The C15 gets a major update that provides lots of enhancements and new features.
The number of modulateable Parameters has been increased - most Parameters are now modulateable:
The modulation mechanism has also been refined, modulated parameters now behave more consistent.
Rounding issues of displayed modulation ranges (for example unstable upper/lower limits) have been removed and discrepancies between displayed and audible parameter positions (especially the Split Point parameter) should no longer occur.
Several Parameter ranges have been extended, providing more flexibility:
Scaling and Rounding behavior has been reworked:
With the new Loop Parameter, C can run in Loop mode (Loop > 0.0%), allowing for polyphonic repeating sequences:
The loop consists of the Decay 1 and 2 segments (Decay 2 has a linear curve in Loop mode) and can apply only for the Sustain phase (Loop <= 100.0%, stopping when a key is released) or for the Sustain and Release phase (Loop > 100.0%). At Loop = 200.0%, the loop will continue endlessly.
The loop is bound to key events. When pressing a key, Envelope C will start normally if the Loop parameter is at zero, otherwise it will start in Loop mode. Similarly, when releasing a key, Envelope C will stop normally if the Loop parameter is below or equal to 100.0%, otherwise it will stop in Loop mode.
The Decay 1/2 times control the rate of the loop.
The Breakpoint/Sustain levels control the amplitude of the loop. For each repetition, the loop amplitude will approach zero, according to the Loop parameter (smaller values: faster decay).
Sounds now provide two Effect chains, allowing for more complex routings similar to Sounds. The mix of the two chains can be controlled by a new parameter:
The Effects - From I-II and To FX I-II parameters are also available for defining the Effects and Feedback routing for both Effect chains. The routings are indicated in the Screen or Tab.
Two new parameters have been added for more versatile mixing of Parts (or Effects in Sounds):
Usually both Effect chains run in parallel. With this new parameter, the output of one chain can be fed into the input of the other chain, allowing for flexibility in the order of effects and their complexity.
Both Effect chains can be panned against each other, more flexibly distributing their output signals in the resulting stereo mix.
3, 4 have been added to the Sources allowing for more flexible modulation and hopefully better integrating Controls and .
The two sets of (1, 2 and 3, 4) are quickly accessible on the Unit (see below).
The behavior of 1 and 4 has been reworked.
Bank
and Direct Ld
now remains consistent with legacy behavior as the primary command (short button press), whereas the new features (I / II
and To Part
) appear as the secondary command (long button press) if available.
With now two Effect chains in a Sound, a conversion into a or Sound has new rules. In order not to break established behavior, such a conversion is possible in two variants:
with FX I only | both FX |
---|---|
This corresponds with legacy behavior and is useful for a typical Sound using only FX I. After the conversion, FX I is duplicated into both Sound Effect chains. | For a Sound using both Effect chains, a conversion copying both chains is more useful. Here, the FX Mix parameter is also considered and translated into Volume parameters. Also, cross Feedback and FX routings are maintained. |
A conversion of a Sound into a Sound will copy both Effect chains and reflect Volume parameters and cross Feedback and FX routings.
When holding down the Button in the or Screen, the Screen will be visible.
Here, 1,2,3 can be used to initialize with a desired Type. In or Sounds, 4 can be used to initialize only the Part/FX currently in focus.
When pressing the Button in the Screen, two new options provide a quick way to copy the Effect chain from one Part into the other.
The Preset Search has been reworked from scratch and is now quickly accessible via the top-left Icon.
The search results are now shown in a separate list and can be sorted and filtered to match specific or Tags.
Presets can be loaded directly from the list. In addition, Presets can be dragged and dropped into new or existing Banks.
In the Tab, a new icon shows if the Mode is active (when pressing the Shift key). The Fine Mode can also be enabled permanently by clicking the icon (and will stay enabled as long as the selected Parameter has a Fine Resolution).
A new Screen has been added to better show Scale parameters. It can be accessed from the Master Parameter Screen.
Routing Sources to Controls has been more complex than it needed to be, possibly causing some confusion when trying to modify the Matrix. Also, with the two new Ribbons, there are two more amounts to consider. Therefore, setting Amounts has been simplified, deprecating the Screen and bundling all functionality exclusively within the Screen.
By using 2 and 4, Amounts can be set for the Control in focus.
In the Screen, all related parameter aspects can be changed.
Assignments are shown on the left (and can be changed via Setup MIDI settings). For , their Behavior can be modified via 4 (previously only available via the Button on the Unit).
When in Mode, the Button will now switch between the two sets of (1/2 or 3/4) - the selected set is then operable on the two touch strips.
Ribbon Behavior can now be changed in the corresponding Screen on the Unit.
Affected Parameters were: Attack Velocity and Time Key Tracking, Feedback - Env C and Key Pan.
When closing the Tab in the browser, the playback will stop automatically.
Selecting a (or Group in Sounds) is now undoable.
The Parameters are now applied for each voice. When the Parameter changes within the Attack segment of a played node, the change will not apply for the active voice.
In earlier versions, Decay 1/2 times were wrongfully influenced by Decay 1/2 Velocity parameters.
All 24 voices are now mixed and unambiguously routed to a specific Group.
When dragging one or multiple presets from the search results list and dropping the selection (into an existing bank or onto the background to create a new bank), the selection may not be released correctly and remains stuck on the screen as a visual bug, freezing the UI. After refreshing the page, the UI will be usable again.
With the introduction of more modulateable Parameters, some audible artifacts may appear when some parameters are transitioning (the issue is not really new, but modulation increases the chance of noticing the artifacts).
The rendering of these movements is often not computed in audio rate (as a means of not wasting CPU power), leading to the described artifacts. Affected Parameters are:
Similar to the phenomenon described above, Envelope C modulation can also lead to artifacts (especially when using very small Decay 1/2 times).
The State Variable Filter Cutoff also seems to produce artifacts when strongly modulated by Envelope C.
The combination of shown volumes and flow arrows is a little misleading, as a volume is applied at the end of the flow chain, but appears to be at the start.