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Vital User ManualAuthor: Zachary Hill | Hookline | @hooklineismyhomie | hooklinemusicofficial@gmail.com | h=ps://hooklineismyhomie.weebly.com/Table of Contents0.0 Disclaimer..........................................................................................................................................................21.0 General Info.......................................................................................................................................................31.1 Sizing.............................................................................................................................................................31.2 General Navigation.......................................................................................................................................31.3 Presets...........................................................................................................................................................31.4 Parameter Adjustments..................................................................................................................................42.0 V oice...................................................................................................................................................................52.1 Oscillators.....................................................................................................................................................52.1.a Pitch Settings.........................................................................................................................................62.1.b Routing Options.....................................................................................................................................72.1.c Wavetable View.....................................................................................................................................72.1.c.i Wavetable Editor.............................................................................................................................72.1.d Unison and Phase Settings.....................................................................................................................82.1.e Oscillator Modulation Knobs................................................................................................................82.2 Sampler.......................................................................................................................................................102.2.a Pitch Settings.......................................................................................................................................102.2.b Routing Options...................................................................................................................................112.2.c Sample View........................................................................................................................................112.2.d Sample Playback Options....................................................................................................................122.3 Filters...........................................................................................................................................................123.0 Modulation and Macros...................................................................................................................................163.1 Envelopes....................................................................................................................................................173.2 LFOs............................................................................................................................................................183.3 Random.......................................................................................................................................................203.4 Other Modulation Sources..........................................................................................................................223.5 Macros.........................................................................................................................................................233.6 Keyboard.....................................................................................................................................................234.0 Matrix...............................................................................................................................................................244.1 Modulation List...........................................................................................................................................244.2 Modulation Remap Curve...........................................................................................................................255.0 Effects..............................................................................................................................................................275.1 Chorus.........................................................................................................................................................275.2 Compressor.................................................................................................................................................285.3 Delay...........................................................................................................................................................305.4 Distortion.....................................................................................................................................................315.5 EQ...............................................................................................................................................................335.6 Filter............................................................................................................................................................345.7 Flanger.........................................................................................................................................................355.8 Phaser..........................................................................................................................................................365.9 Reverb.........................................................................................................................................................376.0 Global Settings.................................................................................................................................................397.0 Advanced Settings............................................................................................................................................407.1 Oscillator Advanced Settings......................................................................................................................407.2 Global Advanced Settings...........................................................................................................................42

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0.0 DisclaimerI am not employed by or associated with Vital Audio.I was not there when this synthesizer was being developed.I have developed this user manual by using my background of producing music for over 10 years, my ears, oscilloscopes, and frequency spectrum analyzers.There are certain things in this user manual where I theorized what the synthesizer is doing.For example, some of the oscillator morph algorithm descripNons may not be 100% accurate.With that being said this manual should be sufficiently accurate to learn the ins and outs of Vital.

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1.0 General InfoVital is a versaNle wavetable synthesizer that can be used for both addiNve and subtracNve synthesis.Combining the voices, filters, effects and modulaNon in Vital can create almost any sound imaginable.1.1 SizingClick on the Vital symbol in the upper leT hand side of the synth to adjust the viewing size of Vital.In the sizing menu is an opNon which allows Vital to automaNcally search for updates.This can be toggled on or off.1.2 General NavigationAt the top of the synth are opNons to navigate to different parts of the synth.Below is a brief descripNon of each secNon.Voice: Oscillators, Sampler, and FiltersEffects: Effects Rack containing 9 potenNal effectsMatrix: ModulaNon matrix. Contains a list of all parameter modulaNon, and fine tuning for modulaNon curves.Advanced: Advanced oscillator and global opNons1.3 PresetsAt the top of the synth are preset opNonsThe components are labeled below1. Preset Selector2. Save Preset3. Preset OpNonsPreset SelectorClicking on the preset selector will bring up the preset browser.The leT hand side of the browser contains a descripNon of the currently selected preset as well as preset folders and style tags.The right hand side of the browser shows the specific presets in a list. The presets can be sorted by name, author, style tag, or date created.Click the star icon next to a specific preset to add the preset to the favorites folder. Once the preset has been added to the favorites folder the start next to the preset will be shown in purple. Save PresetSaves the current se_ngs in Vital as a preset in the user presets folder.When saving a preset, provide the preset name, author, style tags, and a brief descripNon of the preset in the comments secNon.


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Preset Op/onsBrowse Presets: Opens preset browserSave Preset: Saves the current se_ngs in Vital as a preset in the user presets folderOpen External Preset: Opens a Vital preset from anywhere your computer has access toExport Preset: Exports preset so it can be shared with othersImport Bank: Imports many presets as preset folder(bank)Export Bank: Exports many presets as a preset folder(bank)Ini/alize Preset: Loads default se_ngs for VitalLoad Tuning File: A tuning file can be loaded here. Read advanced se_ngs for more info.Log Out: Log out of Vital Audio account1.4 Parameter AdjustmentsVital’s parameters can be adjusted with the use of knobs, sliders, or numeric, text, and percentage fields.Examples of these types of parameter adjustments are shown below.
1. Knob2. Slider3. Numeric field4. Percentage field5. Text FieldParameters can be adjusted by clicking and dragging with the mouse.Holding CTRL while clicking and dragging allows for fine tuning.Holding ALT while clicking a knob will pull up the value of that parameter.Type over this value to manually enter a new specific value for the parameter.To cancel the value change aTer the text box opens, delete all of the characters in the text box.AlternaNvely, right click the parameter and select "Enter Value"Double clicking a parameter will return the knob to it's default value.AlternaNvely, rick click the parameter and select "Set to Default value"


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2.0 VoiceThe voice secNon of Vital comes equipped with 3 wavetable oscillators, 1 sampler, and 2 filters.The oscillators and sampler are run in parallel. However, each oscillator can receive frequency or ring modulaNon from other oscillators or the sampler.The filters can be applied to any of the oscillators, the sampler, or the other filter.


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2.1 OscillatorsBelow is the Vital Oscillator with its components labeled.
1. AcNvator2. Level Knob3. Pan Knob4. Pitch Se_ngs5. RouNng OpNons6. Wavetable View7. Unison Se_ngs8. Phase Se_ngs9. LeT ModulaNon Knob10. Right ModulaNon KnobEach oscillator can be turned on or off using the acNvator the upper leT corner of the oscillator.When turned on the oscillator will light up, and when off the oscillator will be dim and gray.The oscillator's volume can be adjusted with the level knob.The oscillator's output can be panned from leT to right with the pan knob.2.1.a Pitch SettingsThe pitch adjustment on the leT will adjust the incoming midi note by that number of semitones.This is set to 0 by default so that the oscillator will play the incoming midi note as is.The pitch adjustment on the right will adjust the incoming midi note by that number of cents. With 100 cents being 1 semitone.This is set to 0 by default so that the oscillator will play the incoming midi note as is.The keyboard under the word "pitch" will open the transpose snap se_ngs.Once open, select specific semitones that you would like to limit the leT pitch adjustment knob to.When a semitone is selected it will lite up in purple.If no semitones are selected, then all semitones are allowed.To understand this be=er, here is an illustraNve example.If I want to only be able to adjust my oscillator by 0, or 7 semitones (a perfect 5th) I would light up the C and G keys.


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Now when I drag the pitch adjustment on the leT the numbers 4 through 9 will adjust my midi note by 7 semitones, and all other numbers will leave the pitch of the oscillator unchanged (In other words a 0 semitone change).Now if we modulate the pitch adjustment on the leT with an LFO we can create an arpeggiated sound.Global snap is set up similar to transpose snap, but will limit the possible midi output notes. This can be used to force midi notes played to be in a specific scale or key.2.1.b Routing OptionsBelow the pitch level and pan controls is a rouNng control.
Each oscillator can be routed to either filter 1, filter 2, filter 1 & 2, effects, or direct out.If any of the filter choices are selected, the signal will flow into the effects rack aTer the filter.If a filter choice is selected and the filter is not turned on, then the signal will simply flow into the effects rack with no filter applied.If direct out is chosen then the oscillator's output will come out of the synth with no filters or effects applied.2.1.c Wavetable ViewIn the middle of each oscillator is the wavetable view.Below is the wavetable view with each of its components labeled1: Wavetable Visual2: Wavetable Selector3: Wavetable Visual selector4: Wavetable Slider5: Wavetable EditorThe wavetable can be chosen by clicking on the wavetable selector, selecNng a folder on the leT and then selecNng a specific wavetable on the right.Click the star icon next to a specific wavetable, and the star will turn purple. The wavetable will be added to the favorites folder. Change the Wavetable Visual by clicking on the wavetable visual selector.2D shows a 2 dimensional view of the current frame of the wavetable.3D shows a birds eye 3 dimensional view of all of the frames of the wavetable with the current frame highlighted.


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SP . Spectral. Shows the Harmonics of the wavetable.The wavetable slider slides between wavetable frames.2.1.c.i Wavetable EditorClicking on the wavetable editor opens a wavetable ediNng window.This allows for ediNng the wave shape or the individual harmonics of any frame in a wavetable.This secNon is inherently based on visuals, so it is best described through video.Check out the following tutorials to learn more on Vital’s wavetable editor.h=ps://www.youtube.com/watch?v=kco25cSiXBQ&t=908s&ab_channel=MarulaMusichttps://www.youtube.com/watch?v=ycNhgG0IBos&ab_channel=QB%21Khttps://www.youtube.com/watch?v=1Bwk1B-LmXU&ab_channel=DataBroth2.1.d Unison and Phase SettingsOn the leT side of the unison se_ngs, the number of unison voices can be set to any integer between 1 and 16.Note that using many unison voices will increase CPU usage.On the right side of the unison se_ngs, is the % of detune applied to the unison voices.A value of 0% will apply no detune. (However unison may sNll have an impact on the sound due to the phase of different voices.)A value of 100% will apply the full amount of detune as set in the advanced oscillator se_ngs.The default detune range is 2 semitones. Meaning 2 semitones up and 2 semitones down.On the leT side of the phase se_ngs, the starNng posiNon of the waveform can be selected.A phase of 180 degrees will start in the middle of the waveform.A phase of 0 degrees will start at the leTmost side of the waveform.A phase of 360 degrees will start at the rightmost side of the waveform. Since the waveform repeats, we have come full circle and this is idenNcal to 0 degrees.On the right side of the phase se_ngs is a phase randomizaNon se_ng.The oscillator will start the wave form at a random phase within a range of x% around the phase starNng degree.For example if the phase starNng degree is set to 180 degrees, and phase randomizaNon is set to 50%.Then the waveform will randomly start anywhere from degree 90 to 270.If the phase randomizaNon is set to 100% like it is by default, the phase starNng posiNon selector becomes irrelevant.If the phase randomizaNon is set to 0%, the phase will always start at the exact degree of the waveform that is selected.


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2.1.e Oscillator Modulation KnobsThe leT modulaNon knob morphs the shape of the waveform using different algorithms.The right modulaNon knob has some addiNon algorithms to morph the shape of the waveform,but also includes the opNon to perform frequency modulaNon or ring modulaNon on the oscillator by using another oscillator or the sampler as input.Le# Knob Morphing AlgorithmsVocode: Vocoder formant shiTing (Less extreme than formant scale)Formant Scale: Formant shiTing (more extreme than vocoder)Harmonic Stretch: Keeps fundamental harmonic in place while shiTing all other harmonics up and down the harmonic series. (Does not allow harmonics to go below fundamental harmonic)Inharmonic: Keeps fundamental harmonic in place while shiTing all other harmonics up or down not in line with the harmonic series. (Does not allow harmonics to go below fundamental harmonic)Smear: Removes low ordered harmonics by morphing wave shape.Random Amplitudes: Randomizes the amplitude of each part of the waveform while holding onto some conNnuity. Not pure randomness.Low Pass: Applies a low-pass filter to the waveform. This effecNvely removes the higher order harmonics unNl the knob is turned all the way to leT when only the fundamental harmonic remains, which results in a sine wave.High Pass: Applies a high-pass filter to the waveform. The effecNvely removes all the lower order harmonics unNl all of the harmonics in the human hearing range have been removed which results in silence when the knob is turned all the way to the right.Phase Disperse: Disperses phase of the waveform. Think about it as randomly spreading out the waveform horizontally.Shepard Tone: A shepherd’s tone is a sound that appears to be conNnuously increasing in pitch forever.This auditory illusion occurs when a sound is increasing in pitch and slowly fades out as another pitch an octave below it slowly fades in. The knob when dragged slowly from the leT to the right will perform this auditory illusion.Spectral Time Skew: Morphs harmonics between wavetable posiNons.


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Right Knob Morphing AlgorithmsSync: Repeats the waveform and squishes the waveform. This results in the pitch increasing in octaves relaNvely smoothly with out playing other notes.Formant: Repeats the waveform and squishes the waveform but also makes the amplitudes of the waveform approach 0 the closer they get to 0 degrees or 360 degrees. This is similar to sync, but it avoids introducing dc offsetQuan/ze: QuanNzes the waveform to a grid. The grid gets less refined the more the knob is turned to the right.This is essenNally bit/sample reducNon.Bend: Pinches waveform at 180 degrees and morphs the rest of the wave form to the right or the leT respecNvely depending on which way the knob is turned.Squeeze: Pinches waveform at 0, 180, and 360 degrees and morphs the rest of the wave form to the right or the leT respecNvely depending on which way the knob is turned.Pulse: Pulse width modulaNon. Pinches waveform 0 degrees. Squishes waveform into this point. Added area ofwaveform is flat.Frequency Modula/on: Plays the current oscillator at the frequency of another oscillator or sampler. This results in complex sounds with dis/nct harmonic characters and is widely used in modern sound design.To learn more watch the following videosh=ps://www.youtube.com/watch?v=r3EQQ-XF3jA&ab_channel=FloydSteinbergh=ps://www.youtube.com/watch?v=LnoqZ45ooB8&t=385s&ab_channel=ZenWorldRing Modula/on: Plays the current oscillator with the amplitude modulated from another oscillator or sampler. To learn more watch the following videosh=ps://www.youtube.com/watch?v=rYdBHWF1_2k&t=230s&ab_channel=Runningonairh=ps://www.youtube.com/watch?v=DCPxe6P1KWo&ab_channel=Sweetwater2.2 SamplerBelow is the Vital Sampler with its components labeled.1. AcNvator2. Level Knob3. Pan Knob4. Pitch Se_ngs5. RouNng OpNons6. Sample View7. Sample Playback OpNonsThe sampler can be turned on or off using the acNvator the upper leT corner of the sampler.


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When turned on the sampler will light up, and when off the sampler will be dim and gray.The sampler's volume can be adjusted with the level knob.The sampler's output can be panned from leT to right with the pan knob.2.2.a Pitch SettingsThe pitch adjustment on the leT will adjust the incoming sample by that number of semitones.This is set to 0 by default so that the sampler will play the incoming sample as is.The pitch adjustment on the right will adjust the incoming sample by that number of cents. With 100 cents being 1 semitone.This is set to 0 by default so that the sampler will play the incoming sample as is.Note that samples will be sped up or slowed down to increase or decrease pitch.There are no granulizaNon opNons available.The keyboard under the word "pitch" will open the transpose snap se_ngs.Once open, select specific semitones that you would like to limit the leT pitch adjustment knob to.When a semitone is selected it will lite up in purple.If no semitones are selected, then all semitones are allowed.To understand this be=er, here is an illustraNve example.If I want to only be able to adjust my sample by 0, or 7 semitones (a perfect 5th) I would light up the C and G keys.Now when I drag the pitch adjustment on the leT the numbers 4 through 9 will adjust my sample note by 7 semitones, and all other numbers will leave the pitch of the oscillator unchanged (In other words a 0 semitone change).Now if we modulate the pitch adjustment on the leT with an LFO we can create an arpeggiated sound.Global snap is set up similar to transpose snap, but will limit the possible midi output notes. This can be used to force midi notes played to be in a specific scale or key.2.2.b Routing OptionsBelow the pitch controls is a rouNng control.
The sampler can be routed to either filter 1, filter 2, filter 1 & 2, effects, or direct out.


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If any of the filter choices are selected, the signal will flow into the effects rack aTer the filter.If a filter choice is selected and the filter is not turned on, then the signal will simply flow into the effects rack with no filter applied.If direct out is chosen then the oscillator's output will come out of the synth with no filters or effects applied.2.2.c Sample ViewThe sample view contains a sample chooser as well as an image of the chosen sample's waveform.When the sample is played the amount of the waveform that has been played will be highlighted.The sample can be chosen by clicking on the Ntle of the sample, selecNng a folder on the leT and then selecNng a specific sample on the right.Click the star icon next to a specific sample, and the star will turn purple. The sample will be added to your favorites folder.2.2.d Sample Playback OptionsOn the right hand side of the sampler are sample playback opNons.Keytracking is the keyboard in the upper leT corner.AcNvaNng this will make the sample be played back at a pitch according the midi note played.Note that samples will be sped up or slowed down to increase or decrease pitch.There are no granulizaNon opNons available.If keytracking is deacNvated like it is by default the sample will play at it's original pitch and speed.Shuffle is the crossing arrows in the upper right corner.AcNvaNng shuffle will start the sample from a random spot within the sample each Nme a midi note is played.Loop is the circular arrow in the lower leT corner.AcNvaNng the loop will loop the sample endlessly Bounce Back is the double sided arrow in the bo=om leT corner.AcNvaNng Bounce Back will play the sample in reverse aTer the sample finishes playing forward.


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2.3 FiltersBelow is a Vital filter with its components labeled.1. AcNvator2. Filter Type Chooser3. Filtered Frequency Response Curve4. Cutoff Frequency5. Resonance6. Filter Type Blend7. Filter Input RouNng8. Drive Knob, Mix Knob, and Keytracking KnobEach filter can be turned on or off using the acNvator in the upper leT corner of the filter.When turned on the filter will light up, and when off the filter will be dim and gray.In the middle of each filter is a visual of the filter's frequency response curve.Surrounding the filter frequency response curve are 3 sliders which control the filter's cut off frequency, resonance, and filter type blend.Note that Formant, Comb, and Phase filters may have different sliders.The cut off frequency sets the frequency where filtering will begin to be applied.The resonance adjusts the level of a peak at the cutoff frequency.The resonance can be set high enough that the filter begins self oscillaNng and the pitch of the cutoff frequency becomes audible.Cutoff frequency and resonance can be adjusted simultaneously by clicking and dragging inside the filter frequency response curve box.Filter type blend will smoothly transiNon from one type of filter to another.Typically each specific filter will have 2 or 3 types of filters for different posiNons on the slider.For example, the default filter "Analog : 12dB", smoothly transiNons from low-pass, to band-pass, to high-pass filter when dragging the slider.In the bo=om leT of the filter are filter input rouNng opNons.Any oscillator, the sampler, or the other filter can be routed into the filter using these opNons.If something is routed into the filter the text will light up in orange, and the rouNng opNons in the oscillator or sampler will be updated.If an oscillator or the sampler is unrouted from a filter, it will automaNcally be routed to the effects rack.The drive knob will add a small amount of saturaNon aTer the filter is applied.The mix knob adjusted the dry/wet signal of the filter and the drive knob.Note that there may be some strange shapes on the frequency response curve when adjusNng the mix knob.This is normal, and has to do with the way filters work regarding phase.


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The keytracking knob will adjust the filter cutoff frequency according to the incoming midi note.If set to 100%, the cutoff frequency will perfectly correlate to the incoming midi note.To demonstrate this, here is an illustraNve example.Set the cutoff frequency to 1046.4hz (note this is 4 Nmes the default value of 261.6hz which is middle C), and set keytracking to 100%.Now play a note and slowly turn the resonance to 100%.You will hear the self oscillaNon of the filter playing 2 octaves up perfectly in tune with any note you play.For self oscillaNon one octave set the cutoff frequency to 523.2hz.For self oscillaNon in unison leave the cutoff frequency at it's default value.For self oscillaNon a perfect 5th up set the cutoff frequency to 392.4hz.*Note this wont work for very high midi notes due to rounding error.NegaNve values for keytracking will set the cutoff frequency lower for higher pitches and higher for lower pitches.Filter typesThe different filter types achieve the same goal but do so with different algorithms.The differences in the filter types become significantly more apparent when using self oscillaNon, turning up the filter drive, or applying post processing distorNon. Analog | Dirty | Ladder | DigitalLadder is supposed to mimic the transistor ladder filters from Moog.12db: Frequencies are 12 decibels quieter for each octave distance from the cutoff frequency.    Note that an octave is either half or double a frequency value.    Blend, blends between a low-pass, band-pass, and high-pass filter.24dB: Frequencies are 24 decibels quieter for each octave distance from the cutoff frequency.    A 24 db filter has twice the slope of a 12 db filter.    Blend, blends between a low-pass, band-pass, and high-pass filter.Notch Blend: Blend, blends between a low-pass, notch, and high-pass 24 dB filter.Notch Spread: Blend, blends between a band-pass, and notch 24 dB filter.    Note that in the middle of this blend is an interesNng double notch filter.B/P/N: Band Peak Notch. Blend, blends between a band-pass, peak and notch filter.DiodeDiode is supposed to mimic the diode ladder filter from Roland.Think of an Acid House Bass sound. Lowshelf: Blend, blends between a low-pass, and a band-pass filter.Lowcut: Blend, blends between a low-pass, and a band-pass filter.    If Cutoff frequency is set high enough, sub frequencies will be cut with a slight bump at the cutoff frequency.

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FormantA formant filter is supposed to mimic how the human voice produces vowel sounds.This is typically achieved with high peaks and low valleys which approach each other.Many of the filter controls are different for the formant filter compared to the previous filter types.The blend slider is replaced with a formant transpose slider. This will shiT all of the peaks and valley's simultaneously in an exponenNal fashion.The resonance and frequency cutoff sliders, are replaced with formant X and Y sliders.These will alter the relaNonship of the peaks and valleys which can be used to produce different vowels.The drive knob is replaced with a peak knob.This is essenNally a resonance knob for the peaks and valleys.The key track knob is replaced with a spread knob.When turned to the leT, this will spread out all of the peaks and valleys.When turned to the right, the peaks and valleys will converge to a band-pass filter.CombComb filters are a series of notch filers.Typically placed exponenNally apart or as part of the harmonic series.Comb filtering can achieve the same sound of a flanger due to the way a flanger works with phase cancellaNon.However, you should not think of a comb filter as the same as a flanger, because they do two different things.They are two separate tools and approaches that can be used to achieve the same result.Note that the drive knob is replaced with a cut knob.The cut knob will act differently depending on the specific comb filter algorithm chosen.This knob can be used to control a low pass, band-pass or high pass filter aTer the comb-filter.Or this knob can be used to control a dry wet parameter for the comb filter starNng at a specific cutoff frequency.NegaNve comb filters mimic a flanger where the delayed sound is inverted from the original sound.PosiNve comb filters mimic a flanger where the delayed sound is not inverted from the original sound.PosiNve results in more even order harmonics, while negaNve results in more odd order harmonics.PhaserA comb filter with a less notches.Comb filtering can achieve the same sound of a phaser due to the way a phaser works with phase cancellaNon.However, you should not think of a comb filter as the same as a phaser, because they do two different things.They are two separate tools and approaches that can be used to achieve the same result.Blend blends between the amount of notches in the filter (goes hand in hand with poles in a phaser).NegaNve mimics a phaser where the delayed sound is inverted from the original sound.PosiNve mimics a phaser where the delayed sound is not inverted from the original sound.PosiNve results in more even order harmonics, while negaNve results in more odd order harmonics.

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3.0 Modulation and MacrosParameters in Vital can be modulated in a number of different ways including but not limited to envelopes, LFOs, randomness, and macros.A modulator can be added to almost any parameter in Vital.ModulaNon squares are the empty boxes in vital.A few examples of modulaNon squares are shown below.To add modulaNon to a parameter hover over a modulaNon square, then click and drag the modulaNon on top of any parameter.Note that the modulaNon will be audiNoned on any parameter while dragging the modulaNon over it, but will not actually be applied unNl the mouse click is released.Once modulaNon is applied to a parameter a few things will happen.A modulaNon circle will appear in the modulaNon square.The same modulaNon circle will appear when the mouse hovers over the modulated parameter.The second corresponding modulaNon circle will also appear when the modulaNon circle in the modulaNon square is clicked.
While a midi note is played, a cyan line or curve is shown on the parameter to create a visual of how much modulaNon is being applied to the parameter.If the mouse hovers over a modulated parameter with mulNple modulaNon sources, a modulaNon circle for each modulaNon source will appear with a descripNve label.Clicking and dragging a modulaNon circle will increase or decrease the modulaNon amount.The pie in the modulaNon circle is a visual of the modulaNon amount.AddiNonally a cyan line or curve on the parameter will be shown to visualize the modulaNon amount.Holding CTRL while clicking and dragging a modulaNon circle will allow for fine tuning.Holding ALT while clicking and dragging a modulaNon circle will allow for modulaNon amount to be typed in as a specific value.Right clicking on a modulated parameterwill allow the opNon of disconnecNng individual modulaNon sources, or disconnecNng all modulaNon sources at once.


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Right clicking on a modulaNon square will allow the opNon of disconnecNng individual modulaNon desNnaNons, or disconnecNng all modulaNon desNnaNons at once.Right clicking a modulaNon circle will allow the following opNonsRemove: Removes modulaNon permanentlyBypass: ModulaNon is bypassed temporarily unNl unbypass is appliedMake Bipolar: The parameter moves symmetrically above and below the original parameter valueMake Unipolar: The parameter moves in one direcNon away from the original parameter value and back.Make Stereo: Modulate the leT and right parameters in opposite direcNons for the leT and right channels3.1 Envelopes
Envelope 1 is mapped to oscillator and sampler volume by default.This can only be unmapped by applying a different modulaNon source to an oscillator or sampler volume.In the upper right hand corner of the envelope view is a magnifying glass.Click and drag on this magnifying glass to zoom in and out of the envelope.Dragging up will zoom in, and dragging down will zoom out.Note that Nme is labeled in seconds or milliseconds on the x axis and has verNcal grid lines.Each envelope has 6 parameters at the bo=om of the envelope view.Delay, a=ack, hold, decay, sustain, release.These parameters can be adjusted by clicking and dragging their knobsAlternaNvely, these parameters can be adjusted by clicking and dragging the dots in the display.Closed dots adjust the endpoints of the line segments.Open dots adjust the curves.Delay is the amount of Nme in seconds aTer the midi note plays unNl the envelope begins.


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A=ack is the amount of Nme in seconds that it takes for the envelope to get from it's starNng value to its maximum value.Hold is the amount of Nme in seconds that the envelope will stay at its maximum value if the midi note is sNll being played.Decay is the amount of Nme in seconds that it takes for the envelope to get from its maximum value to its sustain level aTer the amount of hold Nme if the midi note is sNll being played.Sustain is the % envelope value between the minimum and maximum.The sustain level will be reached and held aTer the delay, a=ack, hold and decay Nme if the midi note is sNll being played.The level will quickly move to the sustain level if the midi note is released early.Release is the amount of Nme in seconds aTer the midi note is released that it takes for the envelope to move from the sustain level to the minimum level.3.2 LFOsLFO stands for low frequency oscillator.At its core, an LFO is a modulaNon parameter that repeats at a specific frequency.Vital's LFO can modulate parameters in an essenNally infinite amount of different shapes by using built in LFO shapes or creaNng new ones.Below is the Vital LFO with its components labeled.
1. LFO ModulaNon Squares2. LFO Shape Chooser3. LFO Shape Visual4. Brush Tool5. Grid OpNons6. LFO Phase Slider7. LFO Mode Chooser8. Frequency Se_ngs


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9. Smooth Knob, Delay Knob, and Stereo KnobLFO Shape ChooserA specific LFO shape can be chosen by clicking in the upper right hand corner on the LFO Shape Chooser.Select a folder on the leT and then select a specific LFO shape on the right.Click the star icon next to a specific LFO shape, the star will turn purple.  The LFO shape will be added to your favorites folder.LFO Shape VisualThe LFO Shape Visual shows how a parameter will be modulated by the LFO.The minimum value is at the bo=om of the display and the maximum value is at the top.As a note is played, the LFO Shape Visual will highlight the part where the LFO is at in it's cycle.Click and drag on open dots to control points in the LFO shape.Note that open dots will snap to the grid when dragged close to the grid.Click and drag on closed dots to control the curve between two open dots.Hold shiT while clicking and dragging on any closed dot to control all curves at once.Double click an empty space to add a new closed dot.Double click an exisNng closed dot to delete it.Click the squiggly line to the leT of the LFO Shape Chooser to smooth out all angles in the LFO shape.Grid Op/onsThe grid number on the leT will determine the amount of horizontal grid lines.The grid number on the right will determine the amount of verNcal grid lines.Brush ToolClick on the brush icon to acNvate the brush tool.Note that the brush icon will become highlighted when acNvated.Click on the shape to the right of the brush icon to choose a brush shape to draw with.While the brush tool is acNvated, clicking in the LFO Shape Visual will draw the brush shape in between each horizontal grid with the level at the height of the mouse.Note that clicking and dragging across the LFO visual will draw across the enNre visual with ease.Holding CTRL while the mouse is hovering over the LFO display will toggle the brush tool on and off.LFO Phase SliderDirectly below the LFO visual is the LFO phase slider.By default the LFO phase slider will determine where the LFO shape begins.However this depends on the LFO mode.LFO Mode ChooserIn the bo=om leT of the LFO display is the LFO Mode chooser.The following LFO modes are available in Vital.Trigger: Starts LFO at LFO phase slider posiNon each Nme midi note is played. When the LFO reaches the end ofthe shape, the LFO starts from the beginning of the shape.Sync: Starts LFO at LFO phase slider posiNon according to the BPM in the project. When the LFO reaches the end of the shape, the LFO starts from the beginning of the shape.

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Envelope: Starts LFO at LFO phase slider posiNon each Nme midi note is played. When the LFO reaches the endof the shape, the modulaNon stops.Sustain Envelope: Starts LFO at beginning of LFO each Nme midi note is played. When the LFO reaches the LFOphase slider, the modulaNon stops.Loop Point: Starts LFO shape at beginning of LFO each Nme midi note is played. When the LFO reaches the endof the shape, the LFO starts from the LFO phase slider posiNon.Loop Hold: Starts LFO shape at beginning of LFO each Nme midi note is played. When the LFO reaches the LFO phase slider posiNon, the LFO starts from the beginning of the shape. LFO Frequency SePngsTo the right of the LFO mode chooser are the LFO frequency se_ngs.Drag the leT side of these se_ngs to adjust the frequency rate.Click the right side of these se_ng to adjust the frequency rate style.Below are descripNons of the frequency rate styles.Seconds: Self explanatory. Repeats are in seconds.Tempo: Repeats are in fracNonal intervals of project BPM. For example eighth notes (1/8)Tempo DoQed: Repeats are in fracNonal intervals of project BPM. For example do=ed eighth notes (1/8)Tempo Triplets: Repeats are in fracNonal intervals of project BPM. For example eighth note triplets (1/8)Key track: Frequency is set to the frequency of the incoming midi note. The frequency can be offset from the incoming midi note by semitones or cents on the leT side of the LFO frequency se_ngs for this style.LFO KnobsOn the bo=om of the LFO display are three knobs.The smooth knob will cross-fade the beginning and end of the LFO together over the course of a specified Nmein seconds. Right clicking the word "SMOOTH" allows for replacing the smooth knob with a fade in knob.The fade in knob determines the amount of Nme in seconds for the LFO to be faded from a dry unaltered signalto a fully wet modulated signal.The delay knob determines the amount of Nme in seconds aTer the midi note is played before the LFO will be applied.The stereo know allows for an offset in the LFO phase slide between the leT and right channels.

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3.3 RandomRandom allows for random modulaNon to be applied to parameters.True randomness is non conNnuous.ModulaNng a parameter in a non conNnuous way will most likely introduce digital arNfacts and clicks.For things to sound musical we would prefer to use specific randomness algorithms that allow for conNnuity.In general these algorithms will move a small amount from their current posiNon to their next posiNon to allowfor a more conNnuous type of randomness.To be clear consider the following example.The goal is to generate 10 values between -10 and 10True randomness would generate something like the following vector.[5, -8, -2, 9, 10, 4, 8, -6, 8, 0]Note the numbers jump around a lot.The biggest jump is the jump from -6 to 8 which is a jump of 14.No consider another algorithm to generate random numbers where each number is the previous number plus a random number between -2 and 2.This algorithm would generate something like the following vector.[5, 6, 5, 3, 2, 3, 3, 2, 4, 6]Note that now the numbers move in a smoother more conNnuous fashion.Think about a speaker trying to play different amplitudes.The speaker has a built in digital signal processor that allows for small jumps to be played smoothly.However, large jumps can start to cause issues that will result in digital arNfacts or clicks.This is why the second type of algorithm would be preferred if we would like conNnuous musical results free ofarNfacts and clicks.Below is the Vital Ranom ModulaNon Generator with its components labeled1. Randomness ModulaNon Squares2. Randomness Style Chooser3. Randomness Frequency Se_ngs4. Randomness Visual5. Randomness Sync OpNon6. Randomness Stereo OpNonRandomness Style ChooserThe Randomness Style Chooser is located in the bo=om leT.Clicking on this will allow for the following randomness algorithms.Perlin: Perlin Noise. Developed by Ken Perlin to create natural forms of randomness in textures for graphics in the movie Tron. Perlin received an Academy Award for Technical Achievement for creaNng this algorithm. Sample and Hold: Holds at an amount then randomly jumps to another held amount, then randomly jumps to another held amount, and so on and so forth. Between randomly held amounts the modulaNon has a quick (but not completely verNcal) slope to allow for smooth transiNons free of digital arNfacts and clicks.Sine Interpolate: Randomness based around a sine wave oscillaNon


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Lorenz At tractor: Non repeaNng randomness shaped like a bu=erfly's open wings. At first there may appear tobe repeaNng a pa=ern, but there is actually not. Created by Edward Norton Lorenz. Originally used to try and describe the atmosphere and weather. Resulted in the bu=erfly effect theory.h=ps://www.youtube.com/watch?v=aAJkLh76QnM&ab_channel=It%27ssoblatantRandomness VisualThe randomness visual shows the amount of modulaNon applied as midi notes are played.Randomness Frequency SePngsIn the bo=om right of the randomness view are the randomness frequency se_ngs.Note that frequency se_ngs will make the most sense for the sample and hold randomness style.Other randomness style frequencies will be relaNve to each other.Drag the leT side of these se_ngs to adjust the frequency rate.Click the right side of these se_ng to adjust the frequency rate style.Below are descripNons of the frequency rate styles.Seconds: Frequency is in seconds.Tempo: Frequency is in fracNonal intervals of project BPM. For example eighth notes (1/8)Tempo DoQed: Frequency is in fracNonal intervals of project BPM. For example do=ed eighth notes (1/8)Tempo Triplets: Frequency is in fracNonal intervals of project BPM. For example eighth note triplets (1/8)Key track: Frequency is set to the frequency of the incoming midi note. The frequency can be offset from the incoming midi note by semitones or cents on the leT side of the LFO frequency se_ngs for this style.Randomness Sync Op/onIn the top of the randomness view is a Sync opNon.Clicking on the word Sync will highlight the word and enable the opNon.If the sync opNon is on, then randomness starts with the value it previously leT off on at the end of the previous midi note.If the sync opNon is off, then randomness starts from the beginning of the randomness algorithm each Nme a midi note is played.Randomness Stereo Op/onIn the top of the randomness view is a Stereo opNon.Clicking on the word Stereo will highlight the word and enable the opNon.If the stereo opNon is on, then a randomness algorithm will be generated for the leT and right channels separately.3.4 Other Modulation SourcesOn the bo=om right of the LFO menu is a 4x2 grid of addiNonal modulaNon sources.


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Note: Modulates parameter by an amount depending on the midi note played at the beginning of the midi note played.Velocity: Modulates parameter by an amount depending on the velocity of the midi note played at the beginning of the midi note played.LiT: Modulates parameter by an amount depending on the liT of the midi note played at the end of the midi note played.Oct Note: Similar to note, but modulaNon amounts for each note repeat every octave. Pressure: Responds to MPE presureSlide: Responds to MPE slideStereo: Modulates sets different parameter values for leT and right channels.Random: Modulates parameter by a random amount at the beginning of each midi note played.3.5 MacrosMacros can be used to control mulNple parameters at once.Vital comes equipped with 4 macros on the leT hand side of the synth.Each macro has a macro knob, and associated modulaNon square beneath it.The only difference between macros and other modulaNon sources is that the macro knob needs to be turned to modulate the associated parameters.The macro knob can be turned manually by clicking and dragging, using another Vital modulaNon source such as LFO, using DAW automaNon, or midi controller mapping.3.6 KeyboardOn the bo=om of Vital is a keyboard with a pitch wheel and a modulaNon wheel.When a midi note is played it will be highlighted in purple on the keyboard.The keys can also be clicked with the mouse and will play.The pitch wheel will allow bending the midi note up to a maximum amount determined by the bendamount in the global se_ngs off to the right.The pitch wheel and modulaNon wheel can be used to modulate parameters using the pitch wheel, and mod wheel modulaNon squares located above the controls on the keyboard.


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4.0 MatrixThe matrix menu shows a list of all acNve parameter modulaNons, and a modulaNon remap curve for the selected modulaNon
4.1 Modulation ListThe list view has the following columns#: Row number. Clicking on the row number will change the number to an X and will bypass this modulaNon mapping unNl the X is clicked again.Source: ModulaNon source (LFO, Envelope, Macro, Velocity, Pitch Bend, etc…)Bipolar: Contains a switch that decide if the modulaNon is bipolar or unipolar.


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Bipolar will move the modulaNon equally in both direcNons away from the original value.Unipolar will move the modulaNon in one direcNon away from the original value.Stereo: Contains a switch that decides if the modulaNon is stereo or mono. Stereo will move the modulaNon in opposite direcNons from the original value for the leT and right channel.Morph: Contains a curve control for how the modulaNon will be applied to the parameter. Note that this curve and the curve the modulaNon remap curve are different curves and will both be applied for the final result. This curve can be used for quick simple curves, while the modulaNon remap curve can be used for finer tuning,or they can be used in combinaNon.Amount: ModulaNon amount. NegaNve values will move the modulaNon in the opposite direcNon of posiNve values.Des/na/on: ModulaNon desNnaNon. Can be any parameter in vital. While the modulaNon is being applied a cyan line visual appears in this cell.4.2 Modulation Remap CurveClick on any modulaNon in the list to view the modulaNon remap curve in the bo=om of the modulaNon view.This view can be used to create unique modulaNon curves with interesNng results including arpegiated, and percussive sounds.Below is the modulaNon Remap Curve with its components labeled.
1. ModulaNon Remap Curve Chooser2. ModulaNon Remap Curve Visual3. Brush Tool4. Grid OpNonsModula/on Remap Curve ChooserA specific modulaNon remap curve can be chosen by clicking in the upper right hand corner of the modulaNon curve display on the Ntle of the modulaNon curve.Select a folder on the leT and then select a specific modulaNon curve shape on the right.Click the star icon next to a specific modulaNon curve, the star will turn purple and the modulaNon curve will be added to the favorites folder.


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Modula/on Remap Curve VisualThe minimum value is at the bo=om of the display and the maximum value is at the top.As a note is played, the modulaNon curve will highlight the part where the modulaNon is at.Click and drag on open dots to control points in the modulaNon curve.Note that open dots will snap to the grid when dragged close to the grid.Click and drag on closed dots to control the curve between two open dots.Hold shiT while clicking and dragging on any closed dot to control all curves at once.Double click an empty space to add a new closed dot.Double click an exisNng closed dot to delete it.Click the squigly line to the right of the grid opNons to smooth out all angles in the modulaNon curve.Grid Op/onsThe grid number on the leT will determine the amount of horizontal grid lines.The grid number on the right will determine the amount of verNcal grid lines.Brush ToolClick on the brush icon to acNvate the brush tool.Note that the brush tool will become highlighted when acNvated.Click on the shape to the right of the brush icon to choose a brush shape to draw with.While the brush tool is acNvated, clicking in the modulaNon curve visual will draw the brush shape in between each horizontal grid with the level at the height of the mouse.Note that clicking and dragging across the modulaNon curve visual will draw across the enNre visual with ease.Holding CTRL while the mouse is hovering over the modulaNon curve display will toggle the brush tool on and off.

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5.0 EffectsVital has a total of 9 effects which can be added to the effects rack.These are some of the most common effects used in sound design and can be used to create very complex, rich sounds. The effects rack signal flows from top to bo=om with the output of each effect flowing into the input of the next.The effects rack is setup in alphabeNcal order by default.All effects are disabled by default.To use effects simply click the acNvator bu=on in the top leT.To reorder the effects rack simply click and drag the effect up or down in the chain.5.1 ChorusChorus is used to make a single instrument sound like a group of the same instrument playing at once.This is why it is called a chorus. Because it turns a singer into a group of singers (AKA a chorus).Chorus duplicates the original sound at different modulaNng delay Nmes with slightly modulaNng pitches. This is to mimic a group of instruments playing the same sound at slightly different Nmes and pitches.Below is Vital’s Chorus with its components labeled.
1. AcNvator2. Delay Visual3. Delay Voices Parameter4. Delay ModulaNon Frequency5. Delay Timing Knobs6. Feedback Knob7. Filter Frequency Response curve8. Filter Knobs9. Dry/Wet Mix KnobDelay VisualShows a visual of the spacing of the delayed voices for the chorus.VoicesChooses the amount of pitch modulated delays for the chorus.Can be set to 4, 8, 12, or 16.Think about this as how many instruments will be playing in the group.Note that this se_ng is visualized in the delay visual.


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Delay Modula/on Frequency.Determines the amount of Nme before delay Nme modulaNon repeats itself.Can be set as a Nme in seconds, or a fracNon of the songs BPM.Can be set to freeze to remove delay Nme modulaNon.Note that this se_ng is visualized in the delay visual.Delay Timing KnobsDelay 1: RelaNve control for delay Nme for half of the chorus voices.Delay 2: RelaNve control for delay Nme for the other half of the chorus voices.Depth: MulNplies each delayed voice by a different fracNonal amount as the knob is turned to the leT.Adds a different increasing amount of delay Nme to each delayed voice as the knob is turned to the right.Note that these se_ngs are visualized in the delay visual.Feedback KnobFeeds a percentage of the chorus output back into the chorus input.NegaNve percentages will feed a phase inverted version of the chorus output back into the chorus input.NegaNve feedback can be useful for solving phase cancellaNon issues especially for short delays with a lot of feedback.Filter KnobsA filter can be applied to the chorus output.Spread: mixes between a band-pass filter and no filter.Cutoff: Sets a cutoff frequency for the band-pass filter.Note that these se_ngs are reflected in the filter frequency response curveMix KnobMixes the dry unaltered sound with the chorus output.5.2 CompressorThe compressor in vital allows for mulN-band or single band downward or upward compression.This allows for gentle compression, all out OTT squashing, or anything in between.Downward compression turns a signal down by a specific raNo once the signal is above a certain threshold.For example if a signal is 4db above its threshold and has a 4:1 raNo, then the signal will be turned down 3db so the output is only 1 db above the threshold.Upward compression turns a signal up by a specific raNo once the signal is below a certain threshold.For example if a signal is 4db below its threshold and has a 4:1 raNo, then the signal will be turned up 3db so the output is only 1 db below the threshold. Both downward and upward compression reduce the dynamic range of the original signal, which can be used to make an instrument sound heTy and large.

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Below is the Vital compressor with its components labeled.
1. AcNvator2. Compressor Banding OpNons3. Compressor Visual4. A=ack and Release Knobs5. Post Compressor EQ6. Compressor Mix KnobCompressor Banding Op/onsInput signal can be separated into different frequency bands such that each frequency band can have its own threshold and raNo se_ngs for downward and upward compression.The low frequency band cuts off at approximately 150 Hz.The high frequency band cuts off at approximately 3000 Hz.The frequency band cutoffs can not be changed.Compressor VisualThe opaque bright green meters in the forefront of the visual represent the output levels of the compressor.The small horizontal white lines hovering around the peak of the meters represents the input level of the compressor.The distance between the meter peak and the horizontal white lines is the amount of compression a=enuaNonbeing applied.The transparent green rectangles in the background control the compressor threshold and raNo.Note that upwards compressors are slightly more transparent than downwards compressors.Click and drag on the upper/bo=om edge of these rectangles to adjust the threshold for a given compressor.Hold shiT while clicking and dragging to adjust the threshold for all compressors at once.Click and drag within a rectangle to adjust the raNo a given compressor.Note that raNos are not shown numerically. The raNo is determined by the amount of grid lines in the rectanglecompared to the amount of grid lines on the background.When the grid lines for a downward compressor match the grid lines in the background, the raNo is 1:1 and the compressor is effecNvely bypassed.When the grid lines for one of the compressors on the bo=om half of the display become larger than the grid lines in the background the compressor becomes more opaque. This is because having a raNo of less than 1:1 on an upward compressor results in downward compression.AQack and Release KnobsA=ack adjusts the amount of Nme that it takes aTer the signal hits its threshold to fully a=enuate the sounds.Turning the knob all the way to the leT will immediately a=enuate the sound.Turning the knob to the right allows some Nme for transients to pass through unaltered while fading in the a=enuaNon.


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Release adjusts the amount of Nme that it takes aTer the signal returns below the threshold to stop a=enuaNng the sound.Turning the knob all the way to the leT will immediately stop a=enuaNng the sound.Turning the knob to the right allows some Nme to pass while a=enuaNon is faded out.Note that a=ack and release very important controls on a compressor. AdjusNng them can allow for a sound to be fla=ened, bring out the transients, or even creaNng pumping sounds.Post Compressor EQAllows for post compression signal to be EQed using a Low Shelf, Mid Shelf, and High Shelf.The low frequency shelf cuts off at approximately 150 Hz.The high frequency shelf cuts off at approximately 3000 Hz.The frequency band cutoffs can not be changed.Mix KnobMixes the dry unaltered sound with the post compressor post eq output.5.3 DelayDelay repeats the original signal at a specific frequency.OpNonally a filter can be applied to each repeat.This can be a great tool for adding depth to a sound.Below is Vital’s Delay with its components labeled
1. AcNvator2. Delay Visual3. Delay Time Frequency4. Delay Mode OpNons5. Feedback Knob6. Filter Frequency Response curve7. Filter Knobs8. Dry/Wet Mix KnobDelay VisualShows visual of the delayed repeats of the original signal for the leT and right channels.LeT is on top. Right is on bo=om.Delay Time FrequencyDetermines the amount of Nme before the signal repeats itself.Can be set as a Nme in seconds, or a fracNon of the song’s BPM.Note that this se_ng is visualized in the delay visual.


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Delay Mode Op/onsDetermines method playing repeats of the original signal.Note that this se_ng is visualized in the delay visual.Also for any mode other than mono there are two delay Nme frequency se_ngs.Mono: Repeats the leT and right signals at the same Nme.Stereo: Repeats the leT and right channels at potenNally different Nmes which can be set in the two delay Nmefrequency se_ngs.Ping Pong: Repeats a mono summed version of the original signal alternaNng on the leT and right side.The delay Nme frequency se_ng on the right determines the Nme unNl the first repeat (on the right channel), and the Nme aTer the repeat on the leT channel to repeat on the right channel.The delay Nme frequency se_ng on the leT determines the amount of Nme aTer the repeat on the right  channel to repeat on the leT channel.Mid Ping Pong: Similar to ping pong, but channels are not summed to mono. AddiNonally a repeat that plays both the leT and right channel repeats simultaneously is added.So the signal will repeat right, leT, stereo, right, leT, stereo, etc.Feedback KnobFeeds a percentage of the delay output back into the input.NegaNve percentages will feed a phase inverted version of the output back into the input.NegaNve feedback can be useful for solving phase cancellaNon issues especially for short delays with a lot of feedback.Filter KnobsA filter can be applied to the delay output.Spread: mixes between a band-pass filter and no filter.Cutoff: Sets the cutoff frequency for the band-pass filter.Note that these se_ngs are reflected in the filter frequency response curveMix KnobMixes the dry unaltered sound with the delay output.Note that this se_ng is visualized in the delay visual. 5.4 DistortionVital’s distorNon is a waveshaping distorNon.


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Waveshaping distorNon shapes the sound waves of a signal by mapping amplitude input levels to amplitude output levels. AddiNonally a gain knob is used to boost or lower the incoming input signal.This can be a great tool for adding textures and harmonics.To learn more about how wave shape relates to harmonics, watch the following video on the Fourier transform. h=ps://www.youtube.com/watch?v=spUNpyF58BY&ab_channel=3Blue1BrownBelow is Vital’s waveshapping distorNon with its components labeled.
1. AcNvator2. Waveshaping Input Vs. Output Chart3. Drive Knob4. Waveshape Type Chooser5. Filter Placement OpNon6. Filter Frequency Response Curve7. Filter Control Knobs8. Dry/Wet Mix KnobWaveshapping Input Vs. Output ChartThis chart shows the relaNonship between input amplitude and output amplitude.Input amplitude is shown on the x axis while.Output amplitude is shown on the y axis.Typically a funcNon that maps numbers from an infinite range to a small fixed range will be used.For example the chart of 2*arctan(x)/pi is shown below.
Note that this funcNon can take an infinite range as input, but the output lives between -1 and 1.These types of funcNons are useful because in digital audio the amplitude has to live between the values of -1 and 1.Drive KnobThe drive knob increases or decreases the amplitude of the input signal before the waveshapping is applied.


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Note that the Waveshapping Input Vs Output chart will react to changes in the drive knob.This is because the x axis will reflect the input aTer it has been turned up or down by the drive knob.Waveshape Type ChooserThe will choose the specific funcNon that will map input amplitude to output amplitude.A brief descripNon of each type of waveshaping distorNon is below.SoT Clip: Loud signals proporNonally become infinitely close to full amplitude, but never actually reach full amplitude. This results in a round curve before the signal is fla=ened when it reaches it’s amplitude limits.This is useful for adding some harmonics without changing the original sound too much.Hard Clip: Signals are above full amplitude are set to full amplitude. This results in the signal abruptly fla=ening with a hard angle when it reaches it’s amplitude limits. This is useful for adding odd order harmonics and changing the original sound to be more aggressive.Linear Fold: Signals above full amplitude are reflected back the other way. This is useful for adding a unique setof harmonics, and significantly changing the original sound.Sine Fold: Similar to linear fold, but the edges of the reflecNons are rounded off. This is useful for adding a unique set of harmonics, and significantly changing the original sound, but less aggressive than linear fold.Bit Crush: Output Amplitude Levels are restricted to certain values. The drive knob controls how many amplitude levels are allowed.  This is essenNally the same as bit reducNon.Bit depth is the amount of possible amplitude levels an audio file can read. For reference, 16 bit files contain 2^16=65,536 possible amplitude levels.Down Sample: Same as bit crush, but the drive knob has a different sensiNvity curve.Filter Placement Op/onA filter can opNonally be applied before or aTer the distorNon.This useful because distorNon introduces a lot of harmonics, so it may be nice to reduce the amount of harmonics before or aTer distorNon is applied. This can be used to reduce the harshness that someNmes comes with distorted sounds.Note that when the filter is turned on, the Filter Frequency Response Curve is highlighted in red.Filter Control KnobsBlend: Blends between low-pass, band-pass, and high-pass filter type.Cutoff: Sets cutoff frequency for filterResonance: Set peak amount at the cutoff frequency.Mix KnobMixes the dry unaltered sound with the distorted output.5.5 EQAn equalizer with 3 a=enuaNon points that can be set as a low-pass, low-shelf, high-pass, high-shelf, notch, or peak.

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Below is Vital’s EQ with its components labeled.
1. AcNvator2. EQ Visual3. A=enuaNon Point Chooser4. A=enuaNon Point Type Chooser4. A=enuaNon Point Control knobsEQ VisualThe EQ frequency response curve is shown as an off-white curve.The present harmonics in the output of the EQ are shown in the background.The a=enuaNon points are shown as off-white circles.The currently selected a=enuaNon point will be a filled in circle.Clicking and dragging on an a=enuaNon point will adjust the cutoff frequency and gain of the a=enuaNon point.AQenua/on Point ChooserClicking on “LOW”, “BAND”, or “HIGH” will select the low, mid, or high a=enuaNon point respecNvely.SelecNng an a=enuaNon point will fill in the respecNve circle on the EQ visual and will pull up the respecNve a=enuaNon point control knobs.AQenua/on Point Type ChooserThe low and high a=enuaNon points are set to shelves by default.Clicking on the a=enuaNon point chooser will change the point to a low-pass or high-pass.The mid a=enuaNon point is set to a peak by default.Clicking on the a=enuaNon point chooser will change the point to a notch.AQenua/on Point Control KnobsThese knobs will control the currently selected a=enuaNon point Gain: Selects the gain in db for the a=enuaNon pointNote that gain is disabled for low-pass, notch, and high-pass a=enuaNon points.Cutoff: Selects the cutoff frequency for the a=enuaNon point.Resonance: Set peak amount at the cutoff frequency.5.6 FilterAn addiNonal filter idenNcal to the filters in the voice secNon of the synth.The only difference is that this filter is routed in the effects chain.


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5.7 FlangerA flanger is a sound produced when the original sound is played with a duplicate of itself at a low but changing delay Nme.This was originally done by pu_ng a finger on a tape machine, so that the duplicate track would play just a Nnybit late at a changing amount of delay. This starts to introduce notch filters because the duplicate track starts to cancel some of the frequencies of the original track. These notches naturally start at the top of the frequency range and work their way down as the delay Nme is increased. This results in a comb filter.For more informaNon on the history of flangers and how they work watch the following videos.h=ps://www.youtube.com/watch?v=Q1dB7skqrks&ab_channel=OmegaStudiosSchoolhttps://www.youtube.com/watch?v=Ici_YOVDl_0&t=203s&ab_channel=ProAudioFileshttps://www.youtube.com/watch?v=gYF2h5ry3kY&ab_channel=EmpressEffectsFor simplicity, the Vital flanger is the specific type of comb filter that would be the result of an actual flanger, rather than an actual flanger itself.Below is the Vital flanger with its components labeled.
1. AcNvator2. Flanger Visual3. Feedback knob4. Center Frequency Knob5. Center Frequency ModulaNon Frequency Se_ngs6. Center Frequency ModulaNon Depth Knob7. Stereo Offset8. Dry/Wet Mix KnobFlanger VisualThe flanger visual shows the frequency response curve for the comb filter being applied to the sound.Note that when the offset knob is not set to 0 or 360 degrees, there are two transparent frequency response curves. One is for the leT channel and the other is for the right channel.Feedback KnobFeeds a percentage of the flanger output back into the input.NegaNve percentages will feed a phase inverted version of the output back into the input.PosiNve percentages result in more even order harmonics, while negaNve results in more odd order harmonics.Center Frequency KnobSets the center frequency of the comb filterCenter Frequency Modula/on Frequency SePngsCenter frequency of comb filter is modulated up and down to create a flanging sound.This parameter sets the amount of Nme it takes for the comb filter to move down and up once.


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Can be set as a Nme in seconds, or a fracNon of the songs BPM.Can be set to freeze to remove center frequency modulaNon.Center Frequency Modula/on Depth KnobSets how far the comb filter modulaNon moves down and upStereo OffsetOffsets the comb filter center frequency for the leT and right channels by a degree amount.The degree represents the degree of the center frequency modulaNon cycle.Mix KnobMixes the dry unaltered sound with the flanger output.5.8 PhaserA phaser duplicates the original sound runs it through an all-pass filter and then plays that back with the original sound.All-pass filters have a flat frequency response curve, but adjust the phase of certain frequencies.Thus, a phaser causes frequencies to cancel out in a few bands which is the same as a few notch filters.This process can be repeated mulNple Nmes to create more frequency bands that have been canceled out.For more informaNon on the history of phasers and how they work watch the following video.h=ps://www.youtube.com/watch?v=gYF2h5ry3kY&ab_channel=EmpressEffectsFor simplicity, the Vital phaser is a series of notch filters that are commonly the result of a real phaser, rather than an actual phaser itself.Below is the Vital phaser with its components labeled
1. AcNvator2. Phaser Visual3. Notch Slider4. Feedback Knob5. Center Frequency Knob6. Center Frequency ModulaNon Frequency Se_ngs.7. Center Frequency ModulaNon Depth Knob8. Stereo Offset9. Dry/Wet Mix KnobPhaser VisualThe phaser visual shows the frequency response curve for the notch filters being applied to the sound.Note that when the offset knob is not set to 0 or 360 degrees, there are two transparent frequency response curves. One is for the leT channel and the other is for the right channel.


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Notch SliderSets the number of notches in the series of notch filters.In a classic phaser, adding more all pass filters would result in more notches.On many phasers the number of all pass filters is called “poles”.Feedback KnobFeeds a percentage of the phaser output back into the input.Center Frequency KnobSets the center frequency of the series of notch filters.Center Frequency Modula/on Frequency SePngsCenter frequency of the series of notch filters is modulated down and up.This parameter sets the amount of Nme it takes for the series of notch filters to move down and up once.Can be set as a Nme in seconds, or a fracNon of the songs BPM.Can be set to freeze to remove center frequency modulaNon.Center Frequency Modula/on Depth KnobSets how far the series of notch filters modulaNon moves down and upStereo OffsetOffsets the series of notch filters center frequency for the leT and right channels by a degree amount.The degree represents the degree of the center frequency modulaNon cycle.Mix KnobMixes the dry unaltered sound with the phaser output.5.9 ReverbUsed to create the sound of a room.Digital reverbs are typically a fast delay, with a high amount of feedback and different comb and all pass filters on each delay.This is trying to replicate sound traveling through the air and bouncing off different surfaces within a room.The delay replicates the Nme it takes for the sound to travel from the source to your ear, then to a wall, then back to your ear, then to another wall, and so on and so forth.The comb filters represent the frequencies that are lost each Nme the sound bounces off a different surface.The all pass filters represent the change in phase for different frequency bands as they travel through the air.Each digital reverb can work in different ways, but these are the key ideas.Below is Vital’s Reverb with its components labeled


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1. AcNvator2. Pre Reverb EQ3. Post Reverb EQ Visual4. Post Reverb EQ Controls5. Reverb Chorus Controls6. Reverb Space Controls7. Pre-Delay Knob8. Dry/Wet MixPre Reverb EQPre Low Cut: Applies a high-pass filter to the input before reverb is applied.Pre High Cut: Applies a low-pass filter to the input before reverb is applied.Post Reverb EQA low-shelf or a high-shelf can be applied aTer the reverb to apply damping.The EQ frequency response curve is shown in the visual as a purple curve.The a=enuaNon points are shown as purple circles.The currently selected a=enuaNon point will be a filled in circle.Clicking and dragging on an a=enuaNon point will adjust the cutoff frequency and gain of the a=enuaNon point.Note that gain is restricted to values between -6db and 0db.Clicking on “LOW”, or “HIGH” will select the low, or high a=enuaNon point respecNvely.SelecNng an a=enuaNon point will fill in the respecNve circle on the EQ visual and will pull up the respecNve EQcontrol knobs.Reverb Chorus ControlsOpNonally a chorus effect can be applied to the reverb.Chorus Amount: Determines the amount of pitch modulaNon for the chorus.Chorus Frequency: Determines the frequency for the pitch modulaNon on the chorus.Reverb Space ControlsSize: Makes the room sound like a small closed space or an open large hallTime: Time of the reverb tail in secondsPre-Delay KnobReverb can be put on a delay such that the original signal can be played by itself for a small amount of Nme before the reverb starts. This allows the original signal to be heard more clearly.The pre-delay knob determines the delay Nme for the reverb signal in seconds.Mix KnobMixes the dry unaltered sound with the reverb output.

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6.0 Global SettingsAt the bo=om of the right hand panel are some of the global se_ng for Vital.Voices: Determines the amount of midi note that can be played at once. Note that this is different than Oscillator Unison voicesBend: Determines the amount of possible midi pitch bend in semitones from original pitch. For example a bend amount of two would allow the midi note to be bent two semitones up or down.Vel Trk: Velocity Tracking.Spread: Se_ng this knob all the way to the right will not impact the output of the synth. Turning this knob to the leT will sum the stereo signals to mono.Right click spread to switch spread knob for Rotate Knob.Rotate: Rotates the leT and right pan in a circle.To understand this, here is an illustraNve example.Turn on oscillator 1 and the sampler.Pan oscillator 1 all the way to the leT.Pan the sampler all the way to the right.Now slowly move the rotate knob to hear a rotaNng stereo fieldGlide: Determines the amount of Nme in seconds it takes for one midi note to glide into the next midi note.Slope: Determines the curve of the pitch glide between two midi notes.Always Glide: When acNvated each midi note will pitch glide starNng from the previous midi note played no ma=er what. When deacNvated, each midi note will only pitch glide while two midi notes are overlapping.Octave Scale: When acNvated glide Nme will depend on the distance of the two midi notes. For example gliding 3 octaves will take 3 Nmes as long as it takes to glide 1 octave.Legato: When voices is set to 1, and legato is acNvated, modulaNons such as envelopes or LFOs wont be retriggered when a new overlapping midi note is played.


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7.0 Advanced SettingsThe advanced se_ngs in Vital are separated into individual oscillator advanced se_ngs and Global advanced se_ngs7.1 Oscillator Advanced SettingsTo light up the oscillator advanced se_ngs, acNvate the oscillator.To light up the unison secNon add more than one voice to the oscillator. If the oscillator is deacNvated or only uses one voice, the advanced se_ng will be dim and gray.Below are the advanced oscillator se_ngs with the components labeled.
1. Note Tracking OpNon2. Hi ResoluNon Wavetable OpNon3. Oscillator Unison Stack OpNons4. Oscillator Unison Detune Range5. Oscillator Unison Dry/Wet Knobs6. Oscillator Unison Spread KnobsNote Tracking Op/onDeacNvaNng note tracking will make this oscillator play the same note regardless of the midi note played.C3 will be played for default oscillator pitch se_ngs.To play a different note, adjust the oscillator pitch se_ngs.Hi Resolu/on Wavetable Op/onWavetables will use a high resoluNon.This is probably unnecessary under most circumstances but may have an impact for wavetables with lots of high end frequencies.Oscillator Unison Stack Op/onsDetermines how unison voices will be stacked in terms of pitchBelow are brief descripNons of the unison stack opNons.Unison: Plays voices with pitches ranging from the bo=om of the detune range to the top of the detune range around the incoming midi note. Center Drop 12: The same as unison, but one voice is dropped down an octave and played in mono.Center Drop 24: The same as unison, but one voice is dropped down two octaves and played in mono.


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Octave: Plays voices with pitches ranging from the bo=om of the detune range to the top of the detune range around the incoming midi note and the octave above it.2x Octave: Plays voices with pitches ranging from the bo=om of the detune range to the top of the detune range around the incoming midi note, the octave above it, and two octaves above it.Power Chord: Plays voices with pitches ranging from the bo=om of the detune range to the top of the detune range around the incoming midi note and a perfect 5th (7 semitones) above it.Major Chord: Plays voices with pitches ranging from the bo=om of the detune range to the top of the detune range around the incoming midi note, a major 3rd (4 semitones) above it, and a perfect 5th (7 semitones) above it.Minor Chord: Plays voices with pitches ranging from the bo=om of the detune range to the top of the detune range around the incoming midi note, a minor 3rd (3 semitones) above it, and a perfect 5th (7 semitones) above it.Harmonics: The first voice plays the incoming midi note. Each voice added will play the next pitch in the harmonic series (up to 16 harmonics for 16 voices). Detune will randomly move these harmonics up or down which will result in an inharmonic sound.Odd Harmonics: The first voice plays the incoming midi note. Each voice added will play the next pitch in the odd ordered harmonic series (up to 16 harmonics for 16 voices). Detune will randomly move these harmonics up or down which will result in an inharmonic sound.Note that the odd ordered harmonic series excludes octaves.Oscillator Unison Detune RangeDetermines the boundary for how far a voices pitch can be detuned in semitones.Oscillator Unison Dry/Wet KnobsUnison Blend Knob: Adjust the volume of detuned voices.Stereo Unison: Sums stereo signal to mono when turned all the way to the leT.Oscillator Unison Spread KnobsTable Spread: Spreads voices throughout different wavetable posiNons. The range of wavetable posiNons is shown visually above.Spect Spread: Spreads voices throughout different posiNons on the Oscillator’s LeT ModulaNon knob. The range of knob posiNons is shown visually above.Dist Spread: Spreads voices throughout different posiNons on the Oscillator’s Right ModulaNon knob. The range of knob posiNons is shown visually above.

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7.2 Global Advanced SettingsBelow are Vital’s advanced global se_ngs with the components labeled.
1. Oscilloscope2. Frequency Spectrum Analyzer3. Global Oversampling4. Frequency Units OpNon5. Global Voice Se_ngsOscilloscopeThe Oscilloscope shows a current view of the waveform being played through the synth.Frequency Spectrum AnalyzerDisplays all harmonics present in the current sound.Global OversamplingSets amount of oversampling for the synth.According to the nyquist theorem 2x oversampling should be sufficient for pracNcally all sounds that a human can hear.However, on certain sounds with a lot of emphasis on high end frequencies, addiNonally oversampling may be a li=le bit helpful at the expense of CPU usage.1x oversampling will likely result in some aliasing for high end frequencies.Synths with no high end frequencies will not be impacted when set to 1x oversampling and will save some CPUuseage.AddiNonally, aliasing could be used as an experimental sound design technique.Frequency Units Op/onFrequencies throughout Vital can be viewed in hertz (Hz) or semitones.Hertz are cycles per second.Semitones are measured in distance from middle C.Note that this sePng will stay put even when presets are changed or Vital is closed and opened.


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Global Voice SePngsNote Priority: When more midi notes are played than global voices, this opNon will decide which notes are played and which are not. Note that a newly added midi note will always play.Priority is taken from the pool of exisNng midi notes.Below are the note priority opNonsNewest: Newer midi notes are prioriNzed over older midi notesOldest: Older midi notes are prioriNzed over newer midi notesHighest: Higher pitch midi notes are prioriNzed over lower pitch midi notesLowest: Lower pitch midi notes are prioriNzed over higher pitch midi notesRound Robin: Similar to HighestTuningLoads a tuning file to determine the pitch spacing of the midi notes.Pythagorean is the ancient original standard tuning based enNrely on perfect 5ths.Try pythagorean tuning for orchestral songs or experimental songs.This tuning system contains some oddiNes and some rules leT open to interpretaNon.Some older instruments even used to have two pitches for the same note.This relates to the harmonic series and how some of the higher order harmonics are “out of tune”. h=ps://en.wikipedia.org/wiki/Pythagorean_tuningJust IntonaNon is an intonaNon system that was common in non-western pentatonic music.Try just intonaNon for songs built around the pentatonic scale or experimental songs.h=ps://en.wikipedia.org/wiki/Just_intonaNonDefault is the modern standard tuning. AKA Equal Temperament.Default tuning will probably sound the most comfortable for most modern music.h=ps://www.youtube.com/watch?v=wUBkbrvCmGA&ab_channel=NathanNokesTuneAdjust the output of the synth by this number of cents. With 100 cents being 1 semitone.This is set to 0 by default so that the oscillator will play the incoming midi note as is.TransposeAdjust the output of the synth by this number of semitones.This is set to 0 by default so that the oscillator will play the incoming midi note as is.