NONLINEAR LABS C15 Instructions d'installation et d'utilisation

User Manual Addendum

Update 2020-12

NONLINEAR LABS GmbH

Helmholtzstraße 2-9 E

10587 Berlin

Germany

www.nonlinear-labs.de

info@nonlinear-labs.de

Author: Matthias Seeber

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4 5

Enable (On, O): When on, only one note (containing the defined number of Unison

Voices) will be playable, even when multiple keys are pressed. As long as one key stays

pressed, the release of a key will not stop the envelopes.

ࠎNote that changes to Mono Enable will reset held keys.

Priority (Lowest, Latest, Highest): When hitting multiple keys, they are sorted by the

chosen priority. Keys matching the chosen priority determine the pitch of the Mono voice.

When releasing the priorized key, the pitch will be determined by the key with second

closest priority match.

Glide Time (0 ms ... 16000 ms): This time can be used to create a portamento by smooth-

ing the transitions of the pitches. Depending on the Legato options the smoothing is

applied to each pitch change or only when the keys are played in “legato” style (in an

overlapping manner).

Legato (None, Envelopes, Glide, Env & Glide)

None: No dierence between legato and non-legato playing. The envelopes will

be retriggered by every key-down and the Glide parameter will be applied to every

pitch step.

Envelopes: The envelopes will be retriggered only by key-downs that are played

non-legato. The Glide parameter will be applied to every pitch step.

Glide: The Glide parameter will be applied only to keys that are played legato. The

envelopes will be retriggered by every key-down.

Env & Glide: The envelopes will be retriggered only by key-downs that are played

non-legato. The Glide parameter will be applied only to keys that are played legato.

In Layer Sounds the Mono settings are applied to both Parts.

Mono Presets are marked with a “”

symbol or “

” in the Graphical UI.

Unison Presets have a “” symbol or “�” in

the Graphical UI.

Presets that combine both voice modes are

marked ““ or “

“.

Major Parameter Enhancements

In the following, major changes and enhancements to parameters are explained.

For a complete list of new, enhanced and relocated parameters, see Detailed Parameter

Changes.

Master Volume, Master Tune and Scale

On the Sound screen So Button 4 (Mas-

ter..) opens the Master Parameter screen.

The Volume and Tune parameters are now

modulateable, so the Master Volume could

still be instantly accessable when using a

Macro Control.

Unison

On the Sound screen So Button 3

(Voices..) opens the Voices screen.

The Unison parameters are displayed there.

To change them press So Button 4

(Unison..). It opens the Unison Parameter

screen. The maximum number of Unison

Voices is now 24 for Single Sounds and 12

for a Layer Sound or a Part of a Split Sound.

In Layer Sounds the Unison settings are

applied to both Parts.

ࠎNote that changes to the Unison Voices will reset held keys.

Mono

On the Sound screen So Button 3

(Voices..) opens the Voices screen. There

you find a display of the Mono parame-

ters. To change them press So Button

2(Mono..). It opens the Mono Parameter

screen.

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Part Volume and Tune

In Split and Layer Sounds, the Volume and

Tuning of a Part can be adjusted by its Part

Volume and Part Tune parameters.

The stereo signals of both Parts are mixed before the Master Volume control. The Master

Tune is added to the two Part Tunes.

When a Single Sound is converted to a Split or Layer Sound, its former Master Volume

and Master Tune will be copied to its Part Volume and Part Tune while Master Volume and

Master Tune are set to zero. When a Single Sound is loaded into a Split or Layer Sound,

its former Master Volume and Master Tune will also be copied to its Part Volume and Part

Tune but Master Volume and Master Tune stay unchanged.

When a Part of a Split or Layer Sound is converted to a Single Sound, the Master Volume

and Master Tune values are summed up with Part Volume and Part Tune to create the

Master Volume and Master Tune of the Single Sound.

Furthermore, the delegation of the Master Volume/Tune to the Part Volume/Tune param-

eters also includes potential assignments to Macro Controls.

In Dual Sounds, the Part Volume/Tune is designed to serve as the potential Master, should

the Part get converted as a Single Sound again.

In order for this to work properly, we recommend not to create Macro Control assign-

ments to Master Volume/Tune within Dual Presets. Or to be more precise: these assign-

ments will be discarded, when converting a Dual Preset back to Single.

Reset

The new “Reset” parameter of the Oscilla-

tors (accessed via the “Phase” Parameter

Selection button) can be set to “O” to avoid

glitches caused by the oscillator phases

being reset at key-down. They become noticeable if the Release phase of the Envelopes is

longer than the time between two notes. Without the phase reset the Oscillators are “free-

running” and the Phase parameter has no influence on the start phase. This will also aect

the sound of unison voice stacks and will eectively disable the Unison Phase parameter.

Macro Controls

6 Macro Controls

Macro Control E and F have been added.

Smoothing Times of the Macro Controls

In former soware versions these smoothing times didn’t have an eect. Instead the

Edit Smoothing Time (typically 20 ms) from the Device Settings was used. For backward

compatibility please make sure that a similar smoothing time is now set for each of the

Macro Controls.

MC Target Overview

When a Macro Control is selected, all

assigned target parameters will show their

assignment by blinking LEDs.

This applies to parameters that are avail-

able on one of the Parameter Panels.

MC Target Indicators

Assigned parameters not available on any

Parameter Panel are indicated by literal

symbols in the Macro Control screen.

Name / Type Remarks

MIndicates assignments to Master Volume or Master Tune.

uIndicates an assignment to Unison Detune. In a Split Sound, the Part in

focus is reflected.

mIndicates an assignment to Mono Glide. In a Split Sound, the Part in focus

is reflected.

PIndicates assignments to Part Volume, Part Tune (in Split or Layer Sounds)

or the Split Point (only in Split Sounds).

Comb S.V.F. Eects Reverb Drive Level

   

Feedback Mixer

Macro Controls

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→Graphical UI

When a Macro Control is selected, it will be

surrounded by a red rectangle. All assigned

target parameters show their assignment

by surrounding red rectangles as well.

In Split or Layer Sounds, the Part in focus is

reflected.

Key Range Enhancements

In earlier versions, the C15 only operated on its physical key range of 61 keys (C1 ... C6).

The Hardware UI Note Shi was applied as a tuning, whereas Split Point and Fade From

or Range parameters were bound to the physical key range, eectively ignoring the Note

Shi.

Polyphonic Key Pan in the Output Mixer was also bound to the physical key range, also

eectively ignoring the Note Shi.

With this static behavior of key ranges on polyphonic Part association, fade level and

panning, it became apparent that there are limitations.

In this version, a virtual key range of 128 keys (C-2 ... G8) was added. The physical key

range of 61 keys is now projected onto the virtual key range, depending on the Note Shi

(which is now a real key shi and not a tuning anymore).

Extreme Note Shi may exceed the virtual key range for certain keys, in which case no

note is produced.

Split Point and Fade From or Range parameters now operate within the virtual key range

and the Note Shi can be used to transpose into or out of Parts. The parameters still can

only be set within the physical key range (C1 ... C6) - which will be addressed by a future

update.

Polyphonic Key Pan in the Output Mixer now also operates within the virtual key range

and the Note Shi can be used to transpose into or out of more extreme panning. At

100%, the panning starts to clip at the physical key range’s edges (C1 ... C6), at 47.24 % the

panning covers the whole virtual key range (C-2 ... G8).

See Diagrams for more info.

Sound Types

Overview

In earlier versions the C15 only supported

“Single” Sounds, where all voices are con-

trolled by the same set of parameters. Now

“Split” and “Layer” Sounds are available

consisting of two “Parts” (I, II). Each Part

can use up to 12 voices based on its own

parameter set.

In Split mode the Parts are assigned to two

separate keyboard ranges. Part I can be

played between the lowest key (C1) and the

Split Point, Part II between the Split Point

and the highest key (C6). The Parts have

separate voice allocations, which means

that they can have dierent settings for

Mono and Unison. The Split Point is not

aected by Master Tune or Part Tune.

In Layer mode each voice of Part I will be

played simultaneously with the corre-

sponding voice of Part II. Both Parts share

the same voice allocation, which means

that they have identical settings for Mono

and Unison.

ࠎNote that held Keys will reset when loading whole Presets or Parts of dierent types.

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Split Sound Details

Adjusting the Split Point

On the Split Sound screen the Split Point

is shown in the center. It can be edited

directly by the Encoder and the Dec/Inc

buttons. If Part I is selected it shows the

highest key of the lower key range. If Part

II is selected it shows the lowest key of the

upper key range. The Split Point is also

available as a parameter in the Part screen.

Use So Button 2 (Part..) to open the Part

screen.

Here the third parameter is the Split Point.

The Split Point parameter can be controlled

by a Macro Control. As Hardware Source

a ribbon will make a lot of sense. The Part

association of individual voices happens

only when a key is pressed, according to

the current value of the Split Point.

→Graphical UI

In the Graphical User Interface, the Sound

tab provides the Split Point between the

two parts. Use drag gestures in order to

change it.

In addition, the Part group (le to the

Master group) provides the Split Point as a

regular parameter, which can be manipu-

lated further in the Parameter tab.

Overlapping Splitpoints

In earlier versions, the C15 only provided one Split Point parameter in a Split Sound,

determining the inner edges of both fully separated Parts, so no overlap was possible.

The described behavior is still available by default and referred to as “linked” Split Points.

Now, “unlinked” Split Points are available as well, providing separate Split Points for each

Part (but still sharing one unique Macro Control assignment).

When unlinked, an overlapping range of shared keys can be defined, in which both Parts

will sound. The two Split Point parameters are still sticked to one another, preventing a

negative overlap with a key range with no Part association.

The linking behavior can be changed by the Edit button:

When in the Parameter screen, pressing

Edit will provide a menu with the option to

Unlink/Link. Navigate with So Button 4

for the entry before pressing Enter.

When unlinked, the key positions of both

Parts are shown. Overlap can be achieved

by raising the Split Point of Part I or by

lowering the Split Point of Part II - using the

Inc/Dec buttons or the Encoder.

When in the Sound screen, pressing Edit

will provide a menu screen. Navigate by

Inc/Dec or the Encoder to the “Link Split-

points” option and press Enter to toggle

between the two behaviors.

When unlinked, the key positions of both

Parts are shown.

ࠎEnabling a linked Split Point will collapse any prior overlapping range.

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→Graphical UI

In the Parameter tab, an icon on the right of the shown key position indicates the linked

or unlinked Split Point behavior. Clicking on it will toggle inbetween.

In the Sound tab, clicking on the “...” icon on the right invokes a menu in which the linking

behavior can be set.

→Split Point Editor (Graphical UI only)

In the Sound tab, the rightmost icon redirects to the Split Point Editor, providing the two

parameters and an interactive visual representation.

Split Points can be set by clicking or dragging on the corresponding values or by dragging

the indicators on the shown keybed. The linking behavior can be set as well.

Signal Flow Indicators in a Split Sound

In Split Sounds, the “ToFX” parameter is

available in the Output Mixer, allowing

the mixed signal to be sent to the Eects

section of the other Part.

When active, the flow across Parts will be indicated in the Sound screen and tab by

labeled “FX” arrows.

Layer Sound Details

Key Fades in Layer Sounds

Each Part of a Layer Sound has two parameters to control the key range where this Part is

mixed at its full level and a key range where it is faded out to silence. Depending on the key

position the voices are processed by an attenuator in the Level stage of the Output Mixer.

To adjust key fade aspects press the Sound

button for the Sound screen, then So

Button 2 for the Part screen. So Button 4

then brings the parameters into focus.

→Graphical UI

In the Graphical User Interface, the Part

group (le to the Master group) provides

the Fade From and Fade Range parameters,

when a Layer Sound is loaded.

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The full level range of Part I spans from the lowest key (C1) to the adjustable “Fade From”

key. Here begins the fade-out. Its width is adjustable by the “Fade Range” parameter.

The full level range of Part II spans from the highest key (C6) to the adjustable “Fade

From” key. Here begins the fade-out. Its width is adjustable by the “Fade Range” parame-

ter. Both parameters default to being without eect.

Possible applications for these key fade ranges:

• keyboard splits with a smooth transition (crossfade) between the Parts

• one of the Parts being added only at the low or high end of the keyboard

• crossfades over a wide keyboard range to change the resulting timbre gradually.

Muting a Part of a Layer Sound

On the Layer Sound screen you can use the

Encoder and the Dec/Inc buttons to mute

one of the Parts:

Turning the Encoder to the le or using

the Dec button will mute Part II. Turning the

Encoder to the right or using the Inc button

will mute Part I. The first step back to the

center will unmute the muted Part.

Typical Screens (Parameter, Preset,

Sound) will indicate the two present Parts,

highlighting the selected Part. When a

Layer sound Part has been muted, a cross

indicates the muted Part.

On the (Layer) Part screen the Shi button

will provide Part muting via So Button 1.

→Graphical UI

The Graphical User Interface provides a Part

indicator similar to the Screens. It is located

centered at the top. When a Layer sound

Part has been muted, a cross indicates the

muted Part.

The Sound tab provides a mute button

for each Part. Clicking on a muted Part’s

button will unmute the Part, clicking on an

unmuted Part’s button will mute the Part,

potentially unmuting the other.

ࠎWhen muting a Part of a Layer sound, only the final Part Volume stage will be

aected, so any signal flow across Parts will be maintained regardless.

→Fade Editor (Graphical UI only)

In the Sound tab, the rightmost icon redirects to the Fade Editor, providing all related

aspects and an interactive visual representation.

For each Part, Fade From and Fade Range can be adjusted by clicking or dragging on the

corresponding values or by dragging the indicators shown on the keybed.

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Indicators in a Layer Sound

In Layer Sounds, the “ToFX” parameter

is available in the Output Mixer, allowing

the mixed signal to be sent to the Eects

section of the other Part.

When active, the flow across Parts will be

indicated in the Sound screen and tab by

labeled “FX” arrows.

In the Feedback Mixer, several parameters

allow for feedback flow across Parts (see

Detailed Parameter Changes - Feedback

Mixer for more info).

When active, the flow across Parts will be

indicated in the Sound screen and tab by

labeled “FB” arrows.

When Key Fades are present, they also will

be indicated in the Sound screen or tab by

a small fade graph next to the Part Volume.

Handling Sound Types (conversion, combination, storing)

Creating a Split or Layer Sound

Load the (Single) Preset for the first Part. On

the Sound screen press the Edit button to

open the Sound Edit Screen.

Select “Convert to Split” or “Convert to

Layer” by navigating with the Dec/Inc but-

tons or the Encoder, then press the Enter

button. On the Sound Screen you now see

two identical Parts.

In the Graphical User Interface, the Sound

tab provides a menu which allows for a

conversion between dierent sound types.

Loading a Preset into a Part of a Split or Layer Sound

In the following, a step by step guide leads through every stage of the “Load to Part”

process. Allthough this process can be shortened, we recommend following the guide

until being familiar with the stages.

ࠎWe also recommend to not change the Hardware Sources or Macro Controls

during the “Load to Part” process, as they will aect both Parts.

Changes on the modulation will be reflected when a Part is loaded and can

easily lead to unexpected assignments to modulateable parameters.

At first, a Split or Layer Preset has to be

loaded, let’s refer to it as the “Target” Pre-

set. It is worth mentioning that the Preset

screen will display Dual (Split or Layer) Pre-

sets dierent to the already familiar Single

Presets, providing more functionality. Also,

let’s keep in mind we also have another

Preset somewhere, from which to load

data into a Part, referred to as the “Source”

Preset in the following.

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When a Dual Preset has been loaded, So

Buttons 1 and 4 will now each serve two

purposes. In order to explain each individ-

ual step of the Load process, the “Direct

Load” option should be disabled at first.

Press and hold So Button 4 for around a

second in order to do so.

Then press So Button 4 again (shortly this

time) in order to enable the “To Part” mode,

starting the Load process.

Likewise, pressing So Button 1 shortly

will select between the two Parts of the

“Target” Preset, specifying exactly where to

load new data.

Press and hold So Button 1 for around a second in order to switch to the already famil-

iar Bank screen. If multiple Banks are present, the Inc/Dec buttons as well as the Encoder

will provide Bank navigation.

When in the Preset screen, use the Encoder or the Inc/Dec buttons in order to select a

“Source” Preset within the currently selected Bank. So Button 2 and 3 can be used in

order to select another Bank. (In the Bank screen, Preset/Bank selection roles are reversed.)

Of course, Single Presets can be selected in

order to serve as the “Source” Preset, they

are shown with a square.

Dual Presets can be selected as well, as

each individual Part is available for the

selection. Dual Presets are indicated by two

rectangles instead of a square.

When the right Preset (Part) has been

selected, the Enter button will complete

the load process, loading the selected

“Source” Preset into the specified Part of

the “Target” Preset.

ࠎNote that the Load to Part process distinguishes and remembers dierent

aspects of selection:

selected Target: referring to the currently loaded Preset’s selected Part

selected Source: referring to the currently selected Preset

(if the Preset is of Type Single) or

the currently selected Preset’s Part

(if the Preset is of Type Split or Layer)

This means, that any time the Load to Part process is invoked, all Source selec-

tion aspects are restored as they were the last time.

→Graphical UI

In the Graphical User Interface, the Load

process is comparable.

The Preset tab provides a “To Part” button

when a dual preset has been loaded. Preset

and Bank navigation in the tab will behave

similar to the Screens of the Hardware User

Interface.

Furthermore, individual presets of visible

banks in the main area can be selected

by clicking, shortening the whole process,

especially when “Direct Load” is enabled.

Presets can even directly be dragged and

dropped onto a Part of the Sound tab,

further simplifying the whole process.

ࠎWhen combining Presets of dierent

types, there are some limitations that

should be considered. See “Parameter

Organization” (page 15) for more details.

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