- Power switch
- Power input
- USB port
- USB host port
- MIDI in
- MIDI out
- Headphone output
- Main left & right outputs
- Individual voice outputs
Connections
Controls
Parva uses a consistent approach to selecting and editing information. There are three basic movements - turning, clicking (briefly pressing and releasing), and holding (pressing and holding until the display changes) a knob. Take a few moments to become familiar with the menus and controls.
The black knobs offer direct access to the most commonly used parameters. No matter what else is currently being displayed, turning a black knob with show the parameter and it’s value as it changes. The only exception is the Volume knob in the upper right corner. No value is displayed when that knob is adjusted.
The silver OSC, ENV, LFO, VCF, A, and B knobs are clickable rotary encoders used to navigate their respective menus.
Turn the knob to scroll through the available menu options or adjust a value. Click the knob to toggle the currently selected option. Press and hold to return to the previous menu.
Try this:
- Turn the OSC knob and watch the display change from OSC1 to OSC2, OSC3, OSC*, and back to OSC1. All Parva menus wrap around so you can scroll in either direction.
- Stop turning when you are back to OSC1.
- Click the OSC knob. Note the first parameter is selected.
- Turn the OSC knob and see how the parameters scroll. If a menu has more than four parameters, they will come into view as you scroll up or down.
- Click the OSC knob again. The name of the selected parameter and it’s current value is displayed.
- Turn the OSC knob to adjust the value.
- When you have finished, click the OSC knob. The display now shows the updated value.
- Press and hold the OSC knob to return to the higher level menu. Note the parameter is no longer selected.
- Turn the OSC knob to verify you can scroll through the OSC1, OSC2, etc displays.
NOTE: By default, knob behavior is set to THRU. Turning the knob will have no effect until it’s been turned through the current parameter value. JUMP mode may be selected in the User Settings menu.
Oscillators
Parva has three digitally-controlled analog oscillators (DCOs) per voice. To select the oscillator you would like to edit, turn the OSC knob. The selected oscillator’s current settings will be displayed, and the Range, Fine, Wave, and Level knobs can be used to directly adjust their respective parameters.
Click the OSC knob to access additional settings. Turn the OSC knob to scroll through the available options. Click it again to edit the highlighted parameter. Press and hold the OSC knob to return to the previous menu.
Name | Range | Description |
---|---|---|
Range | -60 - +60 | Increase or decrease the oscillator’s pitch in semi-tone steps |
Fine | -50 - +50 | Increase or decrease the oscillator’s pitch in cent steps |
Wave | Sawtooth, Triangle, PWM 0 - 50 | Select the oscillator waveform P25 = Square Wave |
Level | 0 - 127 | Adjust the oscillator’s relative volume level |
Glide | 0 - 127 | Set the oscillator’s individual glide (portamento) time |
Pulse | SQR / SAW | Select square or sawtooth pulses in PWM mode |
Key Sync | OFF / ON | Restart the oscillator for each new note |
Key Tracking | ON / OFF | Disabling key tracking causes the oscillator to remain at the pitch set by the Range and Fine parameters |
Sync | OFF / ON | Synchronize the oscillator’s waveform with |
Name | Range | Description |
---|---|---|
Range | -60 - +60 | Increase or decrease the pitch of all oscillators in semi-tone steps |
Glide | 0 - 127 | Set the overall glide (portamento) time |
Slop | 0 - 15 | Slightly detune the oscillators for a thicker sound |
Noise | 0 - 127 | Adjust the volume level of the white noise source |
Envelopes
There are four envelopes per voice, each of which can be routed to one or more modulation destinations. The first two envelopes’ destination settings are fixed: ENV1 is routed to the VCA, controlling the amplitude of each note, and ENV2 is routed to the filter cutoff. However, both of these can also be used to modulate any other parameter through the Modulation Matrix.
To select the envelope you would like to edit, turn the ENV knob. The selected envelope’s current settings will be displayed, and the Attack, Decay, Sustain, and Release knobs can be used to directly adjust their respective parameters.
Press the ENV knob to access additional settings. Turn the ENV knob to scroll through the available options. Press it again to edit the highlighted parameter. Press and hold the ENV knob to return to the previous menu.
Name | Range | Description |
---|---|---|
Attack | 0 - 127 | Attack time |
Decay | 0 - 127 | Decay time |
Sustain | 0 - 127 | Sustain level |
Release | 0 - 127 | Release time |
Amount | -64 - +63 | Adjust the output level of the envelope. Negative values invert the envelope signal. |
Vel Amt | 0 - 127 | Set the velocity sensitivity of the envelope |
Mode | Normal Loop Attack/Release | Loop: envelope repeats attack and decay stages as long as the note is held AR: envelope transitions directly from attack to release, without sustain (trigger mode) |
Curve | EXP / LIN | Select exponential or linear envelope curves |
Mod Dst | [ see Mod Matrix ] | Select the parameter to be modulated |
LFOs
There are four low frequency oscillators (LFOs) per voice, each of which can be routed to one or more modulation destinations. To select the LFO you would like to edit, turn the LFO knob. The selected LFO’s current settings will be displayed, and the Rate, Level, and Wave knobs can be used to directly adjust their respective parameters.
Click the LFO knob to access additional settings. Turn the LFO knob to scroll through the available options. Click it again to edit the highlighted parameter. Press and hold the LFO knob to return to the previous menu.
Wave settings S01 - S63 apply a variable slew rate limiter to the Sample & Hold output, resulting in smoother transitions between random values. Higher numbers are slower.
Name | Range | Description |
---|---|---|
Rate | 0 - 127 | Modulation rate (0 is stopped, 1 is slowest, 127 is fastest) |
Depth | -64 - +64 | Adjust the depth of modulation of the LFO |
Wave | Triangle Sawtooth Ramp Square Sample & Hold S01 - S63 | Select the LFO waveform |
Mod Dst | [ see Mod Matrix ] | Select the parameter to be modulated |
Key Snc | OFF / ON | When on, the LFO resets on each new note |
MIDI Clk | OFF / ON | When Off, LFO rate is controlled directly with Rate knob. Otherwise, Rate is set to SYNC and the value here sets a multiple of the incoming the MIDI clock |
Polar | BI / UNI | LFO is either Uni-polar (all values between 0 and Depth) or Bi-polar (values between -Depth to +Depth) |
Filters
Each voice contains two two-pole multi-mode filters in series, which can be combined to form various low-pass, high-pass, and bandpass filter topologies. Use the Cutoff and Resonance knobs to adjust the filter frequency and resonance. Resonance, or Q, causes a peak at the cutoff frequency. At high resonance settings, the filters will self-oscillate.
To access other filter parameters, click the VCF knob. The filter frequency can be increased or decreased based on the note played, for a more natural sound throughout the keyboard range. Additionally, OSC3 can modulate the filter at audio frequencies, creating metallic and bell-like tones. Note that OSC3 Level can be at 0 if it is being used purely for modulation.
Split Mode
When Split Mode is selected, turn the VCF knob to access the VCF1 and VCF2 menus will become available, and each of the two filters may be adjusted independently. In this mode, the Cutoff and Resonance parameters on the main VCF menu control the relative values of the filter simultaneously. The main Key Amt parameter has no effect, nor does ENV2. You may route ENV2 to either or both of the filters through the Mod Matrix.
Remember that the filters are arranged in series, so if VCF2 is completely closed, there will be no audible sound.
Name | Range | Description |
---|---|---|
Cutoff | 0 - 127 | Cutoff frequency |
Reso | 0 - 127 | Resonance (note: at high resonance settings, the filters will self-oscillate) |
Type | 4-pole low-pass 2-pole low-pass 4-pole high-pass 2-pole high-pass 2-pole bandpass Split | Filter topology |
Key Amt | 0 - 127 | Amount by which the note played affects the cutoff frequency |
Aud Mod | 0 - 127 | Level of filter frequency modulation from OSC3 |
Modulation Matrix
Parva’s Modulation Matrix enables you to route signals from the envelopes, LFOs, and external controllers to virtually any synthesis parameter. From the main menu, turn the A knob until Mod Matrix is highlighted, then click the knob to enter the matrix. Turn the A knob again to scroll to the desired modulation slot. If there is an existing route, you can use the B knob to adjust the modulation level directly. Or, click the A knob again to edit the routing settings. The first setting is the modulation source. Turn the B knob to select your desired source. Turn the A knob to highlight the destination setting, and use the B knob to choose a destination. Turn the A knob once more, then use the B knob to set the amount of modulation. Press and hold the A knob to return to the previous menu.
Modulation Sources
- OFF
- MIDI Velocity
- MIDI Aftertouch
- MIDI ModWheel
- LFO1
- LFO2
- LFO3
- LFO4
- ENV1
- ENV2
- ENV3
- ENV4
- Breath Control
- MIDI Note
- CC74
- Release Velocity
Modulation Destinations
- OSC1 Frequency
- OSC2 Frequency
- OSC3 Frequency
- Global Oscillator Frequency
- OSC1 Level
- OSC2 Level
- OSC3 Level
- Noise Level
- OSC1 PWM
- OSC2 PWM
- OSC3 PWM
- Global Oscillator PWM
- VCF Cutoff Frequency
- VCF Resonance
- VCF Audio Modulation
- VCA Level
- Pan Left/Right
- LFO1 Frequency
- LFO2 Frequency
- LFO3 Frequency
- LFO4 Frequency
- Global LFO Frequency
- LFO1 Level
- LFO2 Level
- LFO3 Level
- LFO4 Level
- Global LFO Level
- ENV1 Level
- ENV2 Level
- ENV3 Level
- ENV4 Level
- Global Envelope Level
- ENV1 Attack Time
- ENV2 Attack Time
- ENV3 Attack Time
- ENV4 Attack Time
- Global Envelope Attack Time
- ENV1 Decay Time
- ENV2 Decay Time
- ENV3 Decay Time
- ENV4 Decay Time
- Global Envelope Decay Time
- ENV1 Release Time
- ENV2 Release Time
- ENV3 Release Time
- ENV4 Release Time
- Global Envelope Release Time
- OSC1 Fine Tune
- OSC2 Fine Tune
- OSC3 Fine Tune
- Global Oscillator Fine Tune
- VCF1 Cutoff Frequency
- VCF1 Resonance
- VCF2 Cutoff Frequency
- VCF2 Resonance
Voice Settings
These settings control overall aspects of the Parva’s sound. For example, a change to the Envelope Response from exponential to linear will change it for all four envelopes. Since the Voice settings are saved with a patch, each slot in a Multi Mode setup can have different Voice settings. This allows you to create a multi program using both clean and dirty oscillators, a mono voice plus a polyphonic patch, different bend ranges per voice, and so on.
Name | Range | Description |
---|---|---|
Voice Cfg | Poly Unison Mono | Select the voice configuration |
Spread | 0 - 127 | Pan the available voices left and right to create a sense of space |
Detune | 0 - 24 | Detune each voice by a different amount for a thicker, more organic sound |
Legato | OFF / ON | Select whether notes re-trigger or not |
Bend Up | 0 - 96 | Upward bend range in semitones |
Bend Dn | 0 - 96 | Downward bend range in semitones |
Clean OSC | OFF / ON | Off boosts the volume which can add some grit and distortion to the oscillators |
Patches
Parva can store up to 512 patches in eight banks (A-F, M-N) of 64. Patches contain all of the synthesis parameters covered in the previous sections of this manual. From the main menu, turn the A knob until the Patch option is highlighted, then click the A knob to enter the patch menu. From here, you can load, save, or delete any patch, or you may rename the currently active patch.
To load a patch, select Load and click the A knob to enter the menu. Use the A knob again to scroll through the available patches, or turn the B knob to skip to the next bank. If Patch Browse is enabled, each patch will be loaded automatically as it’s highlighted. Otherwise, when the patch you wish to load is highlighted, press the A knob. To exit without loading a patch, press and hold the A knob. The process for saving and deleting patches is the same as for loading.
To rename the current patch, select Rename and click the A knob. Turn the A knob to move the cursor, and the B knob to select a letter or number to enter. Click the A knob once more to save the new name. Names can be up to 16 characters long.
NOTE: Banks M and N are reserved for Multi patches. When saving a Multi patch, only these two banks will be visible.
Multi Mode
Multi Mode allows you to combine multiple patches in a variety of ways. A multi program is made up of eight slots, which hold patch and voice configuration information. You can specify the patch to be used, number of voices to allocate, the MIDI channel offset from the global setting, as well as the note range to respond to. Create layers, splits, and multi-timbral sounds, in any combination.
To enable Multi Mode, navigate to the Multi menu and set Multi to On. A list of eight available slots will be displayed below. The currently loaded patch and all available voices will be assigned to the first slot by default. Use the A knob to select the first slot and press the A knob to begin editing. All voice and synthesis settings can be adjusted normally, and apply to the currently selected Multi slot.
NOTE: Patches used in multi programs are saved independently of the multi program. To avoid accidental changes, one or two patch banks (eg: E and/or F) could be dedicated to saving patches to be used in multi programs.
Name | Range | Description |
---|---|---|
Patch | A00 - F63 | Select the patch to load |
Voices | 0 - 8 | Number of allocated voices |
Channel | 0 - 16 | MIDI channel to respond to |
Low Key | C0 - G10 | Lowest MIDI note to respond to |
High Key | C0 - G10 | Highest MIDI note to respond to |
Volume | 0 - 127 | Volume level of the slot |
Global Settings
Global settings control basic aspects of the Parva like the MIDI Channel and what patch is loaded on power up. This is where the firmware version is displayed and also where the calibration options are found. Global settings are divided into four sub-sections: User Settings, MIDI Settings, Calibration, and Firmware.
Name | Range | Description |
---|---|---|
Startup | LAST INIT A00 | This patch will be loaded when the Parva starts up. LAST loads the last patch used, INIT loads the hardware INIT patch, and A00 loads whatever patch you have saved in that slot. |
Pot Mode | THRU JUMP | In THRU mode, a knob must be turned “through” the previous setting before it will respond to changes. In JUMP mode, any slight movement of the knob activates it. |
Param Zoom | ON / OFF | When on, the active parameter is displayed in a larger font. |
Patch Browse | OFF 1 - 8 | Causes patches to be automatically loaded as they're highlighted in the Patch / Load menu. Lower values are faster, higher values are slower. |
Name | Range | Description |
---|---|---|
MIDI Chan | OMNI 1 - 16 | Select the MIDI receive channel |
MPE Zone | OFF 02-03 .. 02-16 | Specifies the MIDI channels to be used for MPE / channel-per-note communication. Channel 1 is always the global channel. |
MIDI Out | OFF USB DIN Both | Enables MIDI output of all parameter changes on the USB MIDI interface, the DIN MIDI port, or both |
MIDI Thru | OFF / ON | When on, all MIDI messages received through the DIN MIDI In port are directly transmitted through the DIN MIDI Out port |
Name | Range | Description |
---|---|---|
Master Tune | -64 - +63 | Select the MIDI receive channel |
Tune Voices | Manual fine-tuning of each voice | |
Calibrate VCFs | Clicking will initiate the Filter tuning process. As each voice’s filter is tuned, the number will be displayed. NOTE - this process will take up to 5 minutes. | |
Calibrate DCOs | Clicking will initiate the DCO calibration process. As each voice’s oscillators are tuned, the number will be displayed. NOTE - this process will take up to 5 minutes. |
Tips and Techniques
Back Panel
The back panel audio connections are arranged in 2 rows. The Left and odd number outputs are across the bottom row and the Right and even number outputs are across the upper row. The individual outputs are TRS jacks with the Left output on the Tip and the Right output on the Ring. Use a typical Insert cable (TRS to dual TS connectors) to split any individual voice out to a Left/Right pair. In multi mode, this will allow control over dynamic panning of each voice.
Also note that both Pan and Spread effects the positioning of voices in the stereo field. Pan (as controlled via MIDI CC values) precisely locates a voice. Spread adds an offset to the pan setting based on voice number to create a wider field of sound. If Pan is center for all voices, the effect of using Spread is more noticeable. However, creative combinations of Pan and Spread can be used to create truly wide and dynamic stereo fields of sound. Note that high values of Spread can override Pan settings.
Oscillators
The oscillator levels are wide ranging and can have a large influence on the overall sound even before filtering takes place. The oscillators can be set to a clean mode or not based on the Clean OSC setting found in the Voice menu. Turning Clean Off increases the volume of the oscillators. Note that overdriving the oscillators will cause clipping and introduce additional harmonics, which can be a useful feature if more grit is needed for a particular sound.
Creating a 3 oscillator patch will all oscillator levels set to 127 will guarantee that the filter input is being overdriven. Here are some approximate values to use for a single oscillator in the current (0.4) OS if a loud but not overdriven sound is desired.
Clean OSC Off: Triangle, Sawtooth level = 40 or less; Square level = 32 or less Clean OSC On: Triangle, Sawtooth level = 90 or less, Square level = 60 or less
When two or three oscillators are sounding, the Filter input can be more easily overdriven. Use the above numbers as guidelines and make adjustments using your ears.
MIDI Specification
CC | Parameter | Range | Notes |
---|---|---|---|
10 | Spread | 0 .. 127 | |
12 | Oscillator Slop | 0 .. 15 | |
13 | Pan | 0 .. 127 | |
14 | Noise Level | 0 .. 127 | |
15 | OSC1 Range | 0 .. 120 | Semitone steps (-60 .. +60) |
16 | OSC1 Fine | 0 .. 100 | Cent steps (-50 .. +50) |
17 | OSC1 Wave | 1 .. 53 | 1 = Sawtooth, 2 = Triangle, 3 .. 50 = PWM |
18 | OSC1 Level | 0 .. 127 | |
19 | OSC1 Glide | 0 .. 63 | Lower values are faster |
20 | OSC2 Range | 0 .. 120 | Semitone steps (-60 .. +60) |
21 | OSC2 Fine | 0 .. 100 | Cent steps (-50 .. +50) |
22 | OSC2 Wave | 1 .. 53 | 1 = Sawtooth, 2 = Triangle, 3 .. 50 = PWM |
23 | OSC2 Level | 0 .. 127 | |
24 | OSC2 Glide | 0 .. 63 | Lower values are faster |
25 | OSC2 Sync | 0 .. 1 | Sync to OSC1 |
26 | OSC3 Range | 0 .. 120 | Semitone steps (-60 .. +60) |
27 | OSC3 Fine | 0 .. 100 | Cent steps (-50 .. +50) |
28 | OSC3 Wave | 1 .. 53 | 1 = Sawtooth, 2 = Triangle, 3 .. 50 = PWM |
29 | OSC3 Level | 0 .. 127 | |
30 | OSC3 Glide | 0 .. 63 | Lower values are faster |
31 | OSC3 Sync | 0 .. 1 | Sync to OSC1 |
33 | Global OSC Range | 0 .. 120 | Semitone steps (-60 .. +60) |
34 | Global Glide | 0 .. 63 | Lower values are faster |
39 | LFO1 Rate | 0 .. 127 | |
40 | LFO1 Wave | 0 .. 4 | 0 = Triangle, 1 = Saw, 2 = Ramp, 3 = Square, 4 = Sample & Hold |
41 | LFO1 Depth | 0 .. 127 | (-64 .. +63) |
42 | LFO1 Destination | 0 .. 60 | See Mod Matrix for list |
43 | LFO1 Key Sync | 0 .. 1 | 0 = off, 1 = on |
44 | LFO2 Rate | 0 .. 127 | |
45 | LFO2 Wave | 0 .. 4 | 0 = Triangle, 1 = Saw, 2 = Ramp, 3 = Square, 4 = Sample & Hold |
46 | LFO2 Depth | 0 .. 127 | (-64 .. +63) |
47 | LFO2 Destination | 0 .. 60 | See Mod Matrix for list |
48 | LFO2 Key Sync | 0 .. 1 | 0 = off, 1 = on |
49 | LFO3 Rate | 0 .. 127 | |
50 | LFO3 Wave | 0 .. 4 | 0 = Triangle, 1 = Saw, 2 = Ramp, 3 = Square, 4 = Sample & Hold |
51 | LFO3 Depth | 0 .. 127 | (-64 .. +63) |
52 | LFO3 Destination | 0 .. 60 | See Mod Matrix for list |
53 | LFO3 Key Sync | 0 .. 1 | 0 = off, 1 = on |
54 | LFO4 Rate | 0 .. 127 | |
55 | LFO4 Wave | 0 .. 4 | 0 = Triangle, 1 = Saw, 2 = Ramp, 3 = Square, 4 = Sample & Hold |
56 | LFO4 Depth | 0 .. 127 | (-64 .. +63) |
57 | LFO4 Destination | 0 .. 60 | See Mod Matrix for list |
58 | LFO4 Key Sync | 0 .. 1 | 0 = off, 1 = on |
70 | VCF Cutoff | 0 .. 127 | |
71 | VCF Resonance | 0 .. 127 | |
72 | VCF Key Amount | 0 .. 127 | 64 ≈ 1v/oct |
73 | VCF Audio Mod | 0 .. 127 | |
75 | VCF Type | 0 = LP4, 1 = LP2, 2 = HP4, 3 = HP2, 4 = BP2, 5 = Split | |
76 | Envelope 1 Amount | 0 .. 127 | (-64 .. +63) |
77 | Envelope 1 Velocity | 0 .. 127 | |
78 | Envelope 1 Attack | 0 .. 127 | |
79 | Envelope 1 Decay | 0 .. 127 | |
80 | Envelope 1 Sustain | 0 .. 127 | |
81 | Envelope 1 Release | 0 .. 127 | |
82 | Envelope 2 Amount | 0 .. 127 | (-64 .. +63) |
83 | Envelope 2 Velocity | 0 .. 127 | |
84 | Envelope 2 Attack | 0 .. 127 | |
85 | Envelope 2 Decay | 0 .. 127 | |
86 | Envelope 2 Sustain | 0 .. 127 | |
87 | Envelope 2 Release | 0 .. 127 | |
102 | Envelope 3 Destination | 0 .. 60 | See Mod Matrix for list |
103 | Envelope 3 Amount | 0 .. 127 | (-64 .. +63) |
104 | Envelope 3 Velocity | 0 .. 127 | |
105 | Envelope 3 Attack | 0 .. 127 | |
106 | Envelope 3 Decay | 0 .. 127 | |
107 | Envelope 3 Sustain | 0 .. 127 | |
108 | Envelope 3 Release | 0 .. 127 | |
109 | Envelope 4 Destination | 0 .. 60 | See Mod Matrix for list |
110 | Envelope 4 Amount | 0 .. 127 | (-64 .. +63) |
111 | Envelope 4 Velocity | 0 .. 127 | |
112 | Envelope 4 Attack | 0 .. 127 | |
113 | Envelope 4 Decay | 0 .. 127 | |
114 | Envelope 4 Sustain | 0 .. 127 | |
115 | Envelope 4 Release | 0 .. 127 | |
116 | VCF1 Cutoff | 0 .. 127 | |
117 | VCF1 Resonance | 0 .. 127 | |
118 | VCF1 Cutoff | 0 .. 127 | |
119 | VCF1 Resonance | 0 .. 127 |
NRPN | Parameter | Range | Notes |
---|---|---|---|
130 | Mod Matrix Slot 1 Source | 0 .. 15 | See Mod Matrix for list |
131 | Mod Matrix Slot 1 Destination | 0 .. 60 | See Mod Matrix for list |
132 | Mod Matrix Slot 1 Amount | 0 .. 127 | (-64 .. +63) |
133 | Mod Matrix Slot 2 Source | 0 .. 15 | See Mod Matrix for list |
134 | Mod Matrix Slot 2 Destination | 0 .. 60 | See Mod Matrix for list |
135 | Mod Matrix Slot 2 Amount | 0 .. 127 | (-64 .. +63) |
136 | Mod Matrix Slot 3 Source | 0 .. 15 | See Mod Matrix for list |
137 | Mod Matrix Slot 3 Destination | 0 .. 60 | See Mod Matrix for list |
138 | Mod Matrix Slot 3 Amount | 0 .. 127 | (-64 .. +63) |
139 | Mod Matrix Slot 4 Source | 0 .. 15 | See Mod Matrix for list |
140 | Mod Matrix Slot 4 Destination | 0 .. 60 | See Mod Matrix for list |
141 | Mod Matrix Slot 4 Amount | 0 .. 127 | (-64 .. +63) |
142 | Mod Matrix Slot 5 Source | 0 .. 15 | See Mod Matrix for list |
143 | Mod Matrix Slot 5 Destination | 0 .. 60 | See Mod Matrix for list |
144 | Mod Matrix Slot 5 Amount | 0 .. 127 | (-64 .. +63) |
145 | Mod Matrix Slot 6 Source | 0 .. 15 | See Mod Matrix for list |
146 | Mod Matrix Slot 6 Destination | 0 .. 60 | See Mod Matrix for list |
147 | Mod Matrix Slot 6 Amount | 0 .. 127 | (-64 .. +63) |
148 | Mod Matrix Slot 7 Source | 0 .. 15 | See Mod Matrix for list |
149 | Mod Matrix Slot 7 Destination | 0 .. 60 | See Mod Matrix for list |
150 | Mod Matrix Slot 7 Amount | 0 .. 127 | (-64 .. +63) |
151 | Mod Matrix Slot 8 Source | 0 .. 15 | See Mod Matrix for list |
152 | Mod Matrix Slot 8 Destination | 0 .. 60 | See Mod Matrix for list |
153 | Mod Matrix Slot 8 Amount | 0 .. 127 | (-64 .. +63) |
154 | Mod Matrix Slot 9 Source | 0 .. 15 | See Mod Matrix for list |
155 | Mod Matrix Slot 9 Destination | 0 .. 60 | See Mod Matrix for list |
156 | Mod Matrix Slot 9 Amount | 0 .. 127 | (-64 .. +63) |
157 | Mod Matrix Slot 10 Source | 0 .. 15 | See Mod Matrix for list |
158 | Mod Matrix Slot 10 Destination | 0 .. 60 | See Mod Matrix for list |
159 | Mod Matrix Slot 10 Amount | 0 .. 127 | (-64 .. +63) |
160 | Mod Matrix Slot 11 Source | 0 .. 15 | See Mod Matrix for list |
161 | Mod Matrix Slot 11 Destination | 0 .. 60 | See Mod Matrix for list |
162 | Mod Matrix Slot 11 Amount | 0 .. 127 | (-64 .. +63) |
163 | Mod Matrix Slot 12 Source | 0 .. 15 | See Mod Matrix for list |
164 | Mod Matrix Slot 12 Destination | 0 .. 60 | See Mod Matrix for list |
165 | Mod Matrix Slot 12 Amount | 0 .. 127 | (-64 .. +63) |
166 | Mod Matrix Slot 13 Source | 0 .. 15 | See Mod Matrix for list |
167 | Mod Matrix Slot 13 Destination | 0 .. 60 | See Mod Matrix for list |
168 | Mod Matrix Slot 13 Amount | 0 .. 127 | (-64 .. +63) |
169 | Mod Matrix Slot 14 Source | 0 .. 15 | See Mod Matrix for list |
170 | Mod Matrix Slot 14 Destination | 0 .. 60 | See Mod Matrix for list |
171 | Mod Matrix Slot 14 Amount | 0 .. 127 | (-64 .. +63) |
172 | Mod Matrix Slot 15 Source | 0 .. 15 | See Mod Matrix for list |
173 | Mod Matrix Slot 15 Destination | 0 .. 60 | See Mod Matrix for list |
174 | Mod Matrix Slot 15 Amount | 0 .. 127 | (-64 .. +63) |
175 | Mod Matrix Slot 16 Source | 0 .. 15 | See Mod Matrix for list |
176 | Mod Matrix Slot 16 Destination | 0 .. 60 | See Mod Matrix for list |
177 | Mod Matrix Slot 16 Amount | 0 .. 127 | (-64 .. +63) |
178 | Voice Config | 0 .. 2 | 0 = Poly, 1 = Unison, 2 = Mono |
179 | Bend Up | 0 .. 96 | |
180 | Bend Down | 0 .. 96 | |
181 | Detune | 0 .. 24 | |
182 | Legato | 0 .. 2 | 0 = off, 1 = fixed rate, 2 = fixed time |
184 | Clean Osc | 0 .. 1 | 0 = off, 1 = on |
185 | LFO1 Bipolar | 0 .. 1 | 0 = bipolar, 1 = unipolar |
186 | LFO2 Bipolar | 0 .. 1 | 0 = bipolar, 1 = unipolar |
187 | LFO3 Bipolar | 0 .. 1 | 0 = bipolar, 1 = unipolar |
188 | LFO4 Bipolar | 0 .. 1 | 0 = bipolar, 1 = unipolar |
189 | LFO1 MIDI Divisor | 0 .. 16 | 0 = off, 1 .. 16 = 32 beats through 16th note triplet |
190 | LFO2 MIDI Divisor | 0 .. 16 | 0 = off, 1 .. 16 = 32 beats through 16th note triplet |
191 | LFO3 MIDI Divisor | 0 .. 16 | 0 = off, 1 .. 16 = 32 beats through 16th note triplet |
192 | LFO4 MIDI Divisor | 0 .. 16 | 0 = off, 1 .. 16 = 32 beats through 16th note triplet |
193 | Envelope 1 Mode | 0 .. 2 | 0 = normal, 1 = loop, 2 = a/r |
194 | Envelope 2 Mode | 0 .. 2 | 0 = normal, 1 = loop, 2 = a/r |
195 | Envelope 3 Mode | 0 .. 2 | 0 = normal, 1 = loop, 2 = a/r |
196 | Envelope 4 Mode | 0 .. 2 | 0 = normal, 1 = loop, 2 = a/r |
197 | Oscillator 1 Pulse | 0 .. 1 | 0 = square, 1 = saw |
198 | Oscillator 2 Pulse | 0 .. 1 | 0 = square, 1 = saw |
199 | Oscillator 3 Pulse | 0 .. 1 | 0 = square, 1 = saw |
200 | Oscillator 1 Key Sync | 0 .. 1 | 0 = off, 1 = on |
201 | Oscillator 2 Key Sync | 0 .. 1 | 0 = off, 1 = on |
202 | Oscillator 3 Key Sync | 0 .. 1 | 0 = off, 1 = on |
203 | Envelope 1 Curve | 0 .. 1 | 0 = exp/log, 1 = linear |
204 | Envelope 2 Curve | 0 .. 1 | 0 = exp/log, 1 = linear |
205 | Envelope 3 Curve | 0 .. 1 | 0 = exp/log, 1 = linear |
206 | Envelope 4 Curve | 0 .. 1 | 0 = exp/log, 1 = linear |
207 | Oscillator 1 Key Tracking | 0 .. 1 | 0 = track, 1 = detach |
208 | Oscillator 2 Key Tracking | 0 .. 1 | 0 = track, 1 = detach |
209 | Oscillator 3 Key Tracking | 0 .. 1 | 0 = track, 1 = detach |
210 | VCF1 Cutoff LSB | 0 .. 127 | |
211 | VCF1 Type | 0 .. 1 | 0 = Low-pass, 1 = High-pass |
212 | VCF1 Key Tracking | 0 .. 127 | 64 ≈ 1v/oct |
213 | VCF2 Cutoff LSB | 0 .. 127 | 64 ≈ 1v/oct |
214 | VCF2 Type | 0 .. 1 | 0 = Low-pass, 1 = High-pass |
215 | VCF2 Key Tracking | 0 .. 127 | 64 ≈ 1v/oct |
Acknowledgments
The production of Parva was crowdfunded on Kickstarter. This project wouldn’t have been possible without the amazing support of the following people:
- Tyler Doty
- Michael Kedzierski
- Michael Graham
- Duff Egan
- Nathan Snody
- James Hickman
- Tadeu Correia
- Paul M Boos
- Ad Infinitum Music
- Robert David Perlow
- James Park
- Ben G. Jones
- Mark Thomas Walker
- red garlic
- Ken Siegel
- Jeff Sharp
- Dave Feise
- DJ Thomas White
- Dana Fortier
- Danny Kim
- Joe Yppah Corrales Jr.
- Craig Miller
- Victor Magro
- Alain Paradis
- Tuomo Prättälä
- Robert A. Bailey
- John M. Wieczorek
- Richard Meyer
- Tom Moravansky
- Danny Venzin
- Chris Hudzik
- Erwan COIC
- Ben Stuyts
- Sean Smith
- K. Sand
- Charles Lifland
- Michael Barnstijn
- Charles Harris
- Marshall Craig
- Mike Butera
- Vincenzo Valenti
- mtr
- Philip Galanter
- Christopher Harrison
- Mark Henning
- William Hall
- Casey Neiditch
- Stuart MacKinnon
- Nick Hutton
- beat rossmy
- Doron Dina
- Anthony Prats
- David Grosser
- Antti Aro
- William Schuette
- ProckGnosis
- Geert Bevin
- Michael E Williams
- Tim Love Lee
- Randy Hudson
- Mike Larsen
- Spinnaface
- Doug Rodriguez
- Hendrik Ribot
- Will Taylor
- Joël Fuchs
- Nathanaël Lécaudé
- A. McArthur
- M.C.W.
- franck vigroux
- Sofia Hultquist
- Robert Stickles
- Farsh Kanji
- Michael McInnis
- Matt Kuryloski
- Hannes d’Hoine
- Henri de Saussure
- Brynjar Dambo
- Robert Kylberg
- David Wäckerlin
- Haimodular
- JesseCobra
- Natalia Rakowski
- Mat Ciliberto
- Luis Prieto
- Craig Campbell
- Ritchie DeCarlo
- Johan Torneheim
- David Lones
- Maggie Zetts
- Rick Sharum
- George Durando
- Daniel Babai
- Jani Grönman
- Tracy Bruce Harms
- Kareem M
- Adam Blom
- Mark Phillip Clemmer
- Matt Nicholson
- Lars H. Gaarder
- Fafa la poule
- Jamstik.com
- David McCool
- Robert Weiner
- Real Keys Music
- Magnus Sellergren
- Chris New