User's Manual

34 | NORD STAGE 3 USER MANUAL OS V2.5X
PITCH STICK RANGE
The pitch stick range can be adjusted and stored on a per-program
basis for the Synth section. The range is set in semitone steps, by
pressing SHIFT+PSTICK in the Synth section and selecting a value from
the displayed list. Optionally, the value can be set on page 4 of the
Sound menu. The Range LED is lit when set to a non-default value (±2
semitones).
Range: ±1, ±2, ±3, ±4, ±5, ±7, ±10, ±12, +2/-12, +2/-24
M A Store operation needs to be performed for the value to be saved
with the program
M Depending on manufacturing date there may be no dedicated
Range LED on the panel. There is no difference in the functionality.
SUSTPED
SUSTPED (Shift + Octave Shift right/up button) activates any attached
sustain pedal for the Synth section. Read more on how to configure an
attached pedal in the Menus chapter, on page 54.
OSCILLATORS
The Nord Stage 3 synthesizer engine features smart oscillator configu-
rations utilizing one or two oscillators. Start with an oscillator waveform
from the Classic, Wave, Formant, Super or Samp (Samples) categories,
select an oscillator configuration and use the Osc 2/Pitch dial and Osc
Ctrl knob to adjust the exact effects of the configuration.
The sonic potential is further enhanced by the fact that the oscillator
section actually contains a number of extra oscillators for each voice,
which are brought in by activating Unison (see page 41). You can add
several virtual oscillators per voice, without losing polyphony. This allows
for some really thick sounds.
OSC CTRL
Oscillator Control, OSC CTRL, is used to alter the sound in different ways
depending on the currently selected oscillator configuration. The Osc
Ctrl parameter can be modulated by the Mod Envelope or the LFO,
and morph controlled, allowing real-time use of the wheel, aftertouch or
pedal for controlling the sound. The amount of the Osc Ctrl parameter is
always visible in the Synth section display as it is being adjusted.
MODULATION
The two-way MODULATION control governs the amount of modulation
applied to the Osc Ctrl parameter. Turn the knob counter-clockwise from
the 12 o’clock zero position for LFO modulation or clockwise to instead
use the Mod Envelope.
SELECTOR BUTTON
These are the five oscillator types, selectable by using the Oscillator
selector button:
• CLASSIC (analog style) waveforms
• WAVE (wavetables)
• FORMANT (formant waves)
• SUPER (super-waves)
• SAMP (samples).
The OSC1/WAVEFORM dial is used for choosing the specific waveform
or sample to be used. Use the LIST command (Shift + Osc1/Waveform
dial) to display a list view of the waveforms, wavetables or samples in
your current selection.
The FAST ATK mode, available for most samples, gives a faster attack.
Read more about how this works on page 35.
With a sample selected, pressing down INFO (Shift + Selector button)
shows the size, full name and version of the sample.
CLASSIC WAVEFORMS
There are four “basic” Classic waveforms: Sine, Triangle, Sawtooth and
Square. Apart from these there are four additional waveforms: Pulse 33,
Pulse 10, ESaw and ESquare. The table below shows all waveforms and
how they behave when using the Shape Oscillator Configuration.
Shape Mode
Osc Ctrl = 0 Osc Ctrl = 5 Osc Ctrl = 10
Sine
Triangle
Saw
Square
Pulse 33
Pulse 10
ESaw
ESquare
SINE
The sine wave has a very pure sound with no overtones, or harmonics.
It is useful for many kinds of softer sounds, and could be considered the
“default” waveform when creating classic FM sounds, using the Freq
Mod oscillator configurations.
TRIANGLE
The triangle waveform has only odd numbered - and not very strong -
harmonics, giving it a more vibrant character than the sine wave while
still being much softer than the sawtooth wave.
SAWTOOTH
The sawtooth wave contains all harmonics and is the richest of the
available waveforms. It is suitable for all sorts of sounds.
SQUARE, PULSE 33, PULSE 10
A square wave is the same as a pulse wave at 50% width, Pulse 33
represents a 33% width and Pulse 10 a 10% width. At 50% width the
waveform can be described as having a somewhat “hollow” character,