The-Nord-Modular-Experience

8/7/2019 The-Nord-Modular-Experience

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The Nord Modular ExperienceEverything you wanted to ask about the Nord, but were afraid to ask.

This document assumes that you are happy with the following concepts;Logic is a sequencer, which sends Midi information messages to synthesisers, which produce the

sound (an audio signal), which is routed to the mixing desk via the patchbay, and yes you havefaders up, and you have to switch on the amplifier to hear it.

The Concepts. Please read this section thoroughly, to avoid wasting time.Anything in Bold type is explained in a glossary at the end of this document. Thisdocument will take you through the steps you need to create a triggering subtractivesynthesiser on the Nord. Writing this document has been like opening a can of worms. I

believe I have covered the essential bare bones items, this should get you started.Anything else you need to know can be found in the manual or the Wizzo guides.

HardwareThe Nord is a powerful synthesiserthat combines truly modular synthesis

with out the hang-ups of analogue instruments with the simplicity of the point andclick Macintosh environment.The Nord generates the sound on the hardware using DSP chips and outputs thesound to the analogue outputs (which in LCMM studios is connected to the patchbay).

The synthesis engine is triggered via midi notes like any other midiinstrument, through its midi connections from a midi keyboard, sequencer(Logic) or any other midi input device.

The software front end communicates with the hardware via a second set

of midi connections. For best results a second midi interface is used to keep thetwo types of data separate (Midi information and Software communication).

There are two types of Nords in the studios.

Full Modulars. Micro Modulars

The Full Modulars are essentially four Micro Modulars in a box with morecontrolling knobs.You cannot build a single biggerpatch on the Full Modulars, only run more, (4)patches.


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Both units have external inputs for processing of audio through thesynthesis engine. This is one of the best features of the Nord, but it is also one ofthe most unused.

The Software

The front end for the Nord, is all controlled from the editor software, which,unfortunately, is an OS9 application. Since we run OSX (a much newer andmodern operating system) here in the studios, we have to run the editor inClassic mode. This involves it loading parts of an old operating system, thishappens almost invisibly to the user. The editor will function in the usual manner.You save your patches as a data files.(file menu) You can back up these, withyour Logic, Cubase Protools song, on your blankcd/usbflash/ipod/fwhd.

The modules are located on a tab menu system, click and drag them intothe main area below. Alternatively, you can press the control key whilst clicking

on the background of the editor window; this will bring up a list of categories ofmodules. This has the advantage of displaying the DSP load for each module. Ifyour chosen modules add up to over 100%, your patch will not sound. The totalload on the Nords DSP, is displayed at the top of the screen. When you start thesoftware editor, it will load which ever patch is loaded in the Nord at that time. Inthe case of the Big Modular (see pictures), there are four slots for four patches,so it will load four windows containing a maze of modules and connections.

This will undoubtedly terrify the novice user. It is worth stating at this point,that some of the best patches start from very simple concepts. It is possible tocreate a simple synth with four modules.

There are red cables, these carry audio signals, yellow cables carry gatesignals, and blue cables carry modulation information.

Getting Started

When starting to make music with the Nord, it is a good idea to load somepreset patches and familiarise yourself with the interface and any connectionsyou need to make to hear the sounds you can create. Explore the different stylesof patches, and how the control knobs affect the sound in real time. Do not be put

off, by how big the patches look, you can start very simply and get some verypleasing results.

To avoid confusion, close all windows containing patches. Make sure thatyou have Logic open, with the Nord Midi instrument track 1 selected ( you mayhave to create the track). Make sure that the Prg selector (program change) isNOT selected. If this is selected, every time your press play, the Nord will changeprogram. You can easily swap between the editor and using Apple + Tab.


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Dive on in.

Open the Editor, Press Apple + N (just like every Mac application) for anew blank document, if you are using a full modular select Slot A, and this willtrigger on Midi channel one. Make sure the audio outputs of the Nord are

connected to the mixer and the faders are up, and the amplifier is on.

Do not have it too loud at this stage.Return to the editor, hold the control key and click on the background, this

will bring up the list of modules and their corresponding processor loads, chosean Oscillator(Oscillator Group Try OscillatorA) and an Output.(In/Out Group)Click on the connector on the bottom right of the module, and drag it onto theoutput connector.

Outputs are Squares, Inputs are Circles.

Patch the output of the Oscillator to the input of the Output. (OutputGroup) You now should hear sine wave from the speakers. (if not, check yourpatchbay and mixer/amp settings and the volume on the Unit itself.)

Check out the pitch knob and waveform selectors.

Congratulations, you made some noise. Why not save your patch into your folderon the hard disk on the Mac. Choose save from the file menu. (apple + s)

Make it Stop!

Disconnect yourOscillator. Hold control whilst hovering the mouse of theconnector that you want to disconnect, and click, this will reveal a menu, choosedisconnect! This is also a good moment to return the pitch knob to its defaultsetting so it tracks the correct pitch when played from a midi keyboard orsequencer. Whilst holding the control key, hover the mouse above the coarsepitch knob and choose the default menu item..

Output

PitchModulation

Waveform

Selectors

Input of the Output,The gateway to the

Outside world


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Now add a Keyboard (In/Out Group) and an Envelope (Envelope Group)module. The most commonly used envelope is the ADSR.

The note output provides pitch information (which key is pressed), thegate provides a trigger pulse, when the key is pressed and released, and the Vel,

provides the velocity control for how hard a key is pressed.

Patch the Oscillatorto the input on the envelope. Now patch the output ofthe Envelope to the Output module. You should hear nothing.

All we need know is to tell the envelope when to let the audio through.

(Keyboard and Sequencer events). We would like the Envelope to trigger whenwe press a note on the keyboard.(note on). The Keyboard module turns midievents into signals that the modules use. To trigger the envelopes, wes theyellow gate signals. Connect the Keyboard gate out to the Envelope gate in,(yellow).

In theory, you should now be able to play the keyboard and you shouldhear a raw synth sound.

Now is a good time to discover the parameters of the envelope. Thesegovern how the volume is affected from when you strike the key, to when yourelease it.

The Attack defines how long I will take to reach its loudest point from thekey strike (note on).

The Decay defines how long it will take to fade down from the peak, andthe sustain will dictate which level it holds at until you release the key (note off),the Release stage will determine how long the sound will fade to nothing.

When the Attack and Release stages are set to 0, the sound will start andstop instantly with note one and note off events. This is ideal for bass sounds andwhen starting to build a patch.

A Note About Pitch.

On a real analogue modular, you would need to connect a CV signal tothe Oscillator to tell it which pitch to play (a voltage corresponding to which key ispressed.) On the Nord there is no need to do this to get the oscillators to trackthe pitch, it will do it by default, if you would like to use the pitch information forother purposes, then simply patch the pitch output on the Keyboard module.

Gate Input

AudioOutput

Audio In ut


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Getting FunkyOk, now we have a working synth, triggering both pitch and gate, we can turn itinto a subtractive synth, by adding a Filter.(Filter Group) Try FilterE, this has fourfilter types; Low-Pass. High-Pass, Band-Pass and Band-Reject. The mostcommonly used is a 12db or 24db Lowpass. Place this after the Amplifier, just

before the output module.

Modulation Modules.Most of the modules in our patch either generate sound or process them.

We are now going to add an LFO module.(LFO Group) its purpose is exclusivelyfor controlling a parameter on another module (in this case we are going to usethe filter.)

This produces a control value (just like midi control messages) in awaveform pattern. The most useful of these is the sine. Patch the output of theLFO, to the modulation input of the Filter(bottom left). Trigger a note, and turnup the depth. You should hear the filter cut-off move up and down. Nowexperiment with the frequency (rate) of the LFO. This is also a good time tofamiliarise your self with the different waveforms, and their effect on the filter.

The LFO is a fundamental key to making your sound evolve and change,and also to provide dynamic elements. Try modulating the pitch input on theOscillator, rather than the filter, this will give you a vibrato effect, and is useful toadd some expression to the sound, if you turn the depth up and the speed on theLFO, you will create less conventional harmonic sounds. (FM)

Once you have mastered the LFO and modulating other modules,experiment using an Envelope to do the same to Pitch Mod, and the Filter Mod.In this instance, our Envelope is providing a control signal rather than processingaudio, like our other Envelope. (Which is actually, on most preset synths, wouldbe an Amplifier, controlled by an Envelope.) In a modular system, your only limitis your imagination.

FilterModulation

Inputs

Audio In

Audio Out

Resonance Control withModulation Input

Frequency,Rate/Speed

LFO Waveformselection panel

Output of LFO,connect to any

modulation input.


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Expanding the Synthesis. The next step is to

Add another Oscillatoror two, you will need to add a mixer to sub-mix thembefore the Envelope. Try detuning one of the Oscillators, this will create warmth.

Sync Two Oscillators You need to be using the OscA Module. Copy the outputof your first module to the sync input of Oscillator. This imposes the frequency ofthe first Oscillator on the second Oscillator. If you modulate the frequency of thesecond Oscillator whilst in sync, the timbre of the sound will change dramatically.

Change Oscillator Types. There are a variety of Oscillator types. This isanother great but underused feature of the Nord. Try the Spectral and AdditiveOscillators.

Create Frequency Modulation. Add another Oscillator, and patch this into the

modulation input of the original Oscillator. Now raise the modulation depth. Thesecond Oscillator is doing the same job as an LFO control source, just muchfaster. Remember, you are still only listening to one Oscillator, you are hearingthe effect of the second Oscillator, modulating the pitch.

The Drum and Percussion ModulesThe first is a multi function drum synth, complete with presets, and the

second an oscillator with pitch envelopes and noise generation.

These are ideal for producing analogue style drum sounds. The drumsynth needs a gate signal to trigger. If you would like to use multiple drumsynths, you will need to use the NoteDetect module (In/Out Group) to place the

different drum synths on different keys. Do the same for the percussion module.

AudioOutputs

Trigger InputsPlug the Gate

in here!


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Midi Control Change Messages.

You can take real-time control of any parameter, such as filter cut-off,modulation depth and anything else with a knob. You can use the ribbon controlon the Triton Pro, modulation wheels, the knobs on the Nord itself, and even

faders on the mixers, to modulate said parameters in real time, and record themovements to your chosen sequencer.Click on any knob whilst holding control, will reveal a menu, select the midi

controller menu, typically use number 1 (Modulation Wheel) or choose a knob onthe synth. The big modulars have a green light per knob to indicate that acontroller is assigned. You can view all the assignments in the midi window fromthe same menu on any knob.

Well Done!

If you have got this far, then congratulations, you have a good versatile

synth patch, which with some modifications to the various parameters, Oscillatorwave form selectors, envelope and LFO settings, and create pads, bass lines,and all manner of synth effects. However, the Nord is not just about buildingsynth patches, there is input processing, sequencing, math and logic functions,vocoding, effects, dynamics and the imagination, ability and effort to combine allthese elements to create almost limitless creative solutions to your audio desires.

The Hard Work is Done.

Once you have created your patch, you can save it into the synth and useit without need for the editor. You must make sure your patch is finished, and thatall your knobs and controllers are assigned.

If you are working with the full modular, and you want to run multiplepatches, you have to open patches in each of the four slots. You will have tosave these individually, and when you first load them, you will have to make themactive. You do this by selecting the ABCD buttons whilst holding the shift key.Once they are all selected, all the patches will play. You can have these patchestriggering from separate midi channels or from one. This facilitates many layeredsounds.


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What Next?

Effects (Audio Modifier Group)There are plenty of audio effects, phasers, flangers, distortions, wave

wrapping and quantization. The Nord can not produce time based effects such as

reverbs and delays. This is because it has no ram.All of these effects work in the usual way, patch them in like any audio

module, make use of any built in modulation sources and experiment with others,(start with LFOs)

Sequencers (Sequencer Group)There are several types of sequences for various applications. You have

Event, Control and Note sequencers. They are all step sequencers and requiretriggering, the best starter, is a clock generator (found in the LFO section), butwhen using them for modulation, the gate signal from the keyboard can be ideal.

Start off by connecting the 4 pulses gate signal to any of the followingsequencers. The event sequencer is a good place to start.

Event These generate the yellow trigger/gate signals. They have a push buttoninterface. Good for the Drum and Percussion modules.

Control These have sliders to define values for each step. They produce theblue control signals. (modulation sources) +/- 64.

Note These produce stepped semitone pitch messages. These sequencers areuseful for musical patterns.

Inputs Processing Audio from the Outside World!

The best way to setup a patch to use the Nord as a processor, is to startwith a blank patch, add an Input (2 inputs), an Output(2 Outputs), and two Filtermodules.


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Patch the input (from the outside world) to the filter inputs. Connect thetwo outputs of the filters to the Output module. This patch will be stereo.

A quick easy method of routing audio from hard disk is to patch the soundcard directly to the synth outputs, making use of any spare sound card outputs.Try drum loops, guitars and basses, microphones and practically any other

sound sourceOne thing to be aware of is that you can only assign one midi controller toeach parameter on the modules. In this case we would like to control the cut-offon both filters. So select the filter knob, hold control and click on it (this revealsthe menu). Assign it to Morph Group 1, do the same for other filter. Once this isdone, both of your filters will now be coloured to indicate they are part of a morphgroup. You now have to choose the range for each assignment, hold alt, andclick and drag on each filter cut-off. You should see as you drag, a section of theknob go darker, this indicates how much effect your controller will have on thefilter. For a stereo patch that is even in both speakers, you will need to have bothset the same. Now attach a midi controller in the usual way, to the Morph Group

1 Knob at the top of the screen. Now patch an audio source into the Nord andmonitor the Nords output! You now have midi control of a stereo filter.This simple demonstration has shown you how the input module works,

and how to work in stereo. You can now experiment with anything in the audioprocessing group, to create all manner of processing possibilities.

Ring Modulation.

This synthesis technique can be used as part of a synth patch or an audioprocessing patch. You need two audio sources such as two oscillators, or anoscillator and an audio signal such as a voice.

When experimenting start with two oscillators. Patch one into the audioinput and another into the modulation input. Turn the AM/RM knob all the way toRM. Connect the output to the outside world.

Now alter the pitch of one of the oscillators. You will hear two tones.This is called The Sum and the Difference If you have a 10k wave form (tone)and a 3k waveform. The ring modulation module will turn them to 7k and a 13k

tones. To create further excitement, attach LFOs to the pitch modulation inputson the oscillators. If that is not enough, attach a further two slow moving LFOs tothe rate control of the original LFOs..


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