Ravel manual

What it is

• Synth tracks (T1 to T4), fourteen engines: VA (saw to pulse, supersaw, sync, sub, noise, through-zero FM), CZ (a full Casio CZ: two lines, the eight CZ waves, 8-step DCO, DCW and DCA envelopes, ring and noise modulation, vibrato and a Juno-60 style chorus), FM (4 operators, 12 algorithms, a wave per operator), PHYS (string, bowed, blown, membrane), FORMANT (vowel filter bank or FOF grains), PARTICLE (pulsar emitters that pull into sync), CHIP (SID-style waves arpeggiating through offsets, then a decompose stage that crushes and breaks the sound apart), SQ (after the Ensoniq SQ-80: three oscillators on 8-bit waves, sync and AM, a CEM-style filter and the DOC chip's grit), WAVE (after the PPG Wave and Waldorf Microwave: two wavetable oscillators, sync, ring and FM, phase warps, a looping wave envelope), LOGIC (oscillators built from function blocks: arithmetic, bit logic and comparators between three sources, then pitch-synchronous grains), ORGAN (a pipe organ played like a synthesizer: ranks by footage, pipes that speak in their own time, chiff, air and wind), MONO (an SH-101-style voice played like a horn: legato, scoops, delayed vibrato), RESIN (a bowed string or a reed, pushed toward breaking down: scrape, flageolet, growl, multiphonics and a QUAKE knob that makes the player's hand shake), TINE (struck and plucked bars and tines: a rusty kalimba with buzzing rings, a marimba or balafon, and an electric piano after the Rhodes).
• Strike tracks (T5, T6), with GRAIN, a small difference in every hit (as on perc tracks): an exciter (click, noise, metal, FM burst, dust, rain, bow, breath, or EXT: another track's sound) strikes a body (ping filters, modal bars, a struck disc or coupled strings), with a transient layer, ring mod and a pitch drop.
• Perc tracks (any track, KIND PERC): 33 drum machines after the Elektron Machinedrum's synthesis families: TRX (analog-style), EFM (FM), P-I (physical models) and GND, each with the Machinedrum's track effects.
• Tape tracks (T7, T8): the sampler, playing the shared 120 KB capture tape (filled by resampling Ravel itself): MLR playheads (four rows, jumps on the keys, rates from -2× to 4×), KEYS (a span across the keys, up to four voices), STRETCH (speed apart from pitch), SHARDS (the span in pieces, one at a time, in an order, with gaps), slices, or a kit of six lanes, each its own span. START and END can be moved by LFOs, so loops breathe.
• Capture tape: records the master, one track, the buses or the audio input. Catch keeps what is on it, resample records a bar (or 2 or 4) onto row 1 on the downbeat, erosion and "dirty" half-rate µ-law for more time.
• Influence: an 8 × 8 grid where any track can modulate, trigger, excite, ring, jump the tape of, clock, or spark (tap the body of) any other.
• Articulation: onset, continuant and termination stages with curve, overshoot, a loop, a tail and Give (a spring that lets the level lag and bounce), two destinations, its own FILTER ENV, and a library of 32 chainable step envelopes that steps start to move any parameter across the steps.
• Sequencer: each track runs in STEPS or GRAPH mode. Steps: length, rate and direction, parameter locks, microtiming, ratchets that bounce, climb, fall or darken as they roll, conditions, chance, microcuts of the mix with their own shape and size, and a EUCLID page that writes evenly spread hits into the steps. Graph (from Silt): cords set where a playhead goes next, two playheads walk the same graph, each playing notes, only the gate, or only the pitch (so rhythm and melody can take different paths), head 2 can play another track, and each head has a function generator (rise, fall, arch, decay, swell, or an LFO or dust) that moves its speed, times or plus the clock. Plus density arcs, a per-track note interval, scale quantizing, René-style clocking from LFOs or dust, and a two-oscillator master clock. Recording keeps what you play live, chords included (up to four notes on a step), and each kit lane can run at its own rate.
• Modulation: two LFOs, dust, an 8-slot matrix and 4 macros with 8 destinations each (curves and windows).
• Buses: a granular tape delay (echoes and a grain cloud from one half-rate tape; wow, flutter, saturation, age, double tracking, freeze), a space reverb (motion, diffusion, low cut; ROOM, a long Clouds-style plate, or 12-BIT, a gritty late-80s rack plate), a feedback bus (filter, comb, smear, shift, fold or crush, returning to the master or into a track), a filter pair (low, band or high pass each; series, parallel or feedback, with two LFOs), an 8-band vocoder (its body is dust, drops, noise, the tape or a track; attack, release, shift, width), BANDS (eight resonant bands, like a fixed filter bank), a BED of dust on a tuned wood-to-metal body that sinks under busy tracks and rises in the gaps, and master drive with microcuts (even, bouncing or dragging) and punch-in effects on the keys. Each bus page shows the current track's send into it. Every effect starts off: a new project sends nothing into any bus, and a bus with nothing coming in does not run at all.
• Song: patterns A and B per track, 16 scenes that switch or glide over 1–8 bars, a 32-row arrangement, mute and solo, tap tempo, 8 named project slots, and a sound bank of your own; projects and sounds move between the emulator and an FM-1 as a .ravel file.

New here? Open the emulator (Opening it), load a demo, press Play, then read The five moves. Everything else is reference.

Contents

The manual

1. Opening it
2. The panel
3. The five moves
4. How the parts connect
5. HOME: tracks and influence
6. EDIT: the voice
7. ENV: articulation
8. LFO: modulation and macros
9. FX: the buses
10. SCL: scale
11. ARP: the tape
12. SEQ: steps and the graph
13. GLO: song, scenes and clock
14. SAVE: projects and sounds
15. Hold layers (every button held)
16. Recording
17. Recipes, step by step
18. Quick reference
19. Questions people ask

On the FM-1: Installing · If the FM-1 will not start

Everything below works the same in the browser emulator and on the FM-1. The pictures are the real screen, taken from the simulator.

1. Opening it

In a browser. Open ravel-emulator.html. It is one file, works offline and needs no install. Click anywhere or press a key once to start the sound; browsers stay silent until you do. On a computer keyboard, Z X C V B N M play the lowest seven keys in order (F, F♯, G, G♯, A, A♯, B), then A S D F G H J K L ; ' play the white keys from C up, with W E T Y U O P the black keys. [ and ] are OCT- and OCT+, 1–8 choose the track and the space bar is PLAY.

The emulator page has three parts:

• The left panel (the workbench) is a set of shortcuts:
• pick a demo and press Load;
• Play and Record;
• T1–T8 pick a track;
• Sound chooses the track's kind, engine and a preset;
• Page ← Back / Forward → steps through the section's pages (the same as turning SELECT, or the ← → keys);
• Go to jumps straight to a section;
• Catch and Resample for the tape;
• Audio in plays a file into the input;
• Output has a level meter and the volume.
• The FM-1 in the middle is the instrument itself. Everything in this manual is done there.
• The Controls guide and Eight tracks below are short reminders and a level meter for each track. Click a track card to select it; M mutes it.

Using the emulator's controls:

The page has a safety limiter, so nothing can reach your speakers or interface at full scale. Volume starts at 70.

Projects you save in the emulator are kept in your browser, so they are still there next time on the same computer and browser.

On the FM-1. Install it with the web installer (see Installing on the FM-1). Everything works the same as in the emulator, with these differences:

• MASTER is the output volume (the emulator's Volume slider).
• No audio input. The FM-1's USB carries Ravel's sound to a computer (it shows up as an audio input named "Ravel FM-1" you can record), but nothing comes in. So the FM-1 hides the input's controls: the tape has no INPUT source, and the ROWS page has no IN GAIN or INPUT knob. The EXT exciter still works there, from other tracks.
• Saving pauses the sound for a moment, because the code runs from the same flash the project is written to.
• No Bluetooth.

2. The panel

The ten sections:

Section or layer? A quick tap (less than about half a second) opens the section. Holding a button and using keys or knobs while it is down turns it into a layer instead: SEQ held makes the keys steps, LFO held puts the macros on the knobs, and so on. When you use a button as a layer, letting go of it does not change the page. See Hold layers.

Reading the screen

• Top bar:
• left: the track (T1–T8, its badge coloured by kind: white synth, slate strike, verdigris tape, maroon perc), its kind and engine;
• right: the page title, and on the FM-1 the audio load (CPU 43% with a thin bar, held a moment at its peak; amber from 75%, red from 90%). The emulator doesn't measure it, so it doesn't show there.
• Value row: a strip divided into four cells, one for each physical knob, always KNOB 1, 2, 3 and 4 in that order. Each cell has a small dial, the name and the value, and a bar showing where it sits in its range; bipolar values have a centre mark. An empty cell keeps its dividers, so you can see which knobs do something on the page. A greyed name and value means that knob does nothing with the track set as it is.
• Picture: what the page does, drawn live (a waveform, a filter curve, the step grid, the graph, the tape). Tracks keep their kind's colour in the pictures (their meters, waves and steps); what belongs to no one track (the buses, the graph's two heads, the two WAVE tables) is drawn in white and greys with bone and verdigris.
• Footer:
• left: what the controls do right now. It changes when you hold a button, so read it whenever you are unsure.
• right: small dots, one per page in the section, with the current one lit.
• Also shown: a play indicator while running, and a red dot when recording is armed.

Short messages ("CAUGHT", "PATTERN B", "SAVED TO 3") flash on the screen when something happens.

3. The five moves (how every page works)

Every page in Ravel works the same way:

1. Press a section button to open the section.
2. Turn SELECT (or tap the same button again) to walk its pages. On FX, tapping FX again jumps to the next bus (DELAY, SPACE, FEEDBACK, FILTER PAIR, BANDS, VOCODER, MASTER); SELECT still goes page by page.
3. Turn ALGORITHM to choose which track you are editing.
4. Turn KNOB 1–4 to change the four values shown.
5. Turn PRESETS to browse whatever the page holds.

Knobs speed up when you turn them quickly, so a fast turn crosses a whole range and a slow turn moves one step.

Pages appear and disappear. A section only shows the pages that apply to the current track:

• a VA synth has three SOURCE pages, FM has four;
• a tape track has no SOURCE pages but gets PLAYBACK, then MLR, SAMPLE, STRETCH, SHARDS or SLICES depending on its mode;
• the graph's HEAD pages only appear when the track is in GRAPH mode, and HEAD 2's pages only when head 2 is on.

So if a page seems to be "skipped", it is hidden because it does not apply to this track. Change the track or the setting and it comes back.

Greyed-out knobs. When a knob does nothing with the track set as it is, its name and value turn grey. For example, on a strike track with the PING body, DAMP, INHARM, GEOMTRY and MODES are grey, because a ping filter has none of those. The value is kept, so it is ready if you change the setup. So are ENGINE and VELO on strike and tape tracks (engines are for synth tracks; strike and tape take velocity as it comes), VOICES on a tape track (one playhead; a strike track offers MONO or 2), T DECAY until TRANS is up, RING F until RING is up, ORDER, RATE and SEED except with the DUST or RAIN exciter, and on PHYS, POSITN for BLOWN and MEMBRAN.

4. How the parts connect

Ravel has 8 tracks. Each track is one of four kinds, and any track can be any kind (HOME › TRACKS › KIND):

How the sound flows:

1. Each track makes sound. On synth, strike and perc tracks the sound goes: source → filter → skin (drive, fold, bits) → insert effect → articulation (the amplitude envelope) → level and pan.
2. The mixer adds the tracks together. Each track also sends some of its sound to the six buses (delay or grains, space, feedback, filter pair, vocoder, bands), and the buses return into the mix.
3. The master applies drive and microcuts, then a safety limiter, then goes to the output.
4. The capture tape is always listening. By default it hears the master, but it can hear one track, the buses or the audio input instead (ARP › CAPTURE › SOURCE). When you catch or resample, what it heard is kept, and the tape tracks play it back. That is the loop at the heart of Ravel: synthesize → catch → rebuild.
5. Influence connects tracks to each other. One track's notes or audio can trigger, modulate, excite, ring, clock or jump the tape of another (HOME › INFLUENCE).
6. The sequencer plays every track from its own pattern. The modulation (LFOs, dust, matrix, macros) moves parameters over time. Scenes and the arrangement switch patterns and states.

5. HOME: tracks and influence

TRACKS

The overview shows all eight tracks:

• each track's number and kind;
• a live level meter;
• how many voices it is using;
• along the bottom, the influence routes drawn as lines.

The current track is highlighted.

ALGORITHM picks the track; PRESETS loads a sound of the track's kind.

INFLUENCE

An 8 × 8 grid: rows are sources, columns are targets. Each filled cell is a route, coloured by type.

1. Turn ALGORITHM to the source track (its row is highlighted).
2. Turn PRESETS to the target column (the box moves along the row).
3. Turn KNOB 1 (ROUTE) to choose what the route does. An empty cell says "TURN K1 TO MAKE A ROUTE".
4. Set the other knobs. They change name to suit the route.

To remove a route, turn KNOB 1 back to -.

A trigger chain never plays the same track twice in one pass, so routes can form loops safely (T1 triggers T2, which triggers T1).

6. EDIT: the voice

All pages here act on the current track (ALGORITHM). PRESETS browses sounds for the track's kind on every voice page; the sound's name flashes on screen. A preset doesn't touch the track's sends into the effects (FX): they stay where you set them.

OSC MIX appears on engines with more than one sound source. OSC LVL (LEVEL1 on FM, LEVEL 1 on SQ and WAVE) is the first oscillator's own level, new here; the others are the engine's existing level knobs, shown together (they stay on the SOURCE pages too). The CZ's two lines are levelled by their DCA envelopes, ORGAN's by its rank footages. | PITCH | PITCH (±24 semitones) | FINE (±50 cents) | GLIDE | VCF KEY: the filter's cutoff (or a Z filter's morph) follows the note | | FILTER | FILTER type: LADDER, LOWPASS, BANDPASS, HIGHPASS, LPG, MS-20, SH-101, SQ-80, and six Z filters (Z VOWEL, Z TALK, Z PHASER, Z PEAKS, Z SWEEP, Z METAL) five XT filters (XT LP24, XT BP24, XT NOTCH, XT S&H, XT SHAPE) and SEM | CUTOFF (Hz); on a Z filter, MORPH | RESO; on a Z filter, XFORM | ENV>CUT: how much the FILTER ENV opens the filter (±); the same setting as on ENV › FENV ROUTE, so turning either moves both | | SKIN | DRIVE (saturation of everything the track plays at once: 0 by default, so chords stay clean; turn it up to make them break up together) | FOLD (wavefolding) | BITS (bit reduction) | – | | SKIN 2 | BITMASK (digital grit) | DEREZ (sample-rate reduction) | GRAIN (strike and perc tracks): each hit a little different, see below | – | | INSERT | INSERT effect: OFF, COMB, SHIFT, CRUSH, SMEAR | TUNE: on COMB its note (C4 at the middle, a semitone a step); on SHIFT the shift | AMOUNT | MIX | | MIX | LEVEL | PAN | DELAY send | SPACE send | | SENDS | FEEDBK send | PAIR send (filter pair) | VOCODER send | BANDS send |

MS-20 is hot and dirty: a two-pole filter whose resonance runs through clipping diodes, with the input driven. Turned up, it barks, then screams. SH-101 is round and liquid: four smooth stages whose resonance sings rather than bites, and keeps its bass as it rises. SQ-80 is warm and a touch dark: four transistor-style stages (after the CEM3379 chip in the Ensoniq SQ-80) whose resonance whistles rather than screams, and thins the bass as it rises, as the SQ-80's does. All three are on synth tracks (all engines); try the 101 BASS and MS SCREAM presets, and any SQ preset. Picking the SQ engine sets the filter to SQ-80.

The Z filters morph, in the manner of E-mu's Z-plane filters (Morpheus, the Audity, the later samplers). Each is twelve poles: six sections, peaks, dips and slopes, laid out at the four corners of a square. CUTOFF becomes MORPH, which moves across the square one way, and RESO becomes XFORM, which moves it the other. In between, every peak glides at once, so the whole shape turns into the next one rather than a single cutoff moving. The filter envelope (ENV), VCF KEY, the LFOs and the matrix move MORPH like any cutoff. The FILTER picture draws the real response as it morphs. The shapes are Ravel's own:

Try the TALK BOX, PHASE PAD, Z VOX and Z SWEEP presets. The Z filters are on synth tracks, on any engine.

SEM is after the Oberheim SEM: a single 12 dB state-variable filter, open and creamy rather than fat, whose resonance rises to a vocal peak but never quite self-oscillates. Choosing it adds a SEM page after FILTER: LP-HP sweeps continuously from low pass (0) through a notch (64) to high pass (127), and the matrix and LFOs can move it; BP switches to its band pass, which grows louder as RESO rises (LP-HP is then greyed); CUTOFF and RESO are repeated there. Try the SEM BRASS and SEM NOTCH presets.

The XT filters are digital filters in the manner of the Waldorf Microwave II/XT's: XT LP24 is a clean four-pole lowpass whose resonance rings sharp and glassy, XT BP24 a four-pole bandpass, XT NOTCH cuts a hole at CUTOFF (RESO widens and deepens it), XT S&H samples and holds the sound at a rate CUTOFF sets (a sample-rate reducer that follows the keys with VCF KEY; RESO keeps more of the raw steps) and XT SHAPE is a wave shaper, CUTOFF driving it and RESO folding it further. They suit the WAVE engine but work on every synth engine.

The filter belongs to synth voices. On strike and tape tracks the FILTER page's knobs are greyed out.

LPG is a low-pass gate: the filter closes as the note fades, so sounds get darker as they die away (good for plucks and Buchla-style bongos).

Changing ENGINE resets the SOURCE values to that engine's defaults. Use PRESETS to start from a finished sound instead.

GRAIN (EDIT › SKIN 2, on strike and perc tracks) makes each hit slightly different from the last: a little sharper or flatter (up to half a semitone), a little louder or softer, now and then darker or shorter. Most hits move a little and a few a lot, the way a hand never strikes twice the same. It changes nothing about which steps play or when: it is texture, so sixteen hats sound like sixteen hits instead of one copied. On a kit it acts on every lane.

The fourteen synth engines (SOURCE pages)

VA (virtual analog): the familiar subtractive oscillator, and more.

CZ: a full Casio CZ (the CZ-101, 1000, 3000, 5000 and CZ-1 all share this voice). It works as the CZ's own sound chip does: a cosine read through a bent phase, where DCW is how bent it is (at 0 every wave is a sine). Each note plays one or two lines, and each line has two waves and three 8-step envelopes: DCO (pitch), DCW (waveform) and DCA (level). Ravel's filter, skin, inserts, LFOs and matrix all still work on top.

General settings, on the SOURCE pages:

Then, per line (LINE 1, LINE 2):

And the envelopes, DCO 1, DCW 1, DCA 1 (and DCO 2, DCW 2, DCA 2):

Each envelope page holds all eight stages. OCT+ and OCT− move the four knobs through five rows; the picture lights the two stages on the knobs and marks them with the knob numbers (1 2, 3 4), and the footer says what OCT+ brings next. PRESETS still picks a sound.

Stages after END are drawn dim: they keep their settings but don't play until END reaches them (set END to 8 to use all eight).

• How an envelope runs: from step 1, each step moves at its RATE to its LEVEL, then the next step starts. At the SUS step it waits while the key is held; when you let go it goes on from the step after SUS. It stops at END. Rates and levels follow the CZ's own curves: rate 99 is a few milliseconds, rate 0 almost forever; DCA levels are on the CZ's logarithmic scale.
• DCO levels: up to 63 the pitch rises in 6.25-cent steps (63 is almost 4 semitones); from 64 it jumps in 2-semitone steps (64 is 8 semitones, 99 is 78). The DCO envelope can only raise the pitch, as on the CZ.
• Two waves on a line alternate cycle by cycle, so the note sounds an octave lower with a mix of both characters (the CZ's "cascade"). Two RESO waves cannot be combined, as on the CZ.
• RESO waves are a sine whose frequency rises with DCW, restarting every cycle under a falling window: like sweeping a resonant filter, with no filter.
• High notes narrow DCW automatically, as the CZ does, so thin pulses stay audible.
• The DCA is the level envelope. On a CZ track the ARTICULATION pages' shape knobs are greyed out; the envelope's DESTINATIONS and the influence routes follow the DCA instead; the filter has its own FILTER ENV.
• The pictures: LINE pages draw the line's two cycles at its brightest DCW. Envelope pages draw the 8 stages, the SUS and END points, the two stages on the knobs (white, numbered with their knobs) and where the playing note is (amber dots).
• Presets: CZ BRASS, CZ BELL (ring-modulated lines a twelfth apart), CZ STRINGS, RESO SWEEP, CZ BASS, NOISE HIT and FOAM.
• Projects from before the CZ load with each CZ track set to a plain CZ tone.

FM: 4 operators.

Each operator can be SINE, TRI, SAW, SQUARE, HALF, ABS, QUART or BITS.

PHYS (physical modelling): a virtual instrument that you strike, bow or blow.

BOWED and BLOWN keep sounding for as long as the key is held, like a violin or a clarinet. BLOWN speaks an octave lower in character (a clarinet's hollow, odd-harmonic tone) but plays the note you press.

FORMANT: vowels and voices.

PARTICLE: pulsars. Short bursts of a waveform at the note's pitch that can pull each other into sync.

CHIP: a glitchy chiptune voice, after the Syntakt's SY CHIP. A SID-style oscillator steps through the note you play and up to three offsets at RATE, so one voice plays a fast arpeggio, a chord or a "complex voice". A square sub oscillator sits under it, and a decompose stage after it reduces, crushes and breaks the sound apart.

• The arp: for a minor chord, set OF2 +3, OF3 +7, OF4 +12 and STEPS 4. Multiples of 12 jump octaves. RATE, MODE and the offsets grey out while STEPS is 1.
• Sync: with SYNC on and SUB OCT at -1, the sub holds the root while the arp's notes become synced, tearing timbres over it (the SYNC ARP preset). SUB OCT greys out while SUB is 0 and SYNC is off.
• Decompose: the voice keeps its last 46 ms. At the end of each fragment, DECOMP is the chance that the next one breaks: the last fragment repeats, plays backwards, drops out, has its bits flipped, or plays at double speed. FRAG greys out while DECOMP is 0.
• Presets: CHIP ARP, SID BASS (through the MS-20 filter), CHIP KICK, CHIP SNARE, DECOMPOSED and SYNC ARP.

SQ: after the Ensoniq SQ-80. Three oscillators play 8-bit single-cycle waves, osc 1 can hard-sync and amplitude-modulate osc 2, a second envelope moves the filter, the pitch and an attack layer, a delayed vibrato fades in, and GRIT dials in what made the SQ-80 sound the way it does: its DOC sound chip reading 8-bit waves without smoothing, at its own sample rate, into a coarse converter. The SQ-80's many parameters are folded into these sixteen. The waves are Ravel's own, built from harmonic recipes in the SQ's families; none come from Ensoniq's ROM.

• The waves: SAW, SQUARE, PULSE, SINE, TRI, BELL, BASS, PIANO, EPIANO, VOICE1 (an "ah"), VOICE2 (an "oh"), ORGAN, REED, SYNTH1, SYNTH2, FORMT1 to FORMT3 (formant peaks, low to high), OCTAVE, DIGIT (bit logic, harsh), GLINT and SPIKE.
• The envelopes: the track's ADSR on the ENV page is the SQ's ENV 4, the level. ENV 2 is the filter's: FILTER's ENV amount follows it, not the level. Its decay alone drives P ENV and TRANS, so they fall away even while ENV 2 holds at E2 SUS.
• More movement: the LFO page's LFOs and the matrix reach every SOURCE knob, so wave levels, GRIT and the intervals can all be modulated, as the SQ-80's own modulators could.
• Greyed knobs: WAVE 2 and SEMI 2 grey out while LEVEL 2 is 0 and MOD is off; WAVE 3 and SEMI 3 while LEVEL 3 and TRANS are 0; VIB RATE while VIBRATO is 0.
• Presets: SQ PIANO, SQ VOX, SQ BELLS, SQ BASS, SQ SYNC, SQ PAD and SQ ORGAN.

WAVE: a wavetable synth after the PPG Wave and the Waldorf Microwave. Two oscillators each read a wavetable: 8 key waves, with POS moving through 64 positions between them. Osc 1 can sync, ring-modulate or frequency-modulate osc 2, both read through a phase warp (after Serum's), and a mixer adds a sweet saturation as you push it. The wave envelope sweeps the positions in a loop, as the Microwave's does. ASIC dials in the hardware: from smooth to the PPG's stepping to the early Microwave's sizzle. The 20 tables are Ravel's own, built in the families the PPG made famous; none come from a PPG or Waldorf ROM.

• The tables: PPG SWEEP (sine to saw, harmonic by harmonic), RESONANT (a resonant peak climbing), PULSE (wide to thin), SYNC (a synced sweep), VOICES (vowels), ORGAN (drawbar settings), BELLS, FORMANT, DIGITAL (bit patterns), SQR TO SAW, PARTIALS (one harmonic walking up), OCTAVES, FM (an index sweep), BRASS, STRINGS, PPG HARD, RANDOM, CHOIR, E-PIANO and WAVEFOLD.
• The warps: SYNC squeezes several cycles into one; BEND leans the wave left or right; PWM squeezes its first half; MIRROR plays it forward then back; REMAP 2 and 4 blend in the wave read two or four times a cycle; SQUEEZE pinches it toward the middle; FLIP turns the end of the cycle upside down; QUANT steps the phase (bit-crushed reading).
• The wave envelope loops while the key is held, then finishes its pass. Pair it with a slow WE TIME for evolving pads, or a fast one with STUTTER or STAIRS UP for rhythmic wave sequences. POS 1 and POS 2 are modulation destinations too: an LFO on POS is the classic PPG sweep.
• Greyed knobs: osc 2 is only heard through MIX (or RING, which multiplies it into osc 1), so osc 2's knobs grey out while MIX is 0 and XMOD isn't RING, and so does XM AMT for SYNC and FM, which change osc 2: turn MIX up to hear them. XM AMT also greys while XMOD is off; WARP AMT while WARP is off; WE AMT and WE TIME while WAVE ENV is off.
• Where MIX, VELO and ASIC sit: on a WAVE track, SOUND's fourth knob is MIX (so bringing in table 2 is one turn from the first page), VELO moves to SOURCE 4's fourth knob, and ASIC sits on OSC MIX beside LEVEL 1: 0 smooth; 1–63 the positions step through 64 whole waves (the PPG's zipper); 64–127 raw, unsmoothed reading, a truncated phase and a coarser output (sizzle). MIX also stays on SOURCE 2.
• The picture: table 1's waves stacked back to front, the one playing lit in POS 1's knob colour. With MIX up, table 2 is drawn below it the same way, lit in POS 2's colour, each stack half as deep.
• Presets: PPG PAD, WAVE BELLS, MW SYNC, DIGI BASS, VOX SWEEP and REMAP STEP.

LOGIC: oscillators built out of function blocks, after Kurzweil's VAST, whose FUNs compute a function of two signals, and E-mu's patch-cord functions. Three simple sources play: A on the note, B and C at musical ratios of it. OP 1 combines A and B, then OP 2 combines that with C. The functions range from arithmetic to bit logic, so the result can be anything from a soft sum to a broken digital pattern that repeats at the sources' common period. A pitch-synchronous grain stage can then turn it into a granular wave: every cycle it plays a grain of the voice's own last few milliseconds.

• The functions: A+B (a sum), A*B (ring modulation), MIN and MAX (the lower or higher of the two), AND, OR, XOR and NAND (the two as BITS-bit numbers, combined bit by bit), A>B (a comparator: high where A is above B, so two slightly detuned sources make a pulse whose width sweeps), GATE (A only while B is high), DIFF (how far apart they are), QUANT (A in steps that B sets), MOD (A wrapped around a size B sets), SIN(A+B) (a sine of the sum: phase modulation) and A(B) (A's wave read at the position B gives: waveshaping).
• Where to start: XOR or NAND between a SAW and a TRI at a ratio of 3/2 or 2, then fewer BITS for a cruder pattern. A>B between a SINE and a TRI at ratio 1 with a little B DRIFT gives a slowly breathing pulse. Ratios that aren't whole numbers make the pattern repeat at a lower common period, so the pitch can drop: 3/2 sounds an octave down, for example.
• Greyed knobs: C, OP 2 and C RATIO grey out while OP 2 AMT is 0; BITS while no bit operator or QUANT is in use; PW while no source is PULSE; G SPRAY and G PITCH while GRAIN is 0.
• Presets: LOGIC XOR, COMPARATOR, GRAIN VOX and BIT CRUNCH.

ORGAN: a pipe organ played like a synthesizer, after the euphoric, breathing organ records of Maxime Denuc (Nachthorn, made on a computer-controlled church organ). Seven ranks of pipes, one per footage, sound together over one stop family, and each pipe behaves like a pipe: it speaks a moment after the key, comes in slightly flat and with a puff of air (the chiff), and the wind that feeds it is never quite steady. The pipe spectra are Ravel's own, from harmonic recipes; there are no samples. The church is the SPACE bus: set its MODE to CLOUDS and turn DECAY up for the long, stone-room tail, and give the track plenty of SPACE send (the ORGAN presets do).

• Registration: the seven footage knobs are the drawstops: pull out 8' and 4' for a clear voice, add 2 2/3' and 2' for a bright, singing mixture, 16' for weight. Ranks too high for a note fall silent, as real pipes run out.
• Playing it: organs don't respond to how hard you play, so VELO starts at 0. The track's ENV is the swell around it all: leave ATTACK short and let SPEECH do the onset; RELEASE about 100 ms is a pipe letting go. The sequencer's interlocking patterns (two playheads in GRAPH mode, INTERVAL, scenes changing registration via the macros) do what the record's pattern-based organ playing does.
• Presets: INFINITE, PLENUM, VOX CELESTE, FLUTE 4' and TROMPETTE.

MONO: a monosynth after the Roland SH-101, played like a wind or bowed instrument, after the way Dorian Concept phrases it. One oscillator, as on the 101: saw, pulse and sub all come from the same source, so nothing detunes or thickens. Choosing MONO sets the track up as the 101 does it: one voice, the SH-101 filter, key tracking full, cutoff about 1.1 kHz, resonance about 12%, the envelope opening the filter by about half, and a bowed-or-plucked envelope (22 ms attack, 260 ms decay, sustain about half, 120 ms release).

• Playing it: overlap notes for slurred phrases (the envelope doesn't restart and GLIDE carries the pitch), lift between notes to articulate them (each starts again, with its scoop). A little vibrato that waits before it starts, and VELO with VEL>CUT, make held notes feel blown or bowed. For layered parts, record one mono line, then another on a second MONO track, as Dorian Concept builds his from many single passes.
• Presets: ORGANIC SAW (the settings above with a hint of vibrato), WOODWIND, CELLO LINE, RUBBER BASS and SCOOP LEAD.

RESIN: a bowed string or a reed, built to be played hard. Where PHYS models a well-behaved instrument, RESIN is about the edges: the bow pressed until it scrapes, a harmonic touched lightly, a reed overblown into a growl or a split multiphonic. Each note is one player, with vibrato built in, and the QUAKE knob shakes the player's hand: the pressure and pitch waver more and more, and at the top the note squeals and breaks. MODEL chooses BOW (a bowed string: the bow sticks and slips on the string, and a wooden body rings with it) or HORN (a reed on a bore: the breath pushes the reed, which opens and closes the tube). Changing MODEL sets the other knobs to that model's defaults; their names change with it.

• Playing it: the filter is open by default; shape the note with the volume envelope (a slow attack and long release for a bowed line) and VELO. Use one voice and GLIDE for a single player sliding between notes. QUAKE is the performance knob: put it on an LFO, the matrix or a step envelope (STEP ENV) for a hand that gives out on certain steps.
• Presets: WRAITH (a low cello, pressed hard, with wide slow vibrato and drift), UPSTAIRS (a frantic, scraping violin line, one voice gliding), RESIN VIOLIN (a cleaner violin), FOGHORN (a low, overblown reed) and THROAT SAX (a growling, sung-into reed).

TINE: things that are struck or plucked and then ring: metal tines and wooden bars. Each note is a handful of resonant modes (the bar's or tine's own overtones, which are not the harmonics of a string) set ringing by a short strike; a harder PLUCK, MALLET or HAMMER is a shorter strike, which reaches the higher modes. Choosing TINE opens the track up for it: four voices, the filter open, the envelope held at full sustain so the instrument decays by itself, and velocity at 100. MODEL chooses KALIMBA, MARIMBA or EPIANO; changing it sets the other knobs to that model's defaults, and their names change with it.

• Playing it: TINE answers velocity: harder notes are brighter, a kalimba's rings rattle and an electric piano barks. With DAMP at 0 notes ring on after release, like a kalimba or a marimba without dampers; raise it for an electric piano's dampers.
• Presets: THUMB PIANO, NAIL KALIMBA (thick, rusty tines with loud rings, an octave down), HAND WAH, MARIMBA, MARIMBA ROLL, BALAFON, SUITCASE (an electric piano with tremolo), GLASS TINE (all bell, little bark) and BARKING EP.

Strike tracks (SOURCE pages)

A strike is an exciter (what hits) and a body (what rings).

With EXT as the exciter, the track makes no strike of its own: the body rings only from what comes in from outside. That is another track's sound through an EXCITE route (HOME › INFLUENCE), the feedback bus returning into this track, or, in the emulator, a file under Audio in. If nothing is coming in, the SOURCE page says so, and you will hear only the attack layer and the inserts, the same on every note. The body's pitch still follows the notes, so a track exciting it through an EXCITE route rings at the note you play.

Perc tracks (SOURCE pages)

A PERC track is a drum machine after the Elektron Machinedrum. Its 33 machines come from the Machinedrum's four synthesis families. Elektron never published how the Machinedrum makes its sounds, so these are Ravel's own designs, built from what the Machinedrum's manual documents: each machine has the manual's parameters, in its order, doing what the manual says they do. They are not sample-perfect copies; the sampled E12 and ROM machines are left out.

A PERC track has two MODEs (EDIT › SOUND, KNOB 2). It starts as a KIT: six machines in lanes, sequenced together on the one track (see Kits below). SINGLE is one machine played by notes, on the SOURCE pages:

• SOURCE 1, KNOB 1: MACHINE. Choosing a machine loads its own defaults.
• The rest of SOURCE 1 and SOURCE 2: the machine's own eight parameters (A–H on the Machinedrum). A machine with fewer leaves the rest greyed out.
• SOURCE 3 and 4: the Machinedrum's track effects. AMD and AMF (amplitude modulation: depth and rate, up to audio rates), EQF and EQG (a one-band EQ: frequency and boost or cut), FLTF, FLTW and FLTQ (the band filter: a high-pass at FLTF and a low-pass FLTW above it; FLTF at 0 turns the high-pass off, FLTW at 127 the low-pass, FLTQ adds resonance to both). The Machinedrum's SRR and DIST are the track's own DEREZ and DRIVE on EDIT › SKIN.
• Playing it: the key you play transposes every pitched machine (C4 plays it at its PTCH setting). VELO sets how much velocity changes the level. The machines make their own envelopes, so the ENV pages grey out; a hit plays out whatever the key does. VOICES: MONO (each hit chokes the last, as on the Machinedrum) or 2.

The machines and their parameters

• What they mean: PTCH pitch, DEC decay, RAMP and RDEC a pitch drop and how fast it falls, BUMP and BENV a pitch kick at the start and its length, STRT, TICK, CLIC and SNAP a harder start, NOIS noise at the start, HOLD how long the level holds, HARM extra harmonics, CLIP, DIST and DTYP distortion and its hardness, DIRT fewer bits, TONE and TUNE the colour and detune, DAMP a shorter tail. Clap: CLPY how many claps, HARD sharper ones, RICH a wider band, RATE their spacing, ROOM, RSIZ and RTUN a room after them. Hats: GAP how far apart the metal's tones sit, HPF and LPF the filters, MTAL more metal than noise. Cymbal: RICH, TOP and TTUN the top end and its tuning, SIZE, PEAK an edge. Maracas: ATT and SUS the shake, REV backwards, RATL and RTYP the rattle and its colour.
• EFM: MOD is the FM depth, MFRQ the modulator's frequency (low ratios are tonal, high and odd ones clang), MDEC how quickly the FM fades, MFB and FB feedback (grit, then noise). NOIS and NDEC add noise (snare), CLPS and CDEC repeat the hit (clap), SNAR, SPTC, SDEC and SMOD a second FM pair for a snare timbre (rim shot), TREM and TFRQ a tremolo.
• P-I: HARD a harder hit, HAMR a softer mallet, TENS the pitch bend of a tight skin hit hard, DAMP damping, TUNE how the skin is tuned, SIZE the drum's size, POS where it is struck (centre to edge), RING metal that rings on, RVOL and RDEC the snare wires, GRNS and GLEN the maracas' grains and their length, CLSN the two hats touching, AG and AU more or fewer highs, BR the lows, CLOS and GRAB when the hat closes or a hand grabs the cymbal (127: never).

Kits: six drums on one track

A PERC track starts as a KIT: six lanes, each its own machine with its own sound, all sequenced together on that one track, so a full rhythm takes one track and leaves the others free. The kit's six sounds live inside the track: they are its lanes, not other tracks. (MODE SINGLE turns the track back into one machine played by notes. Changing MODE, or turning a track into or out of a kit by KIND or a preset, starts its steps clean, since notes and lane hits can't read each other; if the track has steps, the first turn only warns, and turning again after a moment does it.)

Editing a kit: one page per lane. Each of the six sounds is edited like a track of its own, on EDIT › LANE 1 to LANE 6. On EDIT, black keys 3–8 jump straight to lanes 1–6 (in other sections they do nothing on a kit) (black keys 1 and 2 stay patterns A and B). A LANE page shows tabs for the six lanes, the lane's machine and family, and every setting it has, in one list like a file browser's details view: the machine's eight parameters, then LEVEL, CHANCE, LENGTH and RATE, each with its bar and value.

• PRESETS chooses the lane's machine (any of the 33; each loads its own defaults).
• The knobs work through the list a row at a time: OCT- and OCT+ move the knobs to the next group (parameters 1–4, parameters 5–8, then LEVEL, CHANCE, LENGTH and RATE). The rows the knobs are on are lit and numbered 1–4 in the list.
• LEVEL is the lane's level in the kit. CHANCE is how likely the lane plays its hits. LENGTH is the lane's own loop (TRK follows the track's LENGTH; any other length runs against it: a 12-step hat over a 16-step kick shifts every bar).
• RATE is the lane's own speed against the track's: X1/4, X1/3, X1/2, X2/3, TRK (the track's), X3/2, X2, X3 or X4. A hat at X2 runs through its steps twice as fast as the kick (sixteenths over eighths, or 32nds as rolls); a lane at X2/3 or X3/2 plays triplets against straight steps; X1/2 stretches a lane's pattern over twice the time. Each lane keeps its own place, wrapping at its own LENGTH, and its hits fall between the track's steps where the rate puts them. Lanes at a rate of their own play forward. The DRUM page marks a lane's rate under its name when it isn't TRK.
• Shared by the whole kit: EDIT › KIT FX (AMD, AMF, EQF, EQG) and KIT FILTER (FLTF, FLTW, FLTQ), SKIN (DEREZ is the Machinedrum's SRR), INSERT, MIX and SENDS. A kit has no PITCH or synth FILTER page: each machine has its own pitch and tone.

SEQ is the drum sequencer, and the only place the lanes are drawn as steps. On a kit track SEQ opens on the DRUM page instead of STEPS: all six lanes over sixteen steps, the chosen lane in red, accents white, ratchets marked above, locked steps marked with a dot, each lane's playhead in teal. The note pages (STEPS, STEP SHAPE, the graphs) are hidden on a kit, since a drum hit has no note or length. Every kit SEQ page draws the lanes: STEP TIMING keeps MICRO, R CURVE and CONDITN (a step's timing is shared by the lanes on it), and TRACK keeps LENGTH, RATE and CLOCK. A kit's ratchets are set per lane on DRUM STEP only.

• In SEQ, black keys 3–8 choose the lane you are sequencing, and the white keys are its sixteen steps: one tap puts a hit there, the next tap clears it (and its locks). OCT- and OCT+ page through longer patterns.
• The DRUM pages:

• Parameter locks. Go to a lane's LANE page, hold SEQ and a step key, and turn a knob: that value (a machine parameter, or LEVEL) is locked for that lane on that step only, and the knob shows the locked value while the step is held. A teal dot marks the step on DRUM. A lock on an empty step puts the lane's hit there. Each kit holds 48 locks; clearing a hit clears its locks. The kit-wide sound (KIT FX, KIT FILTER, SKIN, the insert) locks the usual way.
• Playing it live: outside SEQ, the white keys play the lanes, 1–6 and again (key 7 is lane 1). With REC armed, what you play is recorded into the lanes.
• A step's velocity, chance, timing and condition are shared by the lanes that play on it; each lane adds its own CHANCE. Each lane is one voice: a new hit cuts its last.
• SWING is on GLO › CLOCK (it was DRUM's fourth knob before lanes had their own RATE).
• EUCLID (the last SEQ page) writes evenly spread hits into the chosen lane; R CURVE and R MOVE (STEP TIMING) shape its rolls.

• Presets: TRX KIT (kick, snare, hats, clap, rim; the kit a new PERC track starts with), EFM KIT, PI KIT and MD MIX KIT (machines from every family).

• Presets: TRX KICK, TRX SNARE, TRX CLAP, TRX HAT, TRX OPEN HAT, TRX COWBELL, EFM KICK, EFM SNARE, EFM HAT, EFM BELL, PI KICK, PI SNARE, PI TOM, PI RIDE, PI SHAKER, METALLICA, GND SUB and IMPULSE.

7. ENV: articulation

Each track has two envelopes. The volume envelope (ENVELOPE, ONSET, LOOP / TAIL, DESTINATIONS) shapes the level and can move two more parameters. The FILTER ENV (three pages after it) opens and closes the filter.

The volume envelope is in three stages, named after how speech is described: the onset (how a sound starts), the continuant (how it holds) and the termination (how it ends). The first page holds the four times and the level you reach for most, attack, decay, sustain and release; the pages after it shape them. The picture draws the shape as you turn the knobs.

(VELO, velocity sensitivity, is on EDIT › SOUND.) | DESTINATIONS | DEST 1: any parameter of this track | AMOUNT 1 (±) | DEST 2 | AMOUNT 2 (±) |

DESTINATIONS lets the envelope move up to two more parameters, such as FM's LEVEL2 or CZ's DCW +-, so the timbre changes with the note.

FILTER ENV

The filter has its own envelope: delay, attack, hold, decay, sustain and release, with a bend on the attack and one on the falls, a loop and a speed. ENV>CUT sets how far it moves the cutoff, up or down (+40 on a new track). It is the same setting as on EDIT › FILTER, so turning either moves both. The envelope can also move one more thing of the track's, F DEST, by F AMT: with F LOOP on it is an LFO of the track's own, started by each note, where the two LFOS are shared by all tracks.

• The picture draws the whole envelope with its bends, marks the loop when it is on, and shows the playing note as a dot.
• Which tracks: synth tracks. With the LPG the filter follows the volume envelope instead, and the SQ engine's ENV 2 (on its source pages) is its own filter envelope, so these pages grey out there, unless F AMT sends the envelope somewhere: then it runs for F DEST. The CZ engine uses it like any other.
• F DEST and F AMT: the newest note's envelope, 0 to its peak, moves F DEST up by F AMT (or down, with F AMT below 0), as the volume envelope's DEST 1 and 2 do. The picture shows where it goes (INTO PAN +20, say). F DEST steps only through what can be moved.
• Moving it: F ATK, F DEC, F SUS, F REL, F RATE, ENV>CUT and F AMT are modulation destinations, so an LFO or the matrix can deepen the track's own one.
• Older projects and sounds load with a FILTER ENV copied from their volume envelope, so they sound as they did (the one envelope used to drive both). The factory presets do the same. The SHAPE envelopes of earlier versions are gone; a project that used one plays the classic volume envelope.

STEP ENV and the LIBRARY

The LIBRARY holds 32 step envelopes: shapes a step starts, that move one parameter across that step and on through the steps after it. A filter blip on one step, a fold that climbs over four, a pitch that drops on the last step of a bar. One number on a step calls up a whole motion, and envelopes can chain into each other for longer, more complicated moves.

STEP ENV says where they go, one destination per track:

• Starting one: set a step's ENV on SEQ › STEP SHAPE (or hold SEQ and ENV, hold the step's key and turn KNOB 1). When that step plays, its envelope starts from the beginning and replaces the one running.
• Carrying on: steps without an ENV leave the running envelope alone, so a long envelope or a chain moves through them. Set SE NOTE to have every such note start an envelope instead.
• At the end an envelope loops back to one of its segments, or hands over to its NEXT (a chain: the next one starts from where the last ended), or holds its last level. Stopping the sequencer puts the parameter back where its knob is.
• The picture on STEP ENV draws the envelope playing on the track, with a dot where it is.

Editing an envelope (LIBRARY): PRESETS picks the envelope (1–32). OCT− / OCT+ step through its rows; the picture marks the segment on the knobs.

Editing a segment past the last one adds it. The twelve factory envelopes, all synced:

13 to 32 start empty. Projects made before this version get the twelve factory envelopes, and their steps' old library numbers are cleared (the old library swapped a step's volume envelope; set SE DEST to LEVEL for something like it).

8. LFO: modulation and macros

• SYM moves the middle of the cycle from 5% to 95%, so each half of the wave speeds up or slows down: a sine leans, a triangle turns into a rising or falling ramp, a square becomes a narrow or wide pulse. The matrix can move it (target GLOBAL › L1 SYM or L2 SYM), so another LFO, dust or an envelope can reshape an LFO as it runs.
• A row can move another row: set TRACK to MATRIX and PARAM picks a row (ROW 1 AMT to ROW 8 AMT, any but its own). This row's source then moves that row's AMOUNT, by up to this row's AMOUNT either way, on top of what it is set to. For example, row 1 is LFO 1 into a cutoff at 0, and row 2 is MACRO 1 into ROW 1 AMT at +63: the macro fades the LFO's sweep in. Rows can chain (row 3 moving row 2 moving row 1). On the MATRIX picture a moved row's amount turns bone and its bar shows the amount as it is now.
• PHASE is where the cycle starts. In LOOP it offsets the wave; in RETRIG and 1 SHOT it is where a note restarts it.
• MODE: LOOP (the default) runs freely. RETRIG starts the cycle over on every note, on any track. 1 SHOT plays one cycle from each note, then rests at the cycle's end: an extra envelope.
• The LFOS and LFO SHAPE pages draw both waves as SYM and PHASE make them; on LFO SHAPE the one on the knobs is lit.

Matrix sources:

• LFO1, LFO2;
• DUST: random impulses, like crackle;
• ENV and VELO: the target track's own envelope and velocity;
• MACRO1–4;
• CLOCK: a pulse on every clock tick;
• KEY: the note the target track is playing, centred on C4. At AMOUNT +63 the parameter follows the keyboard exactly, one semitone per key (see below);
• WHEEL: reserved for MIDI; nothing drives it in this version.

The matrix: 8 slots, each "this source moves that parameter by this much".

1. Turn PRESETS to pick a slot.
2. Turn KNOB 1 to pick the source.
3. Turn KNOB 2 to pick the track.
4. Turn KNOB 3 to pick the parameter (only parameters that can move smoothly are offered).
5. Turn KNOB 4 to set the amount.

Key tracking with KEY. At AMOUNT +63, KEY moves these parameters by exactly one semitone a key: the INSERT TUNE of a COMB insert, CUTOFF, PITCH and FINE. Any other parameter moves one step a key. Smaller amounts track part of the way, and negative amounts turn the keyboard upside down. KEY reads the target track's newest note, so with several voices the comb follows the last key played.

Example: a strike track whose comb rings in tune with the keys.

1. On T5's INSERT page (EDIT), set INSERT to COMB. Leave TUNE at C4, its default. AMOUNT sets how strongly the comb rings (try 90–127), and MIX how much of it you hear (try 127).
2. Press LFO for the MATRIX page (not HOME › INFLUENCE: influence routes move a parameter by another track's envelope, not by the keys). Set SOURCE KEY, TRACK T5, PARAM TUNE, AMOUNT +63.
3. Play: the comb now rings in unison with every key. Turn TUNE to C5 for an octave above, or G4 for a fifth.

The comb reaches down to about F3; notes below that stop there.

Macros: 4 macros, each moving up to 8 destinations at once. Each destination has its own start and end values, curve, and window (FROM % / TO %).

• The window lets one knob turn do several things in sequence. For example, macro 1 from 0 to 50 % opens a filter, and from 50 to 100 % adds feedback.
• PRESETS walks through 32 slots: macro 1's eight destinations, then macro 2's, and so on.
• To play the macros, hold LFO and turn KNOB 1–4: they are macros 1–4 on any page.

9. FX: the buses

Each track can send part of its sound into six shared effects (buses). Their outputs go back into the mix.

How the sends work.

• On every FX page, one knob is called T1 SEND (or T2, T3…): that is how much of the current track goes into this bus.
• Turn ALGORITHM to set another track's send without leaving the page.
• The other knobs on the page set the bus itself, which is shared by every track.
• The same sends are also on EDIT › MIX and EDIT › SENDS.
• Every effect starts off. A new project's sends are all 0, the space is ROOM and MASTER DRIVE is 0. Picking a sound with PRESETS leaves the track's sends where you had them, so no effect starts running because of a preset. The demos are the exception: they come with their own sends. A bus with nothing sent into it stops running once its tail has died away, so it costs nothing.

The delay is a tape. One short loop of tape, written at half rate and 12 bits (about half a second), driven on the way in (SATURAT). The echoes read it at TIME while the tape's speed sways (WOW, slow and drifting) and wavers (FLUTTER, fast and shallow); each pass goes through TONE, the tape's AGE (darker, a little hiss, and now and then a dropout, more as it ages) and the saturation again, so the repeats wear down like an old tape echo's. DOUBLE adds two copies of what comes in, 18 and 27 ms behind and wavering apart: double tracking, one knob. GRAINS mixes in a cloud of up to eight grains read from the same tape around the echo (after Mutable Instruments' Beads, kept lofi): DENSITY, SIZE and PITCH shape them, WOW scatters them, SPREAD widens them, and the cloud feeds back into the tape with the echoes. FREEZE stops the tape recording, so the echoes and the cloud play what it holds: freeze a phrase, then turn GRAINS, SIZE and PITCH.

The buses follow the matrix and the macros. On LFO › MATRIX, TRACK = GLOBAL, the PARAM knob walks the settings that can be moved: the clock, the LFOs and dust, and each bus's main settings (delay time, feedback, tone, level, wow, grains; space size, damp, level, motion; the feedback bus, the filter pair's frequencies, resonance and level; the bands' and vocoder's levels; the BED; master drive and cut mix). The macros reach the same ones.

CLOUDS (SPACE, MODE CLOUDS) is a long, smooth plate in the manner of the reverb in Mutable Instruments' Clouds: a figure-eight tank of allpasses and delays that feed each other. SIZE becomes DECAY, from about half a second to a tail of twenty seconds or more. DAMP, DIFFUSE, MOTION and LOW CUT work as they do in ROOM. Switching MODE clears the tail.

12-BIT (MODE 12-BIT) is a bright, metallic plate in the manner of late-1980s rack reverbs such as the Alesis Quadraverb: combs and allpasses run at half rate and kept in 12 bits, with the output held step by step, so the tail lisps, grains and aliases as it fades. SIZE becomes DECAY and DIFFUSE becomes CRUNCH, which takes the stored samples from 12 bits down to 8. DAMP darkens it and MOTION adds a little chorus in the combs.

All four modes share one block of memory, so the two new ones cost no extra RAM; they run at half rate and cost about what CLOUDS does.

BANDS is a resonant filter bank in the manner of the Moog MuRF: eight bandpass filters at fixed frequencies, each with its own level. With DEPTH at 0 it sculpts: turn bands down to carve the sound into a few ringing peaks, and raise RESO to make them sing. Raise DEPTH and a spotlight travels across the bands at RATE, lighting WIDTH bands at a time and dimming the rest, so a held chord or a drum loop becomes a moving, rhythmic pattern of resonances. STEP UP and STEP RND jump from band to band like the MuRF's patterns; UP, DOWN and PINGPNG glide. Odd bands lean left and even ones right, so the sweep moves across the stereo field. The picture shows each band's level (outline) and its gain right now (filled). LFO 1 and 2, the macros and the matrix can move every BANDS knob.

The vocoder works backwards from a normal one.

• The tracks you send into it are the voice: their spectrum is measured in 8 bands.
• The BODY is the material that gets shaped by that spectrum.
• So T1's melody can be played on dust crackle, water drops, the tape, or another track's sound.
• The body is levelled band by band, so a quiet track works as well as a loud one. How loud the vocoder is follows the voice: the SEND, how hard the voice is played, and LEVEL.
• If a body track is also playing in the mix, turn its LEVEL down to hear only the vocoded version.

The feedback bus is a delay loop with an effect inside. Each pass goes through the effect again, so a comb rises into a ringing pitch, a shift climbs or falls, and a fold grows harsher.

• Send it into a track (RETURN T1–T8) and the loop feeds back through that track's own filter and skin.
• If it gets too loud, turn down REGEN or turn EDGE on.

The BED is a quiet layer under everything: grains of dust, and a breath of soft noise, falling on a small body tuned to the scale's root (SCL › ROOT). At TONE's left the body is wood, its modes spread like a marimba bar's and short; at the right it is metal, its modes clustered and inharmonic, and it rings long. SHIMMER adds its two lowest modes an octave and two octaves up, beating slowly. DUCK lets the tracks hold it down, quickly when they play and slowly letting go, so the bed comes up in the gaps between hits. SPACE sends it into the space reverb: into CLOUDS with a long DECAY it becomes a deep floor under the clicks. The picture shows the body's modes, the shimmer, the dust as it falls and, with DUCK up, how far it is held down. The dust is random, as dust is; the bed plays no notes and changes nothing in the patterns.

Microcuts (MASTER page) are slivers of the master output, looped, reversed or stuttered. Trigger them from steps (SEQ › STEP SHAPE › CUT, with their own shape and size on STEP CUT) or with the FX punch-ins (their shape: MASTER 2 › C SHAPE).

Punch-in effects: hold FX and press white keys 1–8:

The effects last while the key is held. Letting go of FX releases them all.

10. SCL: scale

• The keys fold into the scale (like Elektron's fold mode). With a scale set, every key plays: the lowest key plays the first scale note at or above F, and each key after it plays the next note of the scale, so the keyboard runs up through the scale across several octaves and no key is wrong or dead. With CHROMA the keys are chromatic again. Notes you record from the keys are recorded as played.
• The sequencer snaps each step's note to the nearest scale note (a note exactly between two goes down).
• INTERVAL (per track): a track with interval N only plays notes that are a multiple of N semitones from the root; other notes are skipped. INTERVAL 1 plays everything, 12 only the roots, 7 the root and the notes a fifth apart (stacked fifths: the fifth, the ninth…), 2 every other semitone. Give two tracks the same notes with different intervals and they split them between them.
• Set the root from the keys: hold SCL and press a key.

11. ARP: the tape

The tape is Ravel's memory: one short loop of audio that every tape track plays from.

• It is always listening to its source, a rolling recording of the last moment.
• When you catch, it stops listening and keeps what it heard. Now the tape tracks have something to play.
• ARP opens the TAPE section. If the current track is not a tape track, it jumps to the first tape track ("T7: THE TAPE TRACK").

How long is the tape? About 1.4 s in CLEAN quality, more in TAPE (12-bit), and about 5.5 s in DIRTY (8-bit µ-law at half rate). Choose on the CAPTURE page.

Getting sound onto the tape

Rows. The tape is divided into four rows, which are windows onto the tape. By default row 1 is the whole tape, rows 2 and 3 are its first and second halves, and row 4 is its first eighth. A tape track plays one row at a time.

The five ways a tape track plays

A tape track is Ravel's sampler. It plays its row of the tape between START and END (PLAYBACK). START and END are ordinary parameters: the matrix, the macros, the LFOs and influence can move them, so a loop can shrink, stretch and wander while it plays. The picture dims what lies outside them.

MLR (named after the monome app). The current row is laid across the 16 white keys.

The picture shows the whole tape, the four rows (the current one bright), the playhead(s) and "CAUGHT 1.4S" or "LISTENING".

KEYS: the row (START to END) played across the keys, like an early sampling keyboard. C4 plays it as it was caught; each key up or down is a semitone. Up to four at once (VOICES), each with the track's envelope. PLAY says what happens at the ends: FWD plays once, LOOP goes round while the key is held, PINGPNG goes back and forth, REV and REV LOOP run backwards. With LOOP on and an LFO on END, the loop breathes.

STRETCH: as KEYS, with its SPEED apart from its pitch. At 100 % it keeps the sample's own time; at 50 % it takes twice as long at the same pitch; at 0 it stands still on one moment and hums it. Two short windows read the tape, so it smears a little: lofi on purpose.

SHARDS: the span broken into SHARDS pieces (2–16), played one at a time, never overlapping, in an ORDER: forward, reversed, SKIP (the odd pieces, then the even), SWAP (each pair changed round), INWARD (the ends toward the middle) or one of three fixed shuffles. GAP leaves a silence after each piece, from none to most of it, so a phrase falls apart into clicks and fragments. Each piece fades in and out quickly, so there are no clicks except the ones you want. PLAY LOOP goes round; REV plays each piece backwards. The picture marks the pieces.

SLICE: the row is cut where it hits (onsets).

• Keys play slices from left to right, and so do steps.
• SENS sets how many hits count; SLICES sets the maximum. SENS 0 cuts an even grid of SLICES instead.

A tape KIT (EDIT › SOUND, MODE = KIT): six lanes, each its own span of the tape, sequenced on SEQ › DRUM like a perc kit, with each lane's own length, rate, chance, ratchets, R MOVE and EUCLID. A new tape kit cuts row 1 into six. Each lane (EDIT › LANE 1–6) has its ROW (PRESETS walks them) and PITCH (64: as caught, ±24 semitones), START, END, PLAY, DECAY (127: plays to its end), SHARDS (below 2: off; 2–16 plays it as shards), ORDER and GAP. A lane plays one hit at a time; outside SEQ the white keys play the lanes. Parameter locks work as on a perc kit.

Steps on a tape track in MLR jump the playhead: the step's note picks the position. A pattern on T7 can therefore cut the loop up rhythmically, and recorded MLR jumps become these steps (see Recording). In KEYS, STRETCH and SHARDS steps play notes, through the scale like a synth's; in SLICE a step's note picks the slice.

Samples are kept in RAM: what is on the tape is gone when the FM-1 is switched off. Resample it again from the project.

Audio in.

• In the emulator, choose a file under Audio in; "Record it onto the tape" sets the tape's source to INPUT. The FM-1 has no audio input in Ravel.
• Set SOURCE to INPUT to catch it, or ring a strike body with it (EXCITER = EXT).

12. SEQ: steps and the graph

Every track has its own sequencer, with two patterns (A and B) of up to 64 steps.

• PRESETS switches pattern while on SEQ pages, and so do black keys 1 and 2.
• Black key 9 (COPY) picks the current pattern as the source. Black key 10 (PASTE) copies that pattern, as it is at that moment and with a kit's locks, into the current one: switch to the other pattern, or to another track, first. A kit's pattern pastes only into a kit, and a note pattern only into a note track. Pasting over steps asks first: press it twice. The pattern's steps are copied; the track's LENGTH and RATE stay the target's own.
• Black key 11 clears the pattern: press it twice (the first press asks).
• A pattern launched while playing waits for the current one to finish (its LENGTH, at its RATE), then starts from its first step, so patterns of any length change cleanly. (A GRAPH track has no end, so it changes on the next bar.) Scenes change on the next bar.

The step keys

While you are on any SEQ page, or while you hold SEQ on any other page, the 16 white keys are steps.

Editing a held empty step switches it on.

EUCLID spreads HITS as evenly as they go over the track's LENGTH (5 over 16 is x..x..x..x..x...., the first on step 1) and ROTATE turns the pattern round. It writes ordinary steps as you turn: the steps it lights are steps like any others, with their notes, locks and ratchets, and you can edit them by hand from there. HITS starts from how many steps play now. Each turn rewrites which steps play (up to LENGTH), so turn it to find a rhythm, then leave it. On a kit the page is LANE, HITS, ROTATE and the lane's LENGTH, and it writes the chosen lane only: give each lane its own length and hits for rhythms that interlock and drift. The picture is the pattern as a ring, E(hits, length) in the middle.

Ratchets that move. A ratchet repeats the step's note within the step. Two settings change how the repeats fall and sound:

• R CURVE BOUNCE spaces the repeats like a ball dropped on a table: the gaps shrink and each repeat is softer than the last. (EVEN, FASTER and SLOWER place them evenly, closing up or opening out; their "-F" versions fade.)
• R MOVE changes each repeat: UP and DOWN climb or fall a step of the scale per repeat (on a kit lane, two semitones); DARK closes each repeat down, darker, quieter and shorter than the one before, so a metal hit turns to wood as it rolls.

Together they give the bouncing, tumbling bursts of IDM: a hat on RATCHET 6, BOUNCE, DARK falls like a coin; a snare on 4, FASTER, UP rises into the next bar. On a kit, R CURVE and R MOVE are on STEP TIMING (KNOB 2 and KNOB 4) and act on the lanes that roll on that step.

Cuts with a shape. A step's CUT is a microcut of the whole mix (see FX › MASTER). On STEP CUT:

• C SHAPE EVEN repeats the sliver as it is; BOUNCE makes each repeat shorter and a little higher, like a ball settling (it adds a few repeats to settle in); DRAG plays each slower and lower, a tape winding down.
• C SIZE sets the sliver against the step, from 1/32 to 1/2 of a step (at most 93 ms), so it follows the tempo; MASTER uses CUT SIZE.

While a cut plays its sliver is held, so every repeat is of the same moment.

Conditions (CONDITN) decide on which passes through the pattern a step plays:

• ALWAYS;
• FIRST (only the first time) and NOT 1ST;
• 1:2, 2:2 (first or second of every two passes);
• 1:3 … 3:3;
• 1:4 … 4:4;
• FILL (only while the FILL punch-in is held) and NO FILL.

CLOCK lets a track step by something other than the master clock:

• LFO1/LFO2 step on each LFO cycle;
• DUST steps at random;
• an influence CLOCK route steps on another track's notes.

All of these give rhythms that drift against the grid.

On the STEPS picture:

• the top strip is the whole pattern, with the playing step bright;
• the grid is the current page of 16;
• each box shows the note and a velocity bar;
• outlined boxes are where the playheads are.

GRAPH mode (Silt's sequencer)

Set SEQ › TRACK › MODE to GRAPH. Now the steps sit in a circle, and each step has cords that say where a playhead goes next, instead of always moving to the following step. The pages after TRACK change to GRAPH, HEAD 1, HEAD 1 MOTION (and HEAD 2, HEAD 2 MOTION when head 2 is on).

GRAPH drives the same steps. It is not a second sequencer: the steps you set on the STEPS pages (which are on, their notes, velocity, length, locks, ratchets and the rest) are exactly what plays in GRAPH mode too. GRAPH only changes the order the playhead visits them, and adds a second playhead. Edit the steps on STEPS, STEP TIMING and STEP SHAPE in either mode; draw the cords on GRAPH.

Making a graph:

1. Go to the GRAPH page.
2. Pick a step with PRESETS, or hold its white key. With more than 16 steps (TRACK › LENGTH), the white keys hold 16 at a time: OCT+ and OCT− move them to steps 17–32, 33–48 and 49–64 (and put that page's first step on the knobs). The steps on the keys turn slate on the circle, the step on the knobs keeps its colour with a slate edge, the footer says which steps the keys hold (KEYS: 17-32), and the step on the knobs is named (STEP 17).
3. Set CORD A (where it goes) and, if you want a branch, CORD B. The cords are drawn on the circle. A cord can only point at a step that exists (1 to the track's LENGTH). If you shorten LENGTH later, cords to steps past the end are ignored: they read NEXT or NONE until LENGTH grows again.
4. Choose BRANCH, which decides between A and B at a fork: - CHANCE: a coin toss; - TURNS: alternate each visit; - LFO1/LFO2: by the LFO's sign; - MOTION: by the head's function generator (above half way takes B).

Two playheads walk the same graph at once.

• Head 1 plays this track.
• Head 2 is off until you choose what it does with HEAD 2 on the GRAPH page. It has its own rate and start step, and can play another track (HEAD 2 › PLAYS).

HEAD 2 chooses how the two heads share the work. Head 1 always takes the other half, so no setting leaves the track silent:

With MELODY or RHYTHM, rhythm and melody walk two different paths at two different speeds, so they never quite line up the same way twice. The picture shows each head's job at the top (H1 and H2).

MOTION (Silt's function generators) moves a head's speed as it travels.

• SHAPE:
• RISE, FALL, ARCH, DECAY or SWELL, traced once every CYCLE steps;
• or LFO 1, LFO 2 or DUST, followed live.
• DEPTH sets how far it pushes; negative reverses the effect.
• COMBINE sets how it meets the clock:
• × CLOCK multiplies or divides the clock (up to two octaves faster or slower), so it accelerates and decelerates musically;
• + CLOCK adds to the clock's rate (from slowing to a near halt up to racing).
• The MOTION picture draws the shape, where the head is on it, and its current speed in steps per pulse.

13. GLO: song, scenes and clock

_{(Taken on the desktop simulator, a far faster machine: the same project reads many times higher on the FM-1.)}

CPU: where the audio's time goes. The bars show how much of the time the audio has each part of the render takes: CONTROL (the sequencer, modulation, the knobs), SYNTH, STRIKE, PERC, TAPE (the sample voices), TRACK FX, BED, VOCODER, FEEDBACK, PAIR, BANDS, DELAY, SPACE and MASTER. A bar's full length is 50 %. RENDER is the total; past about 90 % the FM-1 falls behind. XRUNS counts the blocks that came too late: each one is a crackle, and a steady stream of them is the loud noise an overloaded FM-1 makes. Measured on the FM-1 and the desktop simulator; the browser has no clock for it.

The overload guard. When the render takes more than 80 % of the time it has, the guard fades out the oldest voice (a released one first, over about 7 ms) and holds the voice count there: a new note past the limit fades out the oldest to make room. When there is room again, the limit comes back up a voice at a time. The CPU page shows it (GUARD: 6 VOICES, and how many it has faded). It only acts when the voices are what costs; if the effects alone are too much, turn some sends down. It never acts in the browser.

Two cores. The FM-1's chip has a second core that Ravel normally leaves off: on some units it misreads memory. CORES 2 starts it and gives it the synth voices of half the tracks (split by how many voices each has), while the first core plays the strikes, drums and samples. If it ever fails, by reading a wrong job or not finishing one in time, the first core takes the work back at once and the second stays off until the FM-1 is switched off (CORE 2 FAILED on the CPU page). It only helps when synth voices sound on two tracks or more. It goes back to 1 at power-off.

FLASH WAIT. The FM-1 runs Ravel's code straight from its flash memory, through a cache. When the code the render needs is not in the cache, the core waits for the flash. FLASH WT ON counts those waits and shows them as a share of the render (FLASH WAIT 30 %). A high number means moving the busiest code into the chip's RAM would help. The counters are not verified on hardware yet, so it is off by default.

STRESS: how much this FM-1 takes. The stress test replaces the project in memory (save yours first; it asks twice), builds a project that adds load a step at a time, and plays it, with the overload guard off so you see the real edge:

Each step is measured from its first second to its third; the table shows the RENDER % for each step, red with a ! where XRUNS started. AUTO RUN walks all sixteen in under a minute and leaves the table on screen: a photo of it says exactly what this FM-1 can do. Change ENGINE to compare engines (STEP 5 is 8 voices of it). Turn STEP to OFF to stop. Loading any project or demo ends the test.

Metronome and count-in. METRO clicks while the sequencer plays; the click goes straight to the output and is never recorded. With REC armed, PLAY first counts in (the clicks sound even with METRO off, and the screen shows COUNT-IN with the beats left), then starts at step 1. Notes played during the count-in are not recorded, except one played just before step 1, which lands on it. Without REC, PLAY starts at once.

Scenes are snapshots of every track's pattern (A/B), levels, influence routes, mutes and macros.

• Store: hold SAVE and press a white key (1–16). Over a stored scene, the first press asks: press again to overwrite.
• Launch: on the SCENES page, press a white key. It changes on the next bar. Black keys 1–2 there switch the current track's pattern.
• Glide: with GLIDE set to 1–8 bars, a launched scene (or an arrangement row) changes its patterns and mutes on the bar as before, but the track levels, the macros and the influence routes' amounts travel to the scene's over that many bars, easing in and out. A route the new scene adds grows from nothing; a route it drops fades, then goes. GLIDE JUMP switches everything at once, as before. Stopping mid-glide lands on the scene.

Arrangement: a list of up to 32 rows, each "play scene S for B bars".

1. Set ROWS to the number of rows the song needs.
2. Pick each row with PRESETS and set its SCENE and BARS.
3. Set PLAYS to SONG and press PLAY.

Without an END row the song loops back to row 1. Give the last row the scene END to have the transport stop there. A scene with its own tempo (S TEMPO) changes the tempo when its row starts.

Density arcs. For each track, draw 16 points of density, each lasting SPAN bars (1, 2 or 4: an arc of 16, 32 or 64 bars, so a part can stay quiet for a long stretch and open up once).

• At 100 % every step plays. Lower values thin the part out, off-beats first and downbeats last.
• One pattern can then breathe across a phrase without writing new patterns.
• Pick the bar with PRESETS and the track with ALGORITHM.

The clock (after Silt's two-oscillator clock).

• Oscillator A is the tempo. B DOES lets a second, slower oscillator bend it:

• With DEPTH at 0 the clock is straight.
• TEMPO IS: FREE lets it drift like an old drum machine.
• Tap tempo: hold GLO and tap black key 1.
• Mute and solo: hold GLO and press white keys 1–8 to mute tracks 1–8, or 9–16 to solo tracks 1–8.

14. SAVE: projects and sounds

SAVE has two pages: PROJECT (the whole song) and SOUNDS (one track's sound at a time). Turn SELECT to go from one to the other.

Projects

1. Press SAVE to open the page.
2. Turn PRESETS to choose a slot (1–7). The picture shows which slots are used and their names.
3. Turn KNOB 1 (ACTION):

4. To name the project, use KNOB 2 (CURSOR) to pick a letter's place (1–11) and KNOB 3 (LETTER) to choose it (A–Z, 0–9, space and - + # & ' .), as on SOUNDS. The name shows on the right, with a mark under the letter on the cursor. It belongs to the project you are working on, so name it before you SAVE; LOAD brings back the name it was saved with.
5. Press SAVE once: the footer says "PRESS SAVE AGAIN TO CONFIRM".
6. Press SAVE again to do it.

Ravel starts on a blank project every time it is switched on (or the emulator is opened). Saved projects stay in their slots: load one with LOAD.

There are seven project slots. (Before v0.5.0 there were eight; the eighth's room now holds the sound banks, so a project saved in slot 8 is gone after updating. Load it and save it to slots 1–7 first.)

A project holds everything: all eight tracks and their patterns, influence, modulation, buses, scenes, the arrangement, arcs and the LIBRARY of step envelopes. It does not hold the tape audio. Catch or resample again after loading.

Sounds: your own bank

Four banks (A–D) of 32 slots for your own sounds, 128 in all, of any kind: a synth on any engine, a strike, a perc machine, a whole kit, or a tape track's settings. Each has a name, and its kind is shown on the right of the list (SYNTH, STRIKE, PERC, KIT, TAPE; a synth also shows its engine). The banks are shared by every project and stay when you load another project or switch off.

A sound is the track's voice: its kind and engine, every sound setting (source, filter, skin, envelopes, insert, sends, the CZ patch, a kit's lanes). It is not the track's steps, sequencer settings or pan.

1. Press SAVE, then turn SELECT to SOUNDS.
2. Turn KNOB 4 (BANK) to a bank, then PRESETS to a slot. Slots are named by bank and number (A1 … D32), and PRESETS runs on from one bank into the next (A32, then B1).
3. Turn KNOB 1 (ACTION):

4. Name it: on a used slot, KNOB 2 (CURSOR) picks a letter position (1–11) and KNOB 3 (LETTER) changes the letter (A–Z, 0–9, space and - + # & ' .). The cursor is the amber line under the name. The name is kept a moment after you stop turning.

Loading a sound that changes a track between a kit and notes (lanes and notes don't read each other's steps) clears that track's steps, so it asks first: press SAVE again.

In the emulator, your sounds are at the top of the sound menu under My sounds, one group per bank, each with its slot (A1 … D32) before the name and its kind in brackets after it. Choosing one loads it into the current track, switching its kind if needed. Save sound… keeps the current track's sound (it asks for a slot such as B5, offering the first empty one, and a name), and Delete sound… removes one. The panel's SAVE › SOUNDS page works too.

Moving projects and sounds to an FM-1 (and back)

Everything you have saved, the projects in slots 1–7 and the sound banks A–D, can leave the emulator as a file and go onto an FM-1 running Ravel, and the other way. The FM-1's own update leaves its saved projects and banks alone, so install the firmware first, then bring your work over.

In the emulator (the Projects & sounds panel on the left):

From the command line (pip3 install mido python-rtmidi), with the FM-1 connected and Ravel running:

python3 tools/fm1_data.py info                      # what the FM-1 holds
python3 tools/fm1_data.py restore my-work.ravel     # the file's projects and banks onto the FM-1
python3 tools/fm1_data.py backup fm1-work.ravel     # the FM-1's, into a file
python3 tools/fm1_data.py restore my-work.ravel --only project3,bankB

Each project and bank goes to the same slot it came from (project 3 to project 3, bank B to bank B) and replaces what was there; slots not in the file are left as they are. Every piece is checked as it arrives (a CRC over the whole slot), and a slot only becomes valid on the FM-1 once all of it has arrived intact; the screen says RECEIVED PROJECT 3 or RECEIVED BANK B as each one lands. Load a project afterwards with SAVE › PROJECT › LOAD. The tape's audio is not part of a project, so it doesn't travel.

15. Hold layers

Hold a button (in the emulator: right-click or shift-click to latch it) and the keys or knobs do something else. The footer always shows the layer's hint.

16. Recording

1. Choose the track with ALGORITHM.
2. Tap REC. "RECORDING ARMED" flashes and a red dot appears in the footer.
3. Press PLAY.
4. Now, while it plays: - notes you play are written into the steps, with their timing kept as microtiming; chords too: keys pressed together land on one step as a chord of up to four notes (the step's note and up to three more), and play back together. A note played on a step while none of its keys is still down replaces what was there; - knobs you turn are written as parameter locks on the playing step; - on a tape track in MLR, jumps you make are written as jump steps.
5. Tap REC again to stop recording.

Turning ALGORITHM while armed moves recording to the new track.

Chords on steps. A step with a chord shows X2, X3 or X4 (how many notes) under its note on the STEPS page. NOTE moves the whole chord, its shape kept; transposition, the scale and INTERVAL apply to each note. The chord's notes share the step's velocity, length, ratchets and timing. To make a step a single note again, record one note over it. Chords need the voices: a synth track plays up to four notes at once (VOICES on EDIT › SOUND).

Recording from a SEQ page. On the SEQ pages the keys are normally the steps. With REC armed on a synth, strike or tape track they play notes instead, so you can watch the steps fill in as you play (the footer says REC: KEYS PLAY); OCT- and OCT+ change the octave rather than the step page. Hold SEQ for the keys to be steps again for a moment: tap one to add or remove a step, then let go and keep playing. Tap REC to stop, and the keys are steps again. A kit keeps its keys as steps on SEQ pages; play its lanes from any other page.

17. Recipes, step by step

Make a first sound

1. Turn ALGORITHM to T1.
2. Press EDIT (SOUND page). Turn KNOB 2 to CZ.
3. Turn PRESETS to hear the CZ sounds (CZ BRASS, CZ BELL, CZ STRINGS…); play the keys.
4. Turn SELECT to DCW 1. Turn PRESETS to step 1 and turn KNOB 2 (LEVEL) up to make the attack brighter.
5. SELECT to DCA 1. On step 1, turn KNOB 1 (RATE) down for a slow swell.

Write a beat

1. Turn ALGORITHM to T5 (strike).
2. Press SEQ. Tap white keys 1, 5, 9, 13. Press PLAY.
3. Hold key 13 and turn KNOB 2 (VELO) down for a softer hit.
4. SELECT to STEP TIMING. Hold key 9 and turn KNOB 2 (RATCHET) to 3 for a roll.
5. To lock a sound change on one step:
6. Press EDIT, SELECT to SOURCE 1.
7. Hold SEQ, hold key 5, turn KNOB 4 (TONE).
8. Let go. Only step 5 is brighter.

Catch and cut up a loop (MLR)

1. Get something playing (load DEMO 1, press PLAY).
2. Hold REC, press OCT+ (resample). At the next bar, a bar is recorded into row 1.
3. Press ARP, which jumps to T7, a tape track. SELECT to PLAYBACK and set MODE to MLR.
4. Tap white keys to jump around the loop. Hold two keys to loop between them.
5. Press black 5 for reverse, 6 for half speed.
6. Tap REC, then jump around while it plays. Your jumps become a pattern.

Play the tape across the keys

1. With something caught, ALGORITHM to T8. Press ARP, SELECT to PLAYBACK, MODE = KEYS.
2. SELECT to SAMPLE: PLAY = LOOP. Back on PLAYBACK, turn END down for a shorter loop.
3. Play chords. For a loop that breathes: LFO › MATRIX, SOURCE LFO1, TRACK T8, PARAM END.

Break a phrase into shards

1. On T8, MODE = SHARDS, PLAY = LOOP.
2. SELECT to SHARDS: SHARDS 8, ORDER SHUF 1, GAP 50.
3. Hold a key. Turn ORDER and GAP while it plays.

Two-headed graph melody

1. ALGORITHM to T1. SEQ, switch some steps on with different NOTEs (hold a key, turn KNOB 1).
2. SELECT to TRACK, MODE = GRAPH.
3. GRAPH page: pick step 4 with PRESETS, set CORD A = 1 (it loops back), CORD B = 8 (or branches ahead), BRANCH = TURNS.
4. HEAD 1: ROLE = GATE, HEAD 2 = PITCH.
5. HEAD 2: H2 RATE = 2/3, H2 START = 5.
6. HEAD 1 MOTION: SHAPE = ARCH, DEPTH = +32, CYCLE = 16. The rhythm speeds up and slows down over 16 steps while the melody walks its own path.

Put reverb on just one track

1. ALGORITHM to the track. Press FX, SELECT to SPACE.
2. KNOB 4 (T3 SEND, for example) up. The other tracks' sends stay where they were.
3. SPACE 2: raise MOTION for a moving tail and LOW CUT to keep it out of the bass.

One track plays another

1. ALGORITHM to T5 (the source). Press HOME, SELECT to INFLUENCE.
2. PRESETS to column 2, T2 (the target). KNOB 1 = TRIG, KNOB 3 (DELAY) = 2, KNOB 4 (CHANCE) = 60.
3. Now 60 % of T5's hits also play T2 two steps later.

Save your work

1. SAVE, PRESETS to a slot, KNOB 1 = SAVE.
2. Press SAVE, then SAVE again.

Keep a sound and use it on another track

1. Pick the track with the sound. SAVE, SELECT to SOUNDS.
2. PRESETS to an empty slot, KNOB 1 = SAVE, press SAVE.
3. Name it with KNOB 2 (position) and KNOB 3 (letter).
4. ALGORITHM to another track, KNOB 1 = LOAD, press SAVE. The track becomes the sound's kind if it wasn't already.

18. Quick reference

19. Questions people ask

A page I saw before is gone.

• It only shows when it applies. SOURCE 3 and 4 depend on the engine. MLR, SAMPLE, STRETCH, SHARDS and SLICES depend on the tape mode. The graph's HEAD pages appear only in GRAPH mode, HEAD 2's only when head 2 is on.
• Holding LFO does not change pages: it puts the macros on the knobs.

The FX page changes a value for every track.

• Only the knob named T_ SEND is per track. Everything else on a bus page is the shared effect.

The tape track is silent.

• The tape has to hold something: catch (REC + OCT−) or resample (REC + OCT+).
• In MLR, tap a white key on the TAPE page to start the playhead (black 8 starts and stops it).
• Check its LEVEL and that the row is not tiny (ROWS page).

The graph doesn't seem to do anything.

• Check SEQ › TRACK › MODE is GRAPH.
• Steps need to be on (tap them).
• With no cords, each step just goes to the next one, so it sounds like a normal sequence until you add cords or branches.

The FM-1 crackles, or makes a loud noise.

• The audio is taking longer than it has. Open GLO › CPU: if RENDER is near or over 90 % and XRUNS is counting, that's it. The bars show which part costs most.
• Fewer voices (EDIT › SOUND › VOICES), fewer tracks playing at once, or lower effect sends bring it down. The overload guard fades out voices on its own, but it can't help when the effects alone are too much.
• To know this unit's limits, run GLO › STRESS with AUTO.

Something got loud or stuck.

• Press Panic / stop all (emulator), or stop and start.
• High FEEDBACK REGEN and delay FEEDBK can build up; the master limiter stops it reaching your speakers.

Installing on the FM-1

Ravel has not been tested on FM-1 hardware yet. Installing it is at your own risk.

1. Open Ravel's site (the repository's GitHub Pages: the emulator) in Chrome or Edge on a computer, and press Install on FM-1 at the top.
2. Connect the FM-1, switched on, directly to the computer with a USB data cable.
3. Press Install, allow MIDI when the browser asks, and wait until it says it is done. Don't unplug part way. The FM-1 restarts into Ravel.

From the command line instead (pip3 install mido python-rtmidi): python3 tools/fm1_install.py Ravel-FM1.fwsc. The .fwsc is on the site (firmware/Ravel-FM1.fwsc) and on the repository's releases.

The installer works from M-VAVE's own firmware, from Ravel, and from the other community firmwares. To go back, the same page writes M-VAVE's own FM-1 firmware (which you download from M-VAVE) back over the same cable; M-VAVE's own updater, M-UPGRADE, works too.

If the FM-1 will not start

• Hold OCT− and OCT+ for 5 seconds while Ravel runs: the FM-1 goes into its update mode, and the installer can write any firmware.
• Safe mode: if Ravel crashes twice while starting, it starts in a safe mode instead: no sound, USB on, so the web installer can reach it. PLAY tries Ravel again.
• Calibration: hold OCT− and OCT+ while switching on to teach Ravel which button and knob is which, if the panel seems mixed up.
• Last resort: if nothing shows on the screen but the FM-1 appears on USB in the chip's update mode, tools/fm1_rescue.sh (from X0X) puts M-VAVE's firmware back from a Mac. Beyond that, recovery needs the FM-1-transporter.

Licence

GPL-3.0 only (see LICENSE). The FM-1 platform layer, loader, installer and tools are Felucca's and X0X's (GPL-3.0). The Beads port keeps Mutable Instruments' MIT licence. A firmware package also contains three files of JieLi's AC79 SDK (Apache-2.0). The CZ engine is a port of MAME's uPD933 emulation (BSD-3-Clause). Third-party code is listed in THIRD_PARTY.md.

Credits

• Mutable Instruments (Émilie Gillet) for Beads, whose tape formats the capture tape keeps and whose grains the delay's GRAINS follows, and for Clouds, whose reverb the CLOUDS mode follows.
• Felucca by Leo Kuroshita (@kurogedelic), Hügelton Instruments: the FM-1's open hardware layer, USB, storage, update loader and web installer that Ravel runs on.
• X0X, a Felucca fork, for the platform as Ravel takes it, the simulator's design, its PNG writer and the build, install and rescue tools.
• The authors of JIANT, SLOOP and sloopDX, and everyone who mapped the FM-1.
• XAOC Devices' Zadar, whose library of morphing shapes the WAVE engine's WAVE ENV follows (the shapes are Ravel's own).
• The screen is set in Ravel's own runic stroke alphabet (tools/runic_glyphs.py: straight strokes only, curves turned into points), drawn at eight times the size and brought down to the screen at 16 levels. The palette is black and greys with bone and verdigris accents; tracks are told apart by colour: synth white, strike slate, tape verdigris, perc maroon.
• Moog's MF-105 MuRF, whose fixed resonant bands and patterns the BANDS bus follows.
• E-mu Systems, whose Z-plane filters the Z filters follow in spirit (the frames are Ravel's own designs).
• Maxime Denuc's Nachthorn and Dorian Concept's SH-101 playing, which the ORGAN and MONO engines are made to sound like (Ravel's own synthesis; no recordings used).
• Elektron's Machinedrum, whose synthesis machines and their documented parameters the PERC tracks are built from (Ravel's own designs; no Elektron code or data).
• Kurzweil's VAST and E-mu's patch-cord functions, whose idea of building sound from function blocks the LOGIC engine follows.
• Wolfgang Palm's PPG Wave and Waldorf's Microwave, whose wavetables, stepping and wave envelope the WAVE engine follows, and Xfer's Serum, whose phase warps it borrows the idea of (the tables are Ravel's own).
• Ensoniq's SQ-80, the instrument the SQ engine is modelled on, and the SQ8L plugin by Siegfried Kullmann, which showed how much of the SQ-80's character is in its digital path (no code or waves are taken from either).
• Devin Acker and MAME, whose uPD933 emulation shows how the Casio CZ's sound chip works (the CZ engine follows it; BSD-3-Clause, see THIRD_PARTY.md).