module Select section, the Voice module has a significant impact on each patch.
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 Oscillators Mutants Envelopes LFOs Copy/Paste is possible between...
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.
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 1 1 Mode 1 2 Semi 1 3 WaveScan Range Single, WaveScan +/- 36 semitones 1.0 to 8.0 in steps of 0.
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.
Page Control Parameter 1 1 Mode 1 2 Ratio 1 3 Depth 1 4 Dry/Wet 2 2 2 1 2 3 Source Window Feedback Range 8 species (focus: Osc Sync) 0.250-64.000; increments vary 0-128 in increments of ~0.1 0-100% Osc 1, Osc 2, Osc 3 0-128 in increments of ~0.
PW-Orig 1. Press the Page Down arrow to access page 2. 2. Press Control button 4 to access Custom Edit. This is the “vintage” PWM used by many analog polysynths in the ‘70s and ‘80s: a waveform is fixed at its center and both of its edges are moved to compress or expand its width. The PWM source is often an LFO, though an Envelope or other sources can yield excellent results. 3. Hold the low C key and turn Control knob 2 slowly. 4. Listen and watch the display as Warp2 changes from 0 to 128 and back.
Try this experiment to see how the Harmonic mutator affects different waveforms: 1. Initialize the patch by pressing [INIT] twice. This provides a Single mode saw wave from oscillator 1. 6. Slowly increase the Depth to 128. Each of the frequencies in the harmonic series is emphasized. 2. Access [MUTANT 1] and turn Control knob 1 to select the Harmonic mode. 7. Return the Depth slowly to 0. Gradually all harmonics disappear, even the fundamental. 3. Set the Depth parameter to 0.0. 8. Release the note.
Ring-Noise Module This module contains two additional sound sources that can be blended with the oscillators to make sounds that are even more interesting. Ring Modulation (Ring Mod or RM) takes two audio signals and generates a sound based on the sum and the difference of their frequency content.
The Mixer Module This module has six pages of parameters which perform simple but important functions. Mixer parameters: pages 1-2 Page 1 1 1 1 Control 1 2 3 4 Parameter Osc 1 Osc 2 Osc 3 Solo Range 0-128 0-128 0-128 On/Off 2 2 2 1 2 4 Ring Noise Solo 0-128 0-128 On/Off Description Osc 1 level Osc 2 level Osc 3 level First press: all 5 sources are active. Use Control buttons to solo a source. [1] Ring mod level Noise level First press: all 5 sources are active. Use Control buttons to solo a source.
Set the Pan Positions Osc 1-3 Pan Ring + Noise Pan To set the stereo placement of the oscillators, access [MIXER] and use the Page Down arrow to select page 3. Control knobs 1-3 contain the pan positions for Oscillators 1-3. Use the appropriate Control knob to adjust the pan position of each item, and use [SHIFT] + Control knob X to fine-tune the value. To set the stereo placement of the Ring modulator and Noise generator, access [MIXER] and use the Page Down arrow to select page 4.
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.
Control Resonance This parameter is visible only when the Filter type is set to Vowel. It provides control over location and spread of the formants, which are certain peaks and nodes in the filter frequencies that help to approximate the resonance of the human vocal apparatus. Use this with the Cutoff, Resonance, and Vowel Order parameters for greater precision. This adjusts the resonance of the filter.
Filter 1 parameters: page 3 Control 1 2 3 4 Parameter Filter Route Drive Vow Order (type = Vowel only) Drive Route Range Series, Parallel 0.0-128.0 8 orders Description Places filters in Series or Parallel configuration Drive amount Changes formant order during frequency sweeps Pre, Post Drive placement in signal path Filter Route Drive Route This setting specifies whether the filters operate in Series or Parallel mode. When they are in Series, Filter 1 always passes through Filter 2.
Filter 2 Types Morph Filter 2 provides two filter types, each with Low Pass and High Pass modes to process the high and low frequencies. The major difference is what happens in the middle, as Morph approaches a value of 64: This parameter adjusts the filter between its various states, with a Low Pass filter at one extreme, a High Pass filter at the other, and a Band Pass or Notch filter at the middle setting. Along the way there are hundreds of intermediate settings.
The Amp Module The Amp module is relatively simple, and has only three parameters. Control 1 3 4 Parameter LFO 2 amount Vel Env Amp Level Range +/- 64.0 +/- 64.0 0.0-128.0 Description Sets amount & polarity of LFO 2 effect on amplitude Lets velocity set maximum range of Amp envelope Controls pre-FX level of patch How the Parameters Interact All three of the parameters in the Amp module work together.
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.
Envelope parameters: page 2 Control 1 2 4 Parameter Delay Hold BPM Sync Range [1] [2] Off, On Description The time before onset of attack segment The time between attack and decay segments 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.
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 the notes. Likewise, when this parameter is set to On, the envelope will not retrigger if previous voice has not been released. This allows a filter envelope to remain at its sustain stage when a series of notes are played, for example, which can help a solo or a bass line to be more expressive. 11.
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 buttons 4.
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 • Independent LFO per voice These LFOs might be more flexible than any you have encountered.
rather than needing to adjust each mod route separately. The LFO Level parameter is a fine-tune control that allows you to dial in a modulation amount with precision. For example, imagine that an LFO is routed to multiple destinations in the Mod Matrix (which is often the case). This parameter makes it possible to adjust all of those routes with a single edit, LFO parameters: page 2 Control Parameter Range 1 Delay BPM = Off: 0 ms to 32.
LFO parameters: page 4 Page 4 is only visible when the LFO wave is set to Step. Control 1 3 4 Parameter Steps SemiLock Step Edit.. Range 2-64 Off, On (access) Description Sets # of steps within the LFO On = use semitone values in Step Edit pages 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.
values to quantize to the chromatic scale, be sure to do the following: Now let’s try a Step LFO with more than 8 steps. 1. Press [EXIT] and use Control knob 1 to select a different number of Steps • Set the LFO output level to 128. • In the Mod Matrix, route the LFO to the pitch of an oscillator with a depth of 128. 2. Enter the Step Edit page via Control button 4 3. Use the Page up/down buttons to access steps 5-8, 9-12, etc.
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-inspiring 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.
2 3 Feedback +/- 63 2 4 Mono/St Mono, Stereo Feeds flanger into itself (positive/negative polarity) Selects output mode Rotary Page Control Parameter 1 1 FX Type 1 2 [Hi-Speed] 1 3 [Lo-Speed] 1 4 [Dry/Wet] 2 1 Preset 2 2 Lo-Depth 2 3 Hi-Depth 2 4 Low/High Range 9 types (see Pre- and Post-FX (p. 46) 0.02-10.0 Hz 0.02-10.0 Hz 0-100.
Tremolo Page Control Parameter Range 9 types (see Pre- and Post-FX (p. 1 1 FX Type 46) 1 2 [Rate] 0.02-10.0 Hz 1 3 [Depth] 0.0-128.0 1 4 [Dry/Wet] 0-100.
Distort Page Control Parameter Range 9 types (see Pre- and Post-FX (p. 1 1 FX Type 46) 1 2 [Drive] 0.0-128.0 1 3 [Tone] +/- 64.0 1 2 2 4 1 2 [Dry/Wet] Preset Asym 0-100.0% Drive 1-3 0-128 2 3 Curve 0-128 2 4 Output -36 / +24 dB Description Selects effect Signal level sent to distortion circuit Output bandwidth: -64.0 to -0.1: high cut 0.0: bypass 0.1 to 64.
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 1 1 Type 1 2 PreDelay 1 3 [Time] 1 2 4 1 [Dry/Wet] [Tone] Range 5 types (see list above) 0.5-250 ms 120 ms - 90 seconds, Freeze No damping = indefinite Freeze 0-100.0% -/+ 64.0 2 2 2 4 [Hi Damp] [Lo Damp] 0.0-128.0 0.0-128.
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.
played, even if the same note is repeated. The voices will play in order from left to right (1-2-34-5-6-7-8), with the stereo spread defined by the Stereo Width value. The Unison modes follow the same pattern. The results may seem somewhat random for oddnumbered Density values, but they’re predictable. For example, with a Density of 3 voices you’ll hear 1-2-3, 4-5-6, 1-7-8, 2-3-4, 5-6-7, 1-2-8, etc. Alter With this option the voices take turns spreading further and further from center.
Voice Parameters: page 4 Control 1 2 3 4 Parameter Glide Glide Time Glide Curve Glide Legato Range Off, On 0-127 Exp (-64) > Lin (0) > Log (64) Off, On Description Toggles Glide effect Controls Glide rate [1] Sets Glide curve [1] If On, only legato playing activates Glide [1] [1] This parameter is hidden when Glide = Off. Glide settings • A logarithmic curve does the opposite: It rises quickly at first and its rate of change slows as it nears the peak.
Select a Scale There are 38 preset scales and 32 microtuning scales available. If you don’t find the one you want, you can create a custom 12-tone scale inside the Hydrasynth Explorer or import new microtuning scales. When a non-chromatic scale is selected, notes that are not in the scale are filtered out. So if you play notes outside of the selected scale, they will be quantized to the pre-determined scale notes. This also affects the incoming MIDI notes.
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.
Mode • Increase Length to 9. The lowest note of the chord will be repeated in the first octave and the pattern will repeat. Control knob 3 is used to specify the direction of the arpeggio and other behaviors. For the following descriptions we’ll use a 3-note chord with Octave Mode = Up and Range = 2. • Increase Range to 3. The lowest note of the 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.
Arp parameters: page 4 ClkLock This locks the arpeggiator phase to the system clock so it will sync to other clocked elements such as an LFO with BPM Sync set to On. Here’s something else you might notice: With ClkLock set to Off and the Hydrasynth Explorer as the master clock source, the arpeggio starts when the first note is played. With ClkLock set to On, the arpeggio starts at the next quantized value after the first note is played.
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.
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 characters, so you’ll know at a glance what the Macro does. The name is displayed on the Home page and on the Macro Assign page. Here’s what to do: 4. Control knob 1 selects the naming function: List name or Custom name.
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).
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.
Direct Assignment Notes About Mod Routes Mod routes can be established between a source and a specific parameter using this method. After you access the page with the parameter to be modulated, hold the modulation source button and press the Control button next to the parameter in the Right display. This creates a link between the source and destination in the fewest possible number of steps.
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.
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.
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 to control the pitch on an external device. The output voltage is derived from the MIDI note number that corresponds to the key being played.
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.
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 patch with its unedited version (the default selection) or with any other Hydrasynth Explorer patch. Control knob 1 is used to scroll through the patches, which are always displayed here in their original order (by Bank and number).
Save parameters: page 1 Control Parameter 1 Select target location 2 3 4 Range Description 5 banks x 128 patches Scroll to select; [SHIFT] + scroll to jump +/- 10 Patch name Numbers, letters, Select up to 16 characters (see below) symbols Category (various) Choose patch category (Arp, Bass, FX, etc.) Name of current target (in memory) This patch will be replaced if you [SAVE] It’s fairly easy to save a patch.
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.
The System Setup Pages Operational Notes Navigation Saving the Settings The System Setup pages work the same way all other modules do, but here are some reminders: Press [EXIT] or any module button to save System Setup changes. The message “System saving...” will be shown in the Left display for about 1 second. Note that sound output is silenced while the settings are being saved. • To access the next or previous page, use the Page Down / Up arrows.
Master: Page 3 Control 1 2 3 4 Parameter Knob Mode Knob Speed Tempo Lock Macro Button Range Absolute, Pickup, Scale Slow, Medium, Fast On, Off Toggle, Trigger, Switch, Reset Description How Direct knobs edit values when moved Sets Control knob response speed Selects Global tempo or per-patch tempo Determines behavior of Macro Buttons Knob Mode Knob Speed This setting governs the response of the Variable knobs (p. 15) in the Filter and Arpeggiator sections, not the Selection knobs (p. 15).
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 Knob 1 2 (view only) Button 3 Button 4 Parameter Scale select Scale name Receive Scale Range 1–32 1–16 characters (action) Send Scale (action) Description Selects the Microtuning scale location Define with third-party software (Scala, etc.
Keys: Page 6 Control 1 2 3 4 Parameter Aftertouch Delay Aftertouch Fade Aftertouch Offset Aftertouch Release Range 0-400 ms 0-400 ms - 4 to + 4 0-400 ms Description (see description below) (see description below) (see description below) (see description below) Aftertouch settings • Aftertouch Delay: the time that transpires between note on and the onset of aftertouch. minimum point, so it takes more pressure to start the aftertouch.
MIDI: Page 8 Control Parameter 1 Aftertouch transmit Range Off, Mono, Poly Mod wheel transmit (MIDI CC #1) On, Off Mod wheel receive (MIDI CC #1) On, Off 3 4 Description Send channel, polyphonic, or no aftertouch data to USB / MIDI Send mod strip data via USB / MIDI 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.
Parameter send/receive options Send Patch / All Patches These parameters determine whether the Hydrasynth Explorer will transmit (TX) or receive (RX) 7-bit MIDI CC’s or NRPNs during parameter changes. This allows for more user-friendly automation on DAWs that do not support the MIDI NRPN standard. These actions allow you to transmit the sys-ex data of a patch or all patches to another Hydrasynth model. Note that doing that over MIDI requires two MIDI cables.
CV – Pitch Gate: Page 12 These settings are compatible with most modular synthesizer equipment. Please refer to the specifications 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 – 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 1 2 3 4 Parameter OM1 Range (Mod 1 output) OM2 Range (Mod 2 output) OM1 Offset (Mod 1 output) OM2 Offset (Mod 2 output) Range +/- 5V, 0-5V, 0-1V +/- 5V, 0-5V, 0-1V +/- 3.0V +/- 3.
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.
[SHIFT] + Button X These shortcuts are available by holding [SHIFT] and pressing the button. Button Octave Down Octave Up Arp On Arp Latch Browse Home Page Up Page Down Random (2x) Function Jump to lowest octave (-4) Jump to highest octave (+4) Access Arp Edit page Sustain Hold toggle Access Browse Favorites page Send All Notes Off command to engine, USB, and MIDI; turn off all voices and end all Envelopes; set all Gates to Off Jump to top page Jump to bottom page Press [RANDOM] twice.
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 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
MIDI CC Charts Sorted by Module Module Amp ARP ARP ARP ARP ARP ARP ARP Delay Delay Delay Delay ENV 1 ENV 1 ENV 1 ENV 1 ENV 2 ENV 2 ENV 2 ENV 2 ENV 3 ENV 3 ENV 3 ENV 3 ENV 4 ENV 4 ENV 4 ENV 4 ENV 5 ENV 5 ENV 5 ENV 5 Filter 1 Filter 1 Filter 1 Filter 1 Filter 1 Filter 1 Filter 1 Parameter Amp LFO2amt ARP Division ARP Gate ARP Mode ARP Ratchet ARP Chance ARP Octave ARP Length Delay Feedback Delay Time Delay Wet tone Delay Dry/Wet ENV1 Attack ENV1 Decay ENV1 Sustain ENV1 Release ENV2 Attack ENV2 Decay ENV2 Sus
Sorted by CC Number Mixer Mutator 1 Mutator 1 Mutator 1 Mutator 2 Mutator 2 Mutator 2 Mutator 3 Mutator 3 Mutator 3 Mutator 4 Mutator 4 Mutator 4 OSC 1 OSC 1 OSC 2 OSC 2 OSC 3 Post-fx Post-fx Post-fx Pre-fx Pre-fx Pre-fx Reverb Reverb Reverb System System System System System System System Voice Voice Voice Voice OSC2 FRate Mutator1 Ratio Mutator1 Depth Mutator1 Dry/Wet Mutator2 Ratio Mutator2 Depth Mutator2 Dry/Wet Mutator3 Ratio Mutator3 Depth Mutator3 Dry/Wet Mutator4 Ratio Mutator4 Depth Mutator4 Dry/W
Mixer Mixer Mixer Mixer Mixer Mixer Mixer Filter 1 Filter 1 Filter 1 Filter 1 Filter 1 Filter 2 Filter 2 Filter 2 Filter 2 Filter 2 Filter 2 Filter 2 Amp Delay System Reverb Voice Reverb Post-fx Post-fx LFO 1 Filter 1 LFO 1 LFO 2 Filter 1 LFO 3 LFO 3 LFO 4 LFO 4 LFO 5 LFO 5 ENV 1 ENV 1 ENV 1 ENV 1 RM12 Depth OSC1 Vol OSC1 Pan OSC2 Vol OSC2 Pan OSC3 Vol OSC3 Pan Filter1 Drive Filter1 Keytrack Filter1 LFO1amt Filter1 Vel Env Filter1 ENV1amt Flt2 Cutoff Flt2 Res Flt2 Type Filter2 Keytrack Filter2 LFO1amt Filt
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.
Declaration of Conformity USA Important Notice: DO NOT MODIFY THE UNIT! This product, when installed as indicate in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Ashun Sound Machines could void your FCC authorization to use this product in the USA. IMPORTANT: When connecting this product to accessories and/or another product, use only high-quality shielded cables. The cable(s) supplied with this product MUST be used.
