Syntronik User Manual

Syntronik
USER MANUAL
Syntronik
Table of Contents
Contents 2
License Agreement 6
English 10
Chapter 1 – Overview 10
1.1 – Introduction 10
1.2 – Features 17
Chapter 2 – Getting started 18

2.1 – Using Syntronik as a standalone application 18
2.1.1 – Audio / MIDI Settings 19
2.1.2 – Library Settings 21
2.1.3 – Program Change Settings 22
2.1.4 – Remote Settings 23
2.1.5 – Info 24
2.1.6 – Authorization 25
2.2 – Using Syntronik as a plug-in 26
2.2.1 – Synching to the host application’s tempo 26
2.3 – In-App Shop 27
Chapter 3 – The Instrument Browser 28

3.1 – Browser Overview 28
3.1.1 – Browsing Instruments using keyboard arrow keys 28
3.1.2 – Browser filters 29
3.1.3 – Synth column 30
3.1.4 – Filters column 31
3.1.5 – Clearing filters 31
3.1.6 – Text search 32
3.1.7 – Tag an Instrument as favorite 32
Chapter 4 – The Synth Panel 33

4.1 – Synth Panel Overview 33
4.2 – Oscillators 34
4.2.1 – Tune 34
4.2.2 – Osc 2 Enable 34
4.2.3 – Osc 2 Detune 34
4.3 – Filter 35
4.3.1 – Filter Type 35
4.3.2 – Filter Mode 36
4.3.3 – Filter Slope 36
4.3.4 – Filter Cutoff Frequency 36
4.3.5 – Filter Resonance 37
4.3.6 – Filter Drive 37
4.3.7 – Filter Envelope 37
4.4 – LFO (Low Frequency Oscillator) Modulation 38
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4.4.1 – LFO Wave Shape 38

4.4.2 – LFO Rate 38
4.4.3 – LFO BPM Sync 39
4.4.4 – LFO Destinations: Pan, Pitch and Filter 39
4.5 – Controllers 40
4.5.1 – Bend 40
4.5.2 – Vib Rate 40
4.5.3 – Keyboard Mode 41
4.5.4 – Portamento / Glide 41
4.6 – Saving Instruments 42
4.6.1 – Tags in the Save As window 42
4.7 – MIDI Learn 43
4.7.1 – Assign a controller 43
4.7.2 – Reset a controller 43
4.7.3 – Edit MIDI Assignments 43
4.7.4 – Vibrato Controller Source 44
Chapter 5 – The Effects Panel 45

5.1 – Effects Rack Overview 45
5.1.1 – Serial effect chain 45
5.1.2 – Loading effects 45
5.2 – Effect Categories 46
5.3 – Amps 47
5.3.1 – Flexi Amp 47
5.3.2 – Jazz Amp 120 48
5.3.3 – Modern Tube Lead 49
5.3.4 – SVT Classic 50
5.4 - Distortion 51
5.4.1 - Distortion 51
5.4.2 - Overdrive 52
5.4.3 - Overscream 53
5.4.4 - Lo-Fi 54
5.4.5 - Phonograph 55
5.4.6 - Crusher 56
5.5 – Dynamics/EQ 57
5.5.1 – Channel Strip 57
5.5.2 – Parametric EQ 58
5.5.3 – Vintage EQ-1A 59
5.5.4 – Model 670 60
5.5.5 – Black 76 61
5.5.6 – White 2A 62
5.6 – Modulation 63
5.6.1 – AM Modulatior 63
5.6.2 – Autopan 64
5.6.3 – Chorus C1 65
5.6.4 – Electric Flanger 66
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5.6.5 – Ensemble 67
5.6.6 – FM Modulatior 68
5.6.7 – Opto Tremolo 69
5.6.8 – Phaser 70
5.6.9 – Rotary Speaker 71
5.6.10 – Slicer 72
5.6.11 – Small Phazer 73
5.6.12 – Uni-V 74
5.7 – Reverb/Delay 75
5.7.1 – Plate Reverb 75
5.7.2 – Hall Reverb 76
5.7.3 – Spring Reverb 77
5.7.4 – Digital Delay 78
5.7.5 – Tape Echo 79
5.7.6 – Stereo Imager 80
5.8 – Filter 81
5.8.1 – Env Filter 81
5.8.2 – LFO Filter 82
5.8.3 – Multi Filter 83
5.8.4 – Wah 47 84
5.9 – Effect Presets 85
5.10 – Effects Chain Presets 85
5.8 – Effects Lock 86
Chapter 6 – The Arpeggiator Panel 87

6.1 – Arpeggiator Overview 87
6.2 – Arpeggio Steps 88
6.2.1 – Step enable and disable 88
6.2.2 – Step velocity 88
6.2.3 – Step Transposition 88
6.2.4 – Chord Step 89
6.2.5 – Step length and tie 89
6.3 – Arpeggio Pattern 90
6.3.1 – Pattern Range 90
6.3.2 – Pattern Velocity 90
6.3.3 – Overall length 90
6.3.4 – Swing 91
6.3.5 – Pattern Rate 91
6.3.6 – Pattern Octave 92
6.3.7 – Clear Pattern 92
6.4 – Arpeggiator Play and Sync 93
6.4.1 – Arpeggiator Play 93
6.4.2 – BPM and Host Sync 93
6.4.3 – Latch 93
6.5.– Arpeggio Modes 94
6.5.1 – Arpeggio Mode 94
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6.5.2 – Arpeggio Trigger Mode 95

6.5.3 – Arpeggio Key Split 95
6.6 – Manage Arpeggiator Patterns 96
6.6.1 – Save Pattern 96
6.6.2 – Delete Pattern 96
6.6.3 – Lock Pattern 97
Chapter 7 – The Multi Panel 98

7.1 – Multi Overview 98
7.1.1 – Part Volume, Pan, Mute and Solo 99
7.1.2 – Select the Part 99
7.1.3 – Note Range 100
7.1.4 – Velocity Range 100
7.2 – Manage Multis 101
7.2.1 – Save Multi 101
7.2.2 – Reset Multis 102
7.2.3 – Initialize Multis 102
7.2.4 – Lock Multi 102
7.3 – Multi Quick Edit 103
Chapter 8 – Troubleshooting 104
Chapter 9 – Support 106

9.1 – User Area 106
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Syntronik
License Agreement
END-USER LICENSE AGREEMENT FOR IK MULTIMEDIA PRODUCT
Please read this document carefully before breaking the seal on the media package. This agreement licenses the
enclosed software to you and contains warranty and liability disclaimers.
By breaking the seal on the media envelope, you are confirming to have taken notice of terms and conditions
of this agreement and you acknowledge your acceptance of the software as well as your acceptance of the
terms of this agreement. If you do not wish to do so, do not break the seal. Instead, promptly return the entire
package, including the unopened media package, to the dealer from whom you have obtained it, for a full
refund.
1) DEFINITIONS
“EULA” means this end user license agreement.
“IK Multimedia Product” means the software program included in the enclosed package, and all related updates
supplied by IK Multimedia.
“IK Multimedia Product” means the software program and hardware (if any) included in the enclosed package,
the related documentation, models, multimedia content (such as animation, sound and graphics) and all related
updates supplied by IK Multimedia.
“Not for resale (NFR) Version” means a version of IK Multimedia Product, so identified, is intended for review and
evaluation purposes, only.
2) LICENSE
The “IK Multimedia Product” is protected by copyright laws and international copyright treaties, as well as other
intellectual property laws and treaties. The “IK Multimedia Product” is licensed, not sold. This EULA grants you
the rights as specified here below. All other actions and means of usage are reserved to the written permission
of the right holder IK Multimedia Production Srl:
Applications Software. The “IK Multimedia Product” may be used only by you. You may install and use the “IK
Multimedia Product”, or any prior version thereof for the same operating system, on up to three (3) computers,
provided that (a) each computer is owned by (or leased to) and under the exclusive control of the licensee; (b)
the program(s) shall NOT be used simultaneously on more than one machine, and (c) any computer(s) with
IK Multimedia software installed shall not be sold, rented, leased, loaned or otherwise be removed from the
licensee’s possession without first removing (uninstalling) the licensed software, except as provided in Paragraph
4 (below) pertaining to “Software Transfer”.
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Storage/Network use. You may also store or install a copy of the “IK Multimedia Product” on a storage device,
such as a network server, used only to install or run the “IK Multimedia Product” on your other computers
over an internal network; however, you must acquire and dedicate a distinct license for each user of the “IK
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The “IK Multimedia Product” only functions when you have authorized it. The “IK Multimedia Product” will be
authorized upon completing the authorization procedure. Once your product is authorized, you may use it.
You agree to follow the authorization procedure and will provide true, accurate and complete information about
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has reasonable grounds to suspect that such information is untrue, inaccurate, not correct or incomplete, IK
Multimedia has the right to suspend or to revoke the license.
The termination of the license shall be without prejudice to any rights, whatsoever, of IK Multimedia.
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Limitations on Reverse Engineering, Decompilation, and Disassembly. You may not reverse engineer,
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Product” is licensed as a single product. Its component parts may not be separated for use on more than one
computer.
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Copy”, then, notwithstanding other sections of this EULA, you may not sell, or otherwise transfer the “IK
Multimedia Product”.
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Software Transfer. You may not transfer, license or sublicense your rights as Licensee of the software or any
IK Multimedia product, as licensed to you under this agreement without prior written consent of the rights
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Production srl Online Shop, you have fourteen (14) days to withdraw your purchase from the date you receive
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this within the fourteen (14) day period. The “IK Multimedia Product” must be returned in ‘as new’ condition.
This includes all contents and packaging, which must not be damaged in any way. Once you break the seal,
you lose your right of withdrawal. Right of withdrawal does not apply to IK Multimedia Products purchased as
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www.ikmultimedia.com/contact-us and confirm your wish to a refund within the fourteen (14) day period.
5) UPGRADES
If the “IK Multimedia Product” is labeled or otherwise identified by IK Multimedia as an “upgrade”, you must be
properly licensed to use a product identified by IK Multimedia as being eligible for the upgrade in order to use
the “IK Multimedia Product”.
An “IK Multimedia Product” labeled or otherwise identified by IK Multimedia as an upgrade replaces and/or
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of a component of a package of software programs that you licensed as a single product, the “IK Multimedia
Product” may be used and transferred only as part of that single product package and may not be separated for
use on more than one computer.
6) DUAL-MEDIA SOFTWARE
You may receive the “IK Multimedia Product” in more than one medium. You may not loan, rent, lease, or
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above) of the “IK Multimedia Product”.
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IK Multimedia warrants to the original purchaser of the computer software product, for a period of ninety
(90) days following the date of original purchase, that under normal use, the software program and the user
documentation are free from defects that will materially interfere with the operation of the program as described
in the enclosed user documentation.
8) WARRANTY CLAIMS
To make a warranty claim under the above limited warranty, please return the product to the point of purchase,
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to you a credit equal to the purchase price, at its option.
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9) LIMITATIONS ON WARRANTY
IK Multimedia warrants only that the program will perform as described in the user documentation. No other
advertising, description or representation, whether made by a IK Multimedia dealer, distributor, agent or
employee, shall be binding upon IK Multimedia or shall change the terms of this warranty.
EXCEPT AS STATED ABOVE, IK MULTIMEDIA MAKES NO OTHER WARRANTY, EXPRESSED OR

IMPLIED, REGARDING THIS PRODUCT. IK MULTIMEDIA DISCLAIMS ANY WARRANTY THAT
THE SOFTWARE IS FIT FOR A PARTICULAR PURPOSE, AND ANY IMPLIED WARRANTY OF
MERCHANTABILITY SHALL BE LIMITED TO A NINETY (90) DAY DURATION OF THIS LIMITED EXPRESS
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SHALL NOT BE LIABLE FOR SPECIAL, INCIDENTAL, CONSEQUENTIAL OR OTHER DAMAGES, EVEN IF
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OR USE OF THE SOFTWARE, OR FROM ANY OTHER CAUSE EXCEPT THE ACTUAL COST OF THE
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11) GENERAL
This Agreement contains the complete agreement between the parties with respect to the subject matter
hereof, and supersedes all prior or contemporaneous agreements or understandings, whether oral or written. All
questions concerning this Agreement shall be directed to:
IK Multimedia Production Srl

Via dell’Industria 46
41122 Modena
Italy
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Chapter 1 – Overview
1.1 – Introduction
Syntronik is a virtual instrument that plays high-resolution dynamic samples of electronic instruments through
modeled filters and effects. It includes 4 Parts where you can split or stack the instruments and save them as
Multis. Each Syntronik Part also includes a powerful arpeggiator that plays MIDI patterns based on the keys you
press.
Syntronik provides an extremely user-friendly consolidated interface that lets you browse, load and edit the
sounds you want fast. There are 5 main windows: the Instrument Browser, the Synth Panel, the Multi Panel,
the Effects Panel and the Arpeggio Panel. You can quickly switch between windows by simply clicking the
corresponding icons at the top of Syntronik.
The Instrument Browser is where you find the complete list of available Instruments in Syntronik. The Instrument
Browser is the default view when you lauch Syntronik. To open it again from any other window, click the small
synth icon at the left of the Instrument name display in the top center of Syntronik. Once you have loaded an
Instrument, click the X at the upper right of the Instrument Browser to close the window and view the Synth
Panel. You can also open a simple Browser List by clicking on the Instrument name at the top of Syntronik.
Close the Browser List by simply clicking away from it..
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The Synth Panel provides a graphical user interface inspired by classic hardware synthesizers where you can
edit the Instrument’s traditional synthesizer parameters: its oscillator, filter, envelope and LFO sections. To view
the Synth Panel, simply de-select any highlighted icons at the top of Syntronik. There is a separate Synth Panel
available for each of the 4 Parts. Click A, B, C or D to view the Synth Panel for each Part.
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The Multi Panel is where you can view and edit the ranges for the 4 Parts. Click Multi icon (4 horizontal lines) at
the top left of Syntronik to open the Multi Panel. You can set the note range and velocity range independently
for each Part. Multis are saved as their own objects using the mini menu at the top left of the Multi Panel. Click a
Part letter (A, B, C or D) in the Multi Panel or at the top of Syntronik to select which Part to work with.
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The Effects Panel provides a 5-slot effects rack that processes only the selected Part (A, B, C or D). Each Part
has its own separate effects rack, and this means you can run up to 20 effects simultaneously. To view or close
the Effects Panel, click the Effects icon at the top of Syntronik just to the right of the Instrument name display.
Click A, B, C or D to view the effects rack for each Part.
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The Arpeggio Panel is a programmable advanced arpeggiator for each Part. Click the Arpeggio icon at the top
of Syntronik to view or close this window. Arpeggios can be edited and saved with their associated Instrument
or as independent Arpeggios not associated with any specific Instrument by using the mini menu at the top left
of the Arpeggio Panel. Click A, B, C or D to view the Arpeggio for each Part.
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The faders icon at the top of Syntronik opens and closes a small window where you can set the volume, pan,
mute and solo for the selected Part. These values are saved with the Multi. You can adjust set the master
volume here as a global setting.
The gear icon opens the Settings window where you choose your audio and MIDI preferences, set your master
disk path for your sound libraries, assign stored Multis to MIDI program change numbers and assign global MIDI
continuous controller numbers to common Syntronik functions. The padlock icon lets you authorize and register
your copy of Syntronik with IK Multimedia.
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Next to that, there is a shopping cart button at the top right of Syntronik.This launches the In-App Shop where
you can purchase additional sounds for Syntronik.
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1.2 – Features
• Powerful instruments with familiar panel designs and easy to use controls
• A collection of iconic synthesizers and string machines
• Multi-sampled oscillators for ultimate authenticity
• 4 types of classic circuit-modeled filters to shape sounds
• DRIFT™ technology for realism of subtle oscillator variations
• Mix and match oscillators with filters for new original sounds
• True 4-part synth to create rich sounds with Multis and splits
• 4 dynamic arpeggiators for complex rhythmic textures
• 38 high-quality effects derived from AmpliTube and T-RackS
• Browser search by category or keyword to find sounds in seconds
• Optimized resizable interface
• Load Syntronik sounds into SampleTank 3 for more expandability
• Works as a 64-bit plug-in or standalone instrument for Mac/PC
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Chapter 2 – Getting started
Syntronik can be used as a standalone application or as a plug-in..
2.1 – Using Syntronik as a standalone application
In standalone mode, launch Syntronik from your applications folder to use it without a host application such as
a digital audio workstation (D.A.W.). In fact, this allows Syntronik to have all the functionality and flexibility of the
plug-in in a self-contained software instrument. For example, you can use Syntronik for live performances when
there is no need for a complex sequencer setup or in a second computer that is dedicated to virtual instruments.
When launching Syntronik standalone for the first time, you need to set the audio output and MIDI input / output
as well as the disk path where the library content is stored. This is accomplished in the Settings window that can
be opened by clicking the gear icon at the top right.
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There are 5 tabs in the Settings window: Audio/MIDI, Library, Program Change, Remote and Info plus an lock
icon to open the Authorization Manager.
2.1.1 – Audio / MIDI Settings

Click the Audio / MIDI tab to set up your audio output and MIDI input. Syntronik is compatible with any ASIO or
Direct Audio audio interface in Windows and any Core Audio-compatible audio interface in Mac OS X.
Output device
Choose which available audio interface you want to use with Syntronik.
Windows
There are two drop down menus to select the Audio Driver. The drop-down menu on the left selects the type of
driver to use, such as ASIO or DirectX. The drop down menu on the right selects the actual audio interface. It will
be either ASIO (preferred) or Direct Audio. An ASIO compatible sound card will perform with faster response and
lower latency than a Direct Audio one, we strongly recommend the ASIO setting when using Virtual Instruments
such as Syntronik.

Syntronik
Mac OS X
Syntronik is compatible with Core Audio audio interfaces in Mac OS X. Any audio interface supported by
computer’s operating system will work with Syntronik. There is one drop-down menu to select the audio
interface.
Ouput Routing
The Output Routing is used to assign the left and right outputs of Syntronik to channels on your selected
interface. This lets you determine where the Syntronik output is routed in your system.
Sample Rate and Buffer Size

The sample rate and buffer sizes drop-down menus let you choose your settings for Syntronik. These settings
are dependent on the audio interface as not all audio interfaces provide the same sample rate or buffer setting
options. For the best performance in Syntronik standalone, set the buffer as low as possible without hearing
clicks and pops. This will provide the lowest amount of latency, the delay between playing a note and hearing
the sound. Higher sample rates such as 96kHz will deliver better sound quality but at the expense of a higher
CPU load.
MIDI Input
This drop-down menu determines which MIDI input of your computer that SampleTank will respond to. Any MIDI
interface supported by computer’s operating system will work with Syntronik.
MIDI channel
Set the MIDI channel to which Sytronik should respond. The default setting is OMNI. In OMNI mode, Syntronik
will respond to incoming information on any channel. If you are not using any other virtual instruments, this
setting will work well. Set Syntronik to receive on a specific channel if you are workign with mutliple virtual
instruments. Note that all Syntronik Parts are always simultaneously assigned to the same MIDI channel, set
here. For multitimbral operation beyond single-channel splits and Multis, use multiple instances of Syntronik in
your D.A.W. or host application or load the Syntronik Instrument Collections in SampleTank 3.

Syntronik
2.1.2 – Library Settings

Click the Library tab to set the disk path for Syntronik.
Disk Path
You must specify where the Syntronik sound library is stored on your hard disk. The hard disk may be internal or
external. Click in the Disk Path field to navigate to the location. Syntronik shares its disk path with SampleTank
3 data, so the parent folder for all SampleTank 3 and Syntronik Instrument Collections (aka “libraries”) is named
SampleTank 3 by default. The default disk path is User/Documents/IK Multimedia/SampleTank 3. Once you have
set your Disk Path, click the Rescan button to build (or rebuild) your IK sound database. This may take several
minutes if you have additional SampleTank 3 content and Instrument Collections installed.

Syntronik
2.1.3 – Program Change Settings
Syntronik can assign any stored Multi to a specific MIDI Program Change (PC) number. The column on the
left lists the MIDI PC numbers from 0 to 127. The column on the right opens a drop-down menu for each
corresponding Program Change number where you can select the Multi to assign. When Syntronik receives that
PC message, it will load the selected Multi.
NOTE: Syntronik only assigns MIDI PC numbers to Multis. MIDI PC messages will not load individual
Instruments.

Syntronik
2.1.4 – Remote Settings
Click the Remote tab to assign MIDI Continuous Controller (CC) numbers to common Syntronik functions. You
can select Parts, Browse Instruments and Load Instruments remotely by assigning a MIDI CC to the desired
function.

Syntronik
2.1.5 – Info
View important information about the currently installed version of Syntronik.

Syntronik
2.1.6 – Authorization
Click the lock icon to authorize Syntronik.

Syntronik
2.2 – Using Syntronik as a plug-in

In addition to a standalone application, Syntronik also works as an Audio Units, AAX or VST plug-in instrument
in major host applications such as Logic, Pro Tools, Cubase, Digital Performer and others.
Consult your host application’s user guide for specific instructions on how to use virtual instruments.
2.2.1 – Synching to the host application’s tempo

When Syntronik is used as a plug-in within a D.A.W. or other host application, it automatically synchronizes its
global tempo to that of the host application. To override this and change the tempo of Syntronik independent of
the host application, open the Arpeggio Panel and set the Sync value to Internal.

Syntronik
2.3 – In-App Shop

You can expand your sound Syntronik sound library with additional Synths available in the In-App Shop.
To view the In-App Shop, click the Shopping Cart button at the far right of the top bar of Syntronik.
The In-App Shop displays all of the available Synths. Click on a Synth icon to view a short description of each.
Below each Synth you will either see the price or the word “Installed.” If you see the price, it means that the
Synth is not in your Syntronik sound library. If you see “Installed,” it means that the Synth is already included in
your Syntronik sound library. To purchase and download a new Synth, click the price. This will launch your web
browser and take you to the corresponding page on the IK Multimedia web site where you can purchase and
download your new Synths.
For SampleTank 3 users, the Syntronik Synths are available as Instrument Collections. You can find the Syntronik
Instrument Collections in the SampleTank Custom Shop. Inside the Custom Shop, you can browse and learn
details about the Instrument Collections (aka sound libraries) by clicking on each Collection. Listen to the audio
demos by clicking the play button to choose your preferred Collection. Purchase new Instrument Collections by
clicking the BUY button. Please refer to the SampleTank 3 User Guide for more information on the Custom Shop.

Syntronik
Chapter 3 – The Instrument Browser
3.1 – Browser Overview

The Instrument Browser is where you find the complete list of available Instruments in Syntronik. The Instrument
Browser is the default window that opens when you launch Syntronik. Click an Instrument name to view its
description in the right column. Double-click the Instrument name to load it. To clear an Instrument from the
Part, click the drop-down menu to the right of the Instrument name display and select “Empty.” You can also
browse and load iInstruments using MIDI continuous controller messages as described in the previous chapter.
3.1.1 – Browsing Instruments using keyboard arrow keys

In addition to browsing Instruments using the mouse or an external MIDI controller, the computer keyboard
arrow keys let you navigate through the list of instruments and load them. Use the up and down arrows to move
vertically in the list. The selected Instrument name will flash. To load the selected Instrument, tap the right arrow.
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3.1.2 – Browser filters

The Instrument Browser also includes a powerful filtering system that lets you target the specific types of
Instruments you are looking for and find the one you want fast. There are two columns: the Synth column and
the Filters column.

Syntronik
3.1.3 – Synth column

The left column displays all of the available Synths. A “Synth” in Syntronik is an Instrument Collection with a
stylized user interface designed as a homage to the hardware synthesizers that inspired it. Click to highlight one
or more Synths, and the list of Instruments in the third column will display only those Synths.

Syntronik
3.1.4 – Filters column

The second column contains the Filters. Filters are keywords that describe the sound category (such as Synth
Bass, Synth Lead or Synth Pad), the timbre of the sound, the style of the sound (monophonic, analog, rhythmic,
etc.), the musical genre of the sound and the mood of the sound. Just like the Synth column, click to highlight
one or more Filters, and the list will display only the sounds that meet your chosen criteria.
3.1.5 – Clearing filters

Click the X at the top of the Synth or Filters column to clear all selections in that column. Once you have loaded
an Instrument, click the X at the upper right of the Instrument Browser to close the window and view the Synth
Panel.

Syntronik
3.1.6 – Text search

Syntronik also has a traditional text search that will search within the currently selected filters. Click in the field
with the magnifying glass and type your search term. All available Instruments that are relavent to the search
term will appear in the Instrument list. Note that active filters in the first two columns still affect the list. For
example, if you have Blau and Minimod selected in the first column and Fat selected in the second column,
then you type “bass” into the text search field, the list will only display fat bass Instruments from the Blau and
Minimoog Synths. It will exclude fat bass Instruments from the other Synths, and it will also exclude thin basses
form the Blau and Minimoog. This can be very helpful for zeroing in exactly the sound you want. However, if
you want to use the text search on all available Instruments in Syntronik, then you must clear the filters from the
Synth and Filters columns by clicking the X at the top right of each one.
3.1.7 – Tag an Instrument as favorite

You can tag Instruments as “favorites” in the Instrument Browser. This will let you add an additional level or
search criteria so that you display only your favorite Instruments. To tag and Instrument as a favorite, select the
Instrument from the list and click on the star icon below the “Favorite” label in the fourth column. The Instrument
will then be tagged as favorite. Click again the star icon to remove the favorite tag from the selected Instrument.

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Chapter 4 – The Synth Panel
4.1 – Synth Panel Overview

Once you have loaded an Instrument into any of the four Parts (A, B, C or D), close the Instrument Browser by
clicking the X as the top right. You will then see the Synth Panel for the loaded Instrument. The Synth Panel
provides traditional, familiar synthesizer editing controls for Oscillators, Filter, LFO, Envelopes and Controllers. All
parameters for these synthesizer controls are stored with the Instrument. The look of each different Synth Panel
is customized to feel like the hardware instruments that were sampled for it. But the actual available synthesizer
editing controls are the same for all Synth Panels despite their different stylized appearances.
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4.2 – Oscillators
The oscillator is the sound generating device in an analog synthesizer. Syntronik recreates analog and classic
digital synth oscillators using samples of the actual hardware instruments. Multiple samples are taken across
the keyboard as well as at different velocities when appropriate. In addition to that, Syntronik uses “round robin”
samples which are multiple takes of the same note at the same velocity to provide additional animation, variation
and liveliness and to avoid the digital repetition that can so often plague sampled sound sources. The sound of
each oscillator is determined by the saved Instrument and cannot be edited within the Instrument. Browse the
various Instruments for different oscillator timbres. The Syntronik Oscillator – or OSC – section has 3 controls
that you can adjust:
4.2.1 – Tune
This control adjusts the master tuning of the Instrument.
4.2.2 – Osc 2 Enable

This control turns Oscillator 2 on and off.
4.2.3 – Osc 2 Detune

This control adjusts the tuning of Oscillator 2 by +/- 50 cents.

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4.3 – Filter
The filter is section of the synthesizer that colors the sound of the oscillators. You can choose the Type of filter
from 4 analog circuit-modeled filter types, the classic IK legacy filter or a digital formant or phaser filter. You
can also adjust the Mode and the Slope of the filter. And of course you can adjust the filter Cutoff Frequency,
Resonance, Envelope Amount and Pre-Filter Overdrive. Here are the available controls that you can adjust:
4.3.1 – Filter Type

Choose between 4 analog circuit-modeled filters: M-Type (based on the Moog® transistor ladder filter), R-Type
(based on the Roland® IR3109 chip), C-Type (based on the Curtis CEM3320 chip) and O-Type (based on the
Oberheim State Variable design). You can also choose the “Classic” IK VCF filter from SampleTank, a digital
Formant filter that emulates human vowel shapes and a Phaser filter with selectable stages. Each Filter Type
determines the available Modes and Slopes as well as the function of the Cutoff and Resonance knobs.

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4.3.2 – Filter Mode

Chose between Low Pass (LP) that cuts highs and lets lows pass, Band Pass (BP) that cuts high and lows and
lets only middle band pass, High Pass (HP) that cuts lows and lets highs pass, or Notch, which is the opposite
of Band Pass. With the Notch filter the selected middle frequency is cut instead of cutting the frequencies above
and below it. Note that not all Modes are available with every filter. For example, the C-Type and R-Type filters
only offer a Low Pass (LP) mode.
4.3.3 – Filter Slope

This is the slope at which frequencies are cut above or below the specified filter cutoff frequency. Chose
between 6dB per octave (also called 1-pole), 12dB per octave (also called 2-pole), 18dB per octave (also called
3-pole) and 24dB per octave (also called 4-pole). Note that not all Slopes are available with every filter. For
example, the O-Type filter only offers a 12dB per octave slope.
4.3.4 – Filter Cutoff Frequency

This is the point at which the filter starts to cut frequencies above or below the specified value (the Filter Mode
determines whether to cut above, below or both). Note that this control becomes “Morph” when the Formant
Type is selected and “Depth” when the Phaser Type is selected.

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4.3.5 – Filter Resonance

Resonance determines how much of a peak there will be at the filter cutoff frequency in the case of the Low
Pass and High Pass Modes. In the Band Pass, Notch and Formant Modes, Resonance determines the width of
the band that is being passed or notched. Note that this control becomes “Feedback” when the Phaser Type is
selected, adjusting the positive or negative feedback of the phaser effect.
4.3.6 – Filter Drive

This is a pre-filter overdrive control of the oscillator output mix that recreates the analog saturation that occurs in
many classic analog synths. Use this control to boost harmonics when desired.
4.3.7 – Filter Envelope

The Filter Envelope with its traditional Attack, Hold, Decay, Sustain and Release parameters allows you to
contour the filter so that it changes over time in the long tradition of analog synthesizers. An important control
here is the Filter Envelope Amount which determines how much the envelope will affect the filter. In traditional
analog synthesizers, this control is additive – turn up their filter envelope amount knob to increase how much the
envelope opens the filters.
In Syntronik, the Filter Envelope Amount control scales the existing cutoff frequency. Set your cutoff frequency to
the maximum value you want to hear – in a low pass filter, this is the maximum brightness of the filter. Then adjust
the Filter Envelope Amount control to determine how much the filter envelope will close the filter; how much it
will reduce the filter cutoff frequency. A Filter Envelope Amount value of 1 scales the filter by half. So if your cutoff
frequency is 20 kilohertz, using a filter envelope amount of 1 will let the filter close down to 10 kilohertz.
At the other extreme, the maximum filter envelope amount value of 10 scales the filter by its maximum amount
– it divides the cutoff frequency by 1,024. So a cutoff frequency of 20 kilohertz will let the filter close all the way
down to 20 hertz. You can also use negative filter envelope amount values to create an inverted envelope where
the attack stage will close the filter, and the decay stage will open it.

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4.4 – LFO (Low Frequency Oscillator) Modulation

The LFO is a free-running control oscillator with an adjustable rate that is below the audio frequencies. It is a
control source only, meaning that you can’t hear the actual oscillator, only the effect it has on its three possible
destinations: pitch modulation (aka vibrato), filter modulation (similar to a wah-wah effect) or pan modulation
(essentially an autopanning effect). The term “modulation” in a synthesizer simply means “change.” LFO
modulation changes the value of the destination – pitch, filter cutoff or pan – at a regular, oscillating rate.
4.4.1 – LFO Wave Shape

This parameter selects the shape of the modulation source oscillator. Choose from Sine, Triangle, Square, Saw
or Random. The modulation destination – pitch, filter cutoff or pan – will change according to the selected shape
of the LFO. The Sine wave creates the smoothest modulation, and the Square wave creates the most abrupt
modulation. The Random wave creates a randomly-shaped modulation like the noise-driven sample-and-hold
circuit in classic analog synthesizers.
4.4.2 – LFO Rate

The LFO Rate is simply the frequency of the control oscillator, the speed at which modulation will occur.

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4.4.3 – LFO BPM Sync

Enable the BPM Sync to let Syntronik’s LFO synchronize with your host application such as a D.A.W. When
BPM Sync is active, the LFO Rate values will change from Hertz to note values based on the tempo of your host
application.
4.4.4 – LFO Destinations: Pan, Pitch and Filter

These controls set how much the LFO will modulate each destination. Turn up the Pan control to add an
autopanning effect. Note that some of the effects in the effects rack on the Effects Panel are mono, so the LFO
Panning will get canceled out when they are used. Turn up the Pitch control to add pitch modulation. This is
simple vibrato when the Sine or Triangle shapes are used. The modulation becomes a hard, abrupt pitch change
whe the Square shape is used, like a trill, klaxon or European police siren. The Sawtooth creates an evenly rising
modulation that abruptly falls back to zero and then repeats. The Random shape of course creates random
pitches when the Pitch control is turned up. Turn up the Filter control to modulate the cutoff frequency of the
selected Filter Type with any of the wave shapes. Note that increasing the Filter Resonance and turning down
the actual Filter Cutoff Frequency will make Filter LFO modulation more dramatic.

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4.5 – Controllers
The Controllers section determines how the keyboard and performance wheels affect the pitch of the
Instrument.
4.5.1 – Bend
This control sets the range that the pitch bend wheel will change the pitch of the note. The range is 0 – 24
semitones, and it is always the same for both up and down bends.
4.5.2 – Vib Rate

This control sets the speed of the vibrato that is introduced with the Mod Wheel. Note that the vibrato is a
separate LFO from the main LFO described earlier, and it is only used for Mod Wheel pitch modulation. To
disable the vibrato in order to use the Mod Wheel for other purposes, simply set the Vib Rate to 0. You may
also alternatively set the controller source for the vibrato to Aftertouch instead of the Mod Wheel in the MIDI
Assignments Panel. See 4.7.4.

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4.5.3 – Keyboard Mode

Syntronik will respond to incoming notes in 4 different Modes. Poly plays all incoming notes polyphonically.
Mono plays just one note at a time (monophonic), souding the last note played and stopping the previous note.
Mono Mode retriggers the envelopes with each new note. Legato 1 and 2 are other monophonic Modes where
the envelopes are not retriggered when notes are played connected with a legato articulation. The envelopes
will only retrigger when there is a space between the notes. The difference between Legato 1 and 2 is how
they handle portamento (aka glide). Legato 1 with portamento changes pitch at the same rate regardless of the
interval or distance between the notes. Legato 2 with portamento will glide between two pitches at the same
rate regardless of the interval or distance between the notes. So with Legato 2, it takes the same amount of time
to glide between a C and C# as it does to glide between a C and a G. Legato 2’s portamento behavior is the
way most classic monophonic analog synths work.
4.5.4 – Portamento / Glide

This the amount of continuous pitch change between notes when played legato. The Keyboard Mode must be
set to Leg 1 or Leg 2 in order to hear the portamento glide. With the Legato 1 Mode, portamento changes pitch
at the same rate regardless of the interval or distance between the notes as mentioned above. With the Legato
2 Mode, portamento glides between any two pitches at the same rate regardless of the interval or distance
between the notes. Legato 2 is the way most classic monophonic analog synths work.

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4.6 – Saving Instruments

Click the “toaster” icon to the right of the Instrument name in the center of the top bar to open the Instrument
management menu. Here you can Save edits to the current in place which will overwrite the Instrument with
your changes, perform a “Save As” to create a new Instrument with your changes while preserving the original
version, or “Empty” the current Part and remove the currently loaded Instrument from it.
4.6.1 – Tags in the Save As window

When you select “Save As,” you have the opportunity to assign metadata tags to the Instrument to help
Syntronik’s search function find the Instrument for you when using the filters or text search. Select or change
one of more keywords in each column: Timbre, Style, Genre and Mood. The last column lets you enter your own
User keywords to customize your Instruments and your library the way you want it. New User keywords will
appear at the bottom of the Filters column in the main Instrument Browser.

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4.7 – MIDI Learn

MIDI Learn lets you remotely control virtually any on-screen parameter with a MIDI controller. A single physical
control or CC message can be paired with multiple Syntronik parameters. MIDI CC assignments are unique for
each Part.
A MIDI device sending on any MIDI Channel can control learned MIDI parameters on any of the Syntronik parts.
Note that the MIDI CC assignments are stored with the Multi, not with the Instrument, in order to avoid conflicts
when multiple Instruments are combined in a Multi. Only MIDI CC messages are supported.
4.7.1 – Assign a controller

Right-click any knob, slider or button on the Synth Panel to open a pop-up menu where you can assign or clear
a MIDI Continuous Controller (CC) number to the panel control. Simply select Learn from the menu, and then
move the external controller you want to assign to the panel control.
4.7.2 – Reset a controller

To reset a controller for a Syntronik parameter, right-click the parameter just like you are assigning a new
controller. Then select “Reset” to clear the previous CC assignment.
4.7.3 – Edit MIDI Assignments

Right-click a knob, slider or switch in Syntronik and select “MIDI Assignments…”. Note that MIDI Assignments
are unique for each Part.
Clicking the Part field to cycle through the Parts and select which Part’s MIDI assignment to edit. The list below
will show the MIDI Learn assignments for the selected Part.
Double-click a controller in the MIDI CC # column to change MIDI CC that is assigned to the Parameter in the
left column. Double-click in the Min or Max columns to set the range of the controller, and double-click in the
Latch column to turn latching on or off for the specified parameter.
Hovering on a parameter row displays an “X” icon on the left side outside the row which lets you dele the

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individual assignment.
The Clear All option on the right side lets you remove all the assignments on the current part. A Master Volume
field is available at the bottom of the list. It allows you to assign a CC to the parameter. Note that Master Volume
is a global parameter.
4.7.4 – Vibrato Controller Source

At the bottom center of the MIDI Assignments Panel, you can choose whether the Vibrato LFO (pitch
modulation) will be controlled by the Mod Wheel or Aftertouch. Mod Wheel is the default setting.

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Chapter 5 – The Effects Panel
5.1 – Effects Rack Overview

Each Part has a 5-slot effect rack that holds “insert effects.” Insert effects are effect processors that are used
only for the specific Part. For example, if you have a synth bass in Part A and load an equalizer into the first
effect slot of Part A, that equalizer will only affect the synth bass.
5.1.1 – Serial effect chain

The slots are serialized from left to right, so the effect in the left slot feeds the next effect to the right. This is
particularly significant for dynamics processors like compressors and limiters whose behavior will change when
EQ or any level changes in the earlier slots are made.
5.1.2 – Loading effects

To load an insert effect, click the effect name field at the top of the desired slot in the effects rack. A pop-up
menu will appear that lets you choose from 6 effect categories. Click an effect category to show the available
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effects inside, and then click the specific effect you want in order to load it into the effect slot. To change an
existing effect, simply click it to re-open the pop-up menu. To clear the effect slot and remove an effect, click the
slot and select “Empty.”
5.2 – Effect Categories

There are 6 effect categories in Syntronik:
• Amps
• Distortion
• Dynamic/EQ
• Modulation
• Reverb/Delay
• Filter

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5.3 – Amps
The Amps category includes 4 effects:
5.3.1 – Flexi Amp

This processor emulates with great accuracy the some of the best guitar amplifiers and cabinets with lower CPU
usage. This effect is extremely useful when you need to add overdrive, tonal color or even just an additional
midrange character to any kind of sound for a more realistic quality without using a traditional equalizer.

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5.3.2 – Jazz Amp 120

Based on Roland® JC-120™.
It may have Jazz in its name, but this versatile clean sound can be heard in many genres. Many of the top metal
players keep this not-so-secret weapon in the studio for great clean sounds.

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5.3.3 – Modern Tube Lead

Based on Mesa/Boogie® Dual Rectifier®.
This amp is a model of one of the leaders in hard, driven rock tones made today. Capable of searing leads and
heavy crunch, this amp has been rectified to create a modern rock tone that is hard to beat.

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5.3.4 – SVT Classic

Based on the Ampeg® SVT-CLASSIC® Model.
This is the authentic and classic Ampeg tube sound. This all-tube bass head delivers a warm, harmonically rich
and punchy sound that is a trademark for the rock bass sound, both live and in the studio. The SVT-Classic is
the amp that created the rock bass sound.

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5.4 - Distortion
The Distortion category includes 6 effects:
5.4.1 - Distortion
This effect simulates the distortion occurring as you raise the gain of an amplifier.

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5.4.2 - Overdrive
This entirely analog modeled Overdrive recreates the tone of one of the best overdrive stompboxes.

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5.4.3 - Overscream
Based on the Ibanez® Tube Screamer.
This is a model of a classic overdrive/distortion pedal which has become the go-to overdrive pedal for some of
the most influential guitar players of all time. Its basic controls make it easy to dial in the exact sound you want.

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5.4.4 - Lo-Fi
Lo-Fi degrades the audio quality to simulate a “Lo-Fidelity” sound. In SampleTank, this effect is designed to be
used as a speaker and cabinet simulator, too.

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5.4.5 - Phonograph
This effect adds disk noises to simulate the sound of music played by vinyl records on old record players.

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5.4.6 - Crusher
The Crusher is a creative distortion effect that adds grit to the sound by reducing the bit depth and other general
nastiness.

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5.5 – Dynamics/EQ
The Dynamics/EQ category includes 6 effects:
5.5.1 – Channel Strip

This is a new effect designed for Syntronik. It contains a fixed frequency high and low shelf equalizer (10kHz and
100Hz, respectively), a sweepable semi-parametric midrange equalizer, and Sub and Air bands that are based
on the Vintage EQ-1A program equalizer for broader tone sculpting to reach the extreme lows and highs.

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5.5.2 – Parametric EQ
An equalizer with separate bands where you can dial in not only the frequency to boost or cut but also the width
of the bell shape.

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5.5.3 – Vintage EQ-1A

Based on the Pultec® EQP-1A.
In virtually every major studio, you’re likely to see a distinctive blue unit with big black knobs — the Pultec®
EQP-1A program EQ. The Vintage Tube Program Equalizer is based on it. Our painstakingly-produced model
gives all the functionality of the original unit and uncannily accurate sonic reproduction.

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5.5.4 – Model 670

Based on the Fairchild™ 670.
Many top producers and engineers refer to the Fairchild™ 670 as the “Holy Grail of compressors” because it
imparts a sound that adds something special to any kind of track, and our emulation captures that same sonic
magic.

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5.5.5 – Black 76
The Black 76 Limiting Amplifier is modeled after what is probably the most used, most known, most wanted,
and most universally recognized compressor / limiter in the audio industry. There are probably no professionally
created records without tracks using this unit. This FET-based compressor is a true legend and a piece of history
with a unique sound largely thanks to its input transformer and class A output stage.

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5.5.6 – White 2A
The White 2A Leveling Amplifier is based on a legendary vintage unit that is entirely tube-based. It’s a totally
different device in terms of construction where all the compression magic happens inside an optically coupled
element formed by a fluorescent panel and some photocells: the famed T4A element. There is no electronic
circuitry involved with the compression itself. It’s just a tube amp with photo-resistors, lighted by a fluorescent
panel driven by the output signal. At the time of this invention, there were not many ways of making an audio
compressor: only variable-mu and optical. Optical was the simplest one, and if proper elements for both the light
emitting panel and the photocells were matched, magic happened.

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5.6 – Modulation
The Modulation category includes 12 effects:
5.6.1 – AM Modulatior
This effect is designed to produce a tonal character totally different from the original when applied to a complex
sound by using the carrier frequency to modulate the volume of the sound. You can click the From MIDI button
to set the effect’s carrier frequency to be controlled via incoming MIDI notes.

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5.6.2 – Autopan
Autopan automatically moves the stereo location of the sound.

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5.6.3 – Chorus C1
Based on the Boss® CE-1.
A model of a classic bucked-brigade analog Chorus/Vibrato unit. It provides both analog Chorus and analog
Vibrato effects, when in Chorus mode the modulation will be lush and slow, when in Vibrato effect the
modulation will be faster and more noticeable.

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5.6.4 – Electric Flanger

Based on Electro-Harmonix® Electric Mistress.
This stomp box is a model of a vintage flanger/filter matrix used by many well-known guitarists to achieve
classic sounds. While it has amazing warmth, it is also capable of very versatile chorus and ring modulation type
sounds.

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5.6.5 – Ensemble
This is a new effect specifically crafted for Syntronik. It is based on the iconic ARP String Ensemble (Strings) and
Roland® (Synth I, Synth II) ensemble choruses.

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5.6.6 – FM Modulatior
This effect is designed to produce a tonal character totally different from the original when applied to a complex
sound by using the carrier frequency to modulate the pitch of the sound.. It can replicate the sounds of some
synthesis systems like FM or ring modulation. You can click the From MIDI button to set the effect’s carrier
frequency to be controlled via incoming MIDI notes.

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5.6.7 – Opto Tremolo

Based on Fender® Opto-Tremolo.
This model is based on a vintage Opto-Tremolo effect.

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5.6.8 – Phaser
This entirely analog modeled Phaser recreates the sound of one of the best known classics of the past.

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5.6.9 – Rotary Speaker

Thanks to IK’s VRM technology, the Rotary Speaker model uses samples from a real unit to create the authentic
vibe and musicality of a classic Leslie® 147 for a 3D-sounding, spinning modulation effect unlike any other.

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5.6.10 – Slicer
This creates the effect of the audio being cut up into small slices for rhythmic grooves.

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5.6.11 – Small Phazer

Based on the Electro-Harmonix® Small Stone.
This effect is a model of a classic analog phase shifter, capable of a range of phaser effects from gentle to
outlandish swirling effects. You may wonder why it is called “small” when you hear it.

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5.6.12 – Uni-V
Based on the Univox™ Uni-Vibe™.
This was a chorus/rotating-speaker simulator that was introduced in 1969 and used predominantly in live
performances. This created a swirling effect quite similar to the Leslie® speaker cabinet but with the addition
of speed control. This effect was employed on tracks such as “Hey Baby (The Land of the New Rising Sun),”
“Earth Blues,” and “Machine Gun.” A vintage Uni-Vibe™ is in such high demand it sells for over a thousand
dollars, if you can even find one.

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5.7 – Reverb/Delay
The Reverb/Delay category includes 6 effects:
5.7.1 – Plate Reverb

This effect is modeled after a high-end studio hardware reverb unit to create the effect of spaces generated by a
mechanical plate.

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5.7.2 – Hall Reverb

This effect is modeled after a high-end studio hardware reverb unit to create the effect of hall-sized rooms and
spaces.

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5.7.3 – Spring Reverb

This reverb sounds very close to a real mechanical spring unit, featuring their signature warmth with that typical
metallic and resonant vibe. This reverb is mono.

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5.7.4 – Digital Delay

This classic digital delay is a clean studio effect that adds echo to the sound.

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5.7.5 – Tape Echo

A spot-on emulation of one of the classic tape echo units of all time. To go along with its cool vintage sound,
we added some great modern features, like stereo operation, separate delay times on L&R, and syncing to host
tempo.

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5.7.6 – Stereo Imager

This effect adjusts the stereo image from 0 (mono) to 200% ultra-wide stereo. Note that values over 100% start
to lose mono compatibility due to the phase manipulation used, so be sure to check your sound in mono if that
is a concern.

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5.8 – Filter
The Filter category includes 4 effects:
5.8.1 – Env Filter

In this filter effect, the Cutoff frequency can automatically sweep by the effect of the envelope of the audio signal
passing through it.

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5.8.2 – LFO Filter

In this effect, the Cutoff frequency can automatically sweep by the effect of a built-in LFO. The LFO can sync
with the song’s BPM.

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5.8.3 – Multi Filter

This is a particular kind of filter where instead of selecting the type of filter (LPF, BPF or HPF) you can use them
all together with independent levels.

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5.8.4 – Wah 47
This effect is modeled after the classic wah pedal used often in the 60s and 70s.

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5.9 – Effect Presets

You can save and recall presets for each effect. To access the Effect Presets, click the bottom field where the
Effect Preset name is displayed. The list will display the available Presets of the currently loaded effect. Note that
not all effects have Presets available. In this case, the list will be empty until you create your own Effect Presets.
Here you can also Save edits to the current preset or perform a “Save As” to save a new version of the Effect
Preset while preserving the original.
5.10 – Effects Chain Presets

Click the chain icon at the lower right of the Effects Panel to manage the Effects Chain Presets. Here you can
save presets that store the entire 5-slot effects rack so that you can quickly apply the same set of effects to
different Instruments.

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5.11 – Effects Lock

Click the padlock icon at the lower left of the Effects Panel to lock the effects rack so that the effects do not
change when you load new Instruments. This is useful is you have dialed in a specific set of effects but only
want to change the source Instrument while leaving the effects untouched. When the Effects Lock is active, new
effects and their settings will not be loaded with new Instruments, and the current effects and their settings will
be preserved.

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Chapter 6 – The Arpeggiator Panel
6.1 – Arpeggiator Overview

Each Part in Syntronik provides a dedicated Arpeggiator. Click the Arpeggiator icon in the top bar to access the
Arpeggiator Panel. An Arpeggio is a succession of notes in a chord. The Arpeggiator generates arpeggios based
on incoming MIDI notes. Rather than all notes being played at one time, they are played one after the other as
steps in a pattern in a specified direction. Once all notes are played, the pattern returns to the start and cycles
again.
If you play just a single key, the note will repeat. If you play multiple keys, the held notes are played one after the
other. If additional notes are played while the first notes are still held, the new notes will be seamlessly added to
the Arpeggio. When notes are released, they are removed from the Arpeggio. When all notes are released, the
Arpeggio stops unless Latch mode is turned on.
The Arpeggiator will continue through all of the steps in the pattern as long as notes are played legato. The
pattern will restart from the beginning every time a new note is triggered after the last note is released or when
the song on the external host starts to play.
Each note is assigned to a position in the Arpeggio in the order in which they are played. These position
positions are associated with an event, such as a note, rest or a tie with a particular step.
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6.2 – Arpeggio Steps
6.2.1 – Step enable and disable

There is a number under each step that both identifies the step and enables or disables it by clicking the
number. The number is lit when enabled and dimmed when disabled.
6.2.2 – Step velocity

The vertical bar in each step indicates its velocity. The default velocity for the first step is 90. When you hover
over the top edge of a step, the pointer will turn in to a vertical double arrow pointer the lets you settin the
velocity for the current step. You can also set the velocity for multiple steps at once by clicking above the
velocity bars and drawing in the desired velocity. This will destructively overwrite the existing velocity values.
6.2.3 – Step Transposition

Each step can be transposed to offset the pitch with a range of +/- 24 semitones. The field above each step lets
you set the transpotion from -24 to +24 semitones by clicking and dragging up or down.

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6.2.4 – Chord Step

Each step can play the full chord instead of a noted of the Arpeggio. You can use this to create interesting
rhythms or mix chords and single notes within the same Arpeggio. Beneath each step number is a chord icon
(three circles). Click the chord icon to set the step to play the full chord instead of a single note in the pattern.
When the arpeggiator encounters a chord step, it simultaneously plays all notes including their unique velocities
which are currently in memory from either holding the notes in real-time or the latch. You can also enable Chord
Mode to force all steps to play chords and not be individually editable.
6.2.5 – Step length and tie

Hover over the left or right edge of a step, and the pointer becomes a horizontal double arrow pointer that lets
you set the length of the step from the shortest length which is a 32nd note to the opposite extreme where the
note will overlap the next step to create a musical tie. When the step to the right is a rest (an inactive step), this
step gets automatically turned on to create the tie. A step can be tied to multiple steps in a row. The original
velocity values of tied steps are replaced by the velocity of the first step to which they are tied and indicated
visually by the velocity bar extending over all tied steps.

Syntronik
6.3 – Arpeggio Pattern
6.3.1 – Pattern Range

The orange bar beneath the steps determines the number of steps in the pattern. To change the number of
steps, select right edge of the range slider and drag it left or right to set the desired number of steps.
Hovering at the edges of the orange bar beneath the steps, and the pointer will turn into a horizontal double
arrow pointer that you can drag to set the number of steps.
6.3.2 – Pattern Velocity

This parameter sets the maximum velocity limit for the arpeggiated notes of the velocities from the steps in the
grid and the velocities of the played notes.
With the knob at the far right position (100%), the incoming MIDI velocities override the velocities set in the
steps of the grid (velocities “As Played”).
With the knob at the far left position (0%), the velocity values of each step will determine the dynamics of the
arpeggiated notes. You can mix between the extremes to blend the information from incoming MIDI notes and
the velocities set for each step. The default value for this parameter is 50%.
6.3.3 – Overall length

This parameter lets you shorthen or lenthen the duration of all events in the Arpeggio. The Length knob lets you
shorten or lengthen all of the steps by up to 50% of its current value. The default value for this parameter is
100% with a minimum value of 50% and a maximum value of 150%.

Syntronik
6.3.4 – Swing
Swing moves every second note (the upbeat note) closer to the nearest downbeat with a range from no
movement (0% Swing) to extreme note movement (100% Swing). A Swing value of 0% that results in no note
movement, whereas a value of 100% results in extreme note movement. The default value for this parameter is
0%.
6.3.5 – Pattern Rate

The Rate setting changes the note resolution of the pattern and determines the time value of each step. Choose
a value from 1/1 (whole note) to 1/64 (64th note) with Triplet and Dotted options available. The default value for
this parameter is 1/16 (16th note).

Syntronik
6.3.6 – Pattern Octave

The Arpeggiator plays back the pattern based on notes being held on the MIDI controller followed by the same
pattern played an octave higher based on the Octave value. Select a value from 1 to 4. The default value for this
parameter is 1.
6.3.7 – Clear Pattern

This command resets all data in the Step Editor by clicking the Clear button next to the Play button. Use caution
as this is not undoable.

Syntronik
6.4 – Arpeggiator Play and Sync
6.4.1 – Arpeggiator Play

The Arpeggiator Play button starts and stop arpeggiated playback of note input from a MIDI Keyboard or Input.
When stopped, incoming MIDI notes are passed through. When playing, the button is lit and will pulse at the
rate of the current tempo until a note is played.
6.4.2 – BPM and Host Sync

The arpeggiator can be synced to the internal BPM or an external host tempo. There is a drop-down menu with
two Sync options: Internal and External. The BPM field lets you set the tempo value for internal sync. When the
Sync is set to External, it will follow the tempo and song position (bars and beats) of the host.
In External Sync, the Arpeggiator plays as soon as the host transport plays and stops as soon as the host
transport stops.
When Syntronik is used as a standalone applications, the menu is disabled and always set to Internal.
6.4.3 – Latch
The Latch function allows an Arpeggio to run without holding any keys. When Latch is on, incoming MIDI notes
are automatically held until Latch is turned off. You can change the latched notes by simply playing new notes
while not physically holding down any of the current notes on your MIDI controller. The new notes will create a
new Arpeggio and the old notes will be released. Alternatively, you can add new notes to an existing Arpeggio
only if the original notes are still being physically held down.

Syntronik
6.5 – Arpeggio Modes
6.5.1 – Arpeggio Mode

The Arpeggio Mode lets you set the pre-programmed order of notes automatically or let it instead follow the
order in which you play the notes. It can also play all notes of the chord simultaneously to create automatic
rhythms. The Arpeggio Mode can be changed on the fly while the Arpeggio is playing. Changes are immediate
and seamlessly applied to the currently playing Arpeggio. There are 7 Arpeggio Modes available in the drop-
down menu:
Up: The Arpeggio is played from the lowest note to the highest note.
Down: The arpeggio is played from the highest note to the lowest note.
Up/Down: The arpeggio plays up and down from the lowest note to the highest note and then goes back
down again.
Down/Up: The Arpeggio plays down and up from the highest note to the lowest note and then goes back up
again.
Random: The arpeggiated notes play in a random order.
As Played: The notes play in the order in which they were triggered.
Chord: All held notes are played at once (rather than cycled) according to the programmed rhythm of
the current pattern. Normally individual Steps can be set to Chord, but in this mode, all the Steps are
automatically turned into Chord Steps and cannot be edited.

Syntronik
6.5.2 – Arpeggio Trigger Mode

The Trigger Mode enables real-time quantization of incoming MIDI Notes so that Arpeggios will always play in
sync between parts or synchronized to the host. There are 4 Trigger Modes available in the drop-down menu:
• Now This is the default Trigger Mode where MIDI input is not quantized and playback of MIDI notes is
immediate.
• 1/16: This option delays the playback of incoming MIDI notes to the next 16th note. In other words, notes
are quantized in real-time to wait for the next 16th note subdivision. If you play ahead of the next 16th, there
may be a slight delay before the note sounds. The maximum delay is a 16th note at the current tempo. This
mode makes it easy to play quick phrases in perfect sync with other Parts or clocked sources.
• Beat: This option delays playback to the next full beat or quarter note. If incoming MIDI notes arrive ahead
of the next beat, the maximum delay is one beat. The Beat Mode makes it very easy to trigger rhythmic
patches in perfect sync, and when used together with Latch Mode, for layering phrases that are quantized
to the beat in real-time.
• Bar: This mode delays playback until the start of the next bar. If MIDI messages arrive ahead of the next
bar, the maximum delay is one bar. This mode is especially useful if you want to synchronize phrases on
the downbeat of a measure. You can press a note anytime in the previous bar, and it will wait until the next
bar to play.
Note that the selected Trigger Mode also affects LFO, Envelopes of the Synth and Effects. These will also be
delayed until the note itself is triggered
6.5.3 – Arpeggio Key Split

This parameter sets the key range where the Arpeggiator is triggered and where notes can be played through
without arpeggiation. Set the range by entering the note in the two fields available. Alternatively, you can
focusing on the left or right edge of the region, and the pointer will turn in to an horizontal double arrow pointer
where you can drag the boundaries of the orange region above the keyboard to set the range.

Syntronik
6.6 – Manage Arpeggiator Patterns

The Arpeggiator provides a number of Patterns. The Arpeggio Name field displays the name of the current
pattern. Click the Arpeggio Name field, and list will display all the Arpeggiator Patterns that are located in the
Patterns/Syntronik folder in the SampleTank 3 disk path. To load a Pattern, select one from the list.
6.6.1 – Save Pattern

As you browse and load Patterns, you can also save the modifications applied to a pattern.
The saved Arpeggiator Pattern file stores:
• Steps settings
• Pattern settings
• Modes settings
• Arpeggiator Play Status (only applied when loading an Instrument)
• Pattern Name
The BPM Sync, Latch and Lock status are not saved with the Arpeggiator Pattern.
When saved from the Arpeggiator panel, patterns will be stored in in the Patterns/Syntronik folder in the
SampleTank 3 disk path.
Click the toast icon on the Pattern Name field access the Save functions: Save and Save As.
The Save option lets you save modification applied to the pattern currently loaded and overwrite that Pattern.
The Save As option lets you save your modifications as a new file, preserving the original Pattern. You may also
name your edited Pattern in the Save As window.
6.6.2 – Delete Pattern

You can delete a selected Pattern by clicking the toast icon and selecting Delete.

Syntronik
6.6.3 – Lock Pattern

Click the lock icon next to the Pattern Name field to lock the current Arpeggiator Pattern which prevents another
Arpeggiator Pattern from loading if it is part of an Instrument. This lets you maintain the current Pattern while still
loading new Instruments that have Patterns saved with them.

Syntronik
Chapter 7 – The Multi Panel
7.1 – Multi Overview

Click the icon with the 4 horizontal lines at the left of the top bar to open and close the Multi Panel. Syntronik
has 4 separate Parts called A, B, C and D. Each Part contains its own Instrument, Effects Rack with 5 insert
effects and Arpeggiator. The collection of the 4 Parts with their Instruments, Effects and Arpeggios is caled a
Multi. Multis are saved as separate objects. They store the Arpeggiator status for each part, the Effect Status for
each part, the currently Selected Part, and then the Individual Part settings for the loaded Instrument, Key Range
and Velocity Range. All Parts of the Multi always respond to a single MIDI channel. This is because the Multi is
intended to be just that: a Multi or split of various sounds played on the same keyboard or by the same single
MIDI track and not a multitimbral mix with Parts that can be addressed by different MIDI channels. For this kind
of “Multi” application, please use SampleTank 3 with the Syntronik Instrument Collections.
98 7 - The Layer Panel

Syntronik
7.1.1 – Part Volume, Pan, Mute and Solo

You can set the Volume and Pan for the currently seleted Part by clicking the mixer icon just to right of the
Instrument Name in the top bar. You can also mute the Part or Solo the Part by clicking the Mute and Solo
icons. Here you can also set the Master Volume for Syntronik that is of course a global parameter and the same
for all 4 Parts.
7.1.2 – Select the Part

To select one of the 4 Parts, simply click the A, B, C or D letters either in the top bar or in the center of the Multi
Panel. This will allow you load an Instrument into that Part, edit its Effects and work with its Arpeggiator. The
selected Part is always highlighted.

Syntronik
7.1.3 – Note Range

You can set the playable note range for each Part by hovering over the left or right edge of the small orange bar
beneath each Part’s keyboard on the Multi Panel. Click and drag the edge of the orange bar to set the low and
high note limit desired. You can also manually type in the note name and its octave for the Low and High range
if you prefer.
7.1.4 – Velocity Range

Like the note range, you can set the low and high limit for incoming MIDI velocity for each Part. This allows you
to have a specific Part sound only when you play soft, hard or a specified range in between. To set the Velocity
Range, hover the mouse over the orange bar to the right of each Part’s keyboard. Click and drag to set the
desired Velocity Range. And like the Note Range, you can also manually type in the values for the low and high
velocity limit if you prefer.

Syntronik
7.2 – Manage Multis

The Multi Panel provides a number of factory Multis and access to user Multis. The Multi Name field at the top
left displays the name of the current Multi. Click the Multi Name field, and list will display all the Multis that are
located in the Multis/Syntronik folder in the SampleTank 3 disk path. To load a Multi, select one from the list.
7.2.1 – Save Multi

As you browse and load Multis, you can also save the modifications applied to them.
The saved Multi file stores:
• Arpeggiator status for each part

• Effect Status for each part
• The currently Selected Part
• Individual Part settings for the loaded Instrument, Key Range and Velocity Range.
Multis are stored in the Multis/Syntronik folder in the SampleTank 3 disk path.
Click the toast icon on the Multi Name field access the Save functions: Save and Save As.
The Save option lets you save modification applied to the Multi currently loaded and overwrites that Multi.
The Save As option lets you save your modifications as a new file, preserving the original Multi. You may also
name your edited Multi in the Save As window.

Syntronik
7.2.2 – Reset Multis

You can reset the Note and Velocity Ranges to full range by clicking the toast icon and selecting Reset.
7.2.3 – Initialize Multis

You can remove all of the loaded Instruments in a Multi and reset the Note and Velocity Ranges by clicking the
toast icon and selecting Initialize.
7.2.4 – Lock Multi

Click the lock icon next to the Instrument Name for each Part on the Multi Panel to lock the current Part which
prevents another Instrument from getting loaded into the Part when a new Multi is selected. This lets you
maintain the current Part while still loading new Instruments into the other Parts from saved Multis.

Syntronik
7.3 – Multi Quick Edit

Click the icon with the three sliders at the top center of the Multi Panel to open the Multi Quick Edit. Here you
can view and adjust the volume, pan, mute and solo for each of the four parts simultaneously along with new
controls to enable or bypass the Arpeggiator and Effects per part.

Syntronik
Chapter 8 – Troubleshooting
Where can I find my IK product Serial Number?

The Serial Number is written on the Registration Card (included with your IK product) or in the email you
received from DigitalDelivery@ikmultimedia.com (if you purchased the product as ‘Downloadable only version’).
IMPORTANT: the number zero can easily be identified in your Serial Number because it is crossed by a line.
Why is the Authorization Manager rejecting my Serial Number?

Probably because of a typo, here are some common errors:
• Typing a 0 (“zero” number) instead of an O (“o” letter).
• Typing 1 (“one” number) instead of an I (“i” letter).
• Typing 2 (“two” number) instead of a Z (“z” letter).
• Typing 5 (“five” number) instead of an S (“s” letter).
• Typing 8 (“eight” number) instead of a B (“b” letter).
• Typing a “.” (point) instead of a “-” (minus).
Suggestions:
• If possible, please copy and paste the information.
• Cut off all the leading and trailing spaces.
• Please type all codes in UPPERCASE during the installation and registration process.
• Check that the Serial Number that you are entering is in correlation with the product installed.
How can I authorize my product on another computer?

To authorize your product on another computer just follow these instructions:
• Install the product and the Authorization Manager on that computer
• Run the Authorization Manager
I need to log in into the User Area but I forgot my User Name and Password. What should I do?
You can retrieve your User Area login details in two different ways:
• Run the Authorization Manager and follow the steps until you reach the login page. Here you just have to
click on the ‘Forgot password?’ button and submit your email address. Your login details will be sent to
your email account. In case you have checked the ‘Remember me’ checkbox before and are not able to
access the login page, just click on the LOGOUT button.
• Go to www.ikmultimedia.com, click on ‘I forgot my username and/or password’ and submit your email
address. Your login details will be sent to your email account.
104 8 - Troubleshooting
Syntronik
I just bought an IK Multimedia software. What should I do to register and authorize my new product?
Just run the Authorization Manager and follow the instructions.
In case you don’t have the Authorization Manager, you can download it for free from the Products page of our
website at:
www.ikmultimedia.com/am
105 8 - Troubleshooting
Syntronik
Chapter 9 – Support
For any questions you may have, please refer to the FAQ webpage at: www.ikmultimedia.com/faq
Here you will find answers to the most commonly asked questions.
To submit a Technical Support Form, go to: www.ikmultimedia.com/support
For other requests such as Product, Sales, or Web info, please go to: www.ikmultimedia.com/contact-us
9.1 – User Area

The User Area is a special section of our website specifically designed for our users.
Here you can easily edit your personal data, manage your product authorizations and licenses, and download
the latest IK products updates.
Access your User Area to be able to:

• Edit your Personal data.
• View and download the latest product updates, free content, and Sound Libraries.
• Access any current Promotions.
• View exclusive offers and pricing.
• Manage your earned JamPoints.
• View your Orders.
• Share your AmpliTube presets.
• Download firmware and hardware drivers.
• Access the IK Forum and more.
To access the User Area go to:

www.ikmultimedia.com/userarea
To access your User Area, please login with your User Name and Password created upon registration and
emailed to your registered email address. If you need to update your Password, you may do so at the User Area
login.
106 9 - Support
IK Multimedia Production Srl IK Multimedia US, LLC IK Multimedia Asia
Via dell’Industria, 46, 590 Sawgrass Corporate Pkwy. TB Tamachi Bldg. 1F, MBE #709
41122 Modena Sunrise, FL 33325 4-11-1 Shiba
Italy USA Minato-ku, Tokyo 108-0014
Japan
www.ikmultimedia.com
Syntronik™, DRIFT™ are trademarks property of IK Multimedia Production Srl. All other product names and images, trademarks and
artists names are the property of their respective owners, which are in no way associated or affiliated with IK Multimedia. Product names
are used solely for the purpose of identifying the specific products that were studied during IK Multimedia’s sound model development
and for describing certain types of tones produced with IK Multimedia’s digital modeling technology. Use of these names does not imply
any cooperation or endorsement.
Moog, Memorymoog, Minimoog, Modular, Voyager and Taurus are trademarks property of Moog Music Inc. Prophet is a trademark
property of Dave Smith Instruments. Oberheim, OB-X, OB-Xa and SEM are trademarks property of Gibson Brands, Inc. Yamaha, CS-80,
CS-01, GX-1 and SY99 are trademarks property of Yamaha Corporation. Roland, Juno-60, Jupiter-8, Jupiter-6, Jupiter-4, JX-10, JX-8P,
JX-3P, RS-505, RS-09, SH-5, SH-2 and TB-303 are trademarks property of Roland Corporation. Korg, Mono/Poly and Polysix are
registered trademarks of Korg Inc. Alesis is a trademark property of inMusicBrands, LLC. EMS and VCS3 are properties of Electronic
Music Studios.
Fender® is a registered trademark of Fender Musical Instruments Corporation. Marshall® is a registered trademark of of Marshall
Amplification Plc. Roland® is a registered trademark of Roland Corporation. Mesa/Boogie® is a registered trademark of Mesa/Boogie
Ltd. Ampeg® is a registered trademark of LOUD Technologies, Inc. Ibanez® is a registered trademark of Hoshino Gakki Co. Ltd.
Corporation. Boss® is a registered trademark of Roland Corporation. Electro-Harmonix® is a registered trademark of New Sensor
Corporation. LESLIE® is a registered trademark of Hammond Suzuki USA, Inc. Univox™ is a trademark of Korg USA Corporation.
Fairchild® is a registered trademark property of Avid Technology, Inc. Pultec® is a registered trademark property of Pulse Techniques,
LLC. LA-2A and 1176 LN are registered trademarks of Universal Audio, Inc. IK Multimedia’s products, specifically, the T-RackS Black
76 Limiting Amplifier and T-RackS White 2A Leveling Amplifier, are manufactured and developed by IK Multimedia based on its own
modeling techniques. Universal Audio has neither endorsed nor sponsored IK Multimedia’s products in any manner, nor licensed any
intellectual property for use in this product
Mac and the Mac logo are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Windows and the Windows
logo are trademarks or registered trademarks of Microsoft Corporation in the United States and/or other countries. The Audio Units logo
is a trademark of Apple Computer, Inc. VST is a trademark of Steinberg Media Technologies GmbH.
All specifications are subject to change without further notice.
Document Version: 1.2

Latest update: 2018/03/28
© 2017-2018 IK Multimedia. All rights reserved.

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Syntronik

Chapter 2 – Getting started 18

Chapter 3 – The Instrument Browser 28

Chapter 4 – The Synth Panel 33

4.4.1 – LFO Wave Shape 38

Chapter 5 – The Effects Panel 45

Chapter 6 – The Arpeggiator Panel 87

6.5.2 – Arpeggio Trigger Mode 95

Chapter 7 – The Multi Panel 98

Chapter 8 – Troubleshooting 104

Chapter 9 – Support 106

“EULA” means this end user license agreement.

­­­­­­­­­6 License Agreement

4) DESCRIPTION OF OTHER RIGHTS AND LIMITATIONS

­­­­­­­­­7 License Agreement

­­­­­­­­­8 License Agreement

EXCEPT AS STATED ABOVE, IK MULTIMEDIA MAKES NO OTHER WARRANTY, EXPRESSED OR

10) CHOICE OF LAW

IK Multimedia Production Srl

­­­­­­­­­9 License Agreement

Chapter 2 – Getting started

Syntronik can be used as a standalone application or as a plug-in..

2.1 – Using Syntronik as a standalone application

­­­­­­­­­18 2 - Getting started

2.1.1 – Audio / MIDI Settings

­­­­­­­­­19 2 - Getting started

Sample Rate and Buffer Size

­­­­­­­­­20 2 - Getting started

2.1.2 – Library Settings

­­­­­­­­­21 2 - Getting started

2.1.3 – Program Change Settings

­­­­­­­­­22 2 - Getting started

2.1.4 – Remote Settings

­­­­­­­­­23 2 - Getting started

View important information about the currently installed version of Syntronik.

­­­­­­­­­24 2 - Getting started

Click the lock icon to authorize Syntronik.

­­­­­­­­­25 2 - Getting started

2.2 – Using Syntronik as a plug-in

2.2.1 – Synching to the host application’s tempo

­­­­­­­­­26 2 - Getting started

2.3 – In-App Shop

­­­­­­­­­27 2 - Getting started

Chapter 3 – The Instrument Browser

3.1 – Browser Overview

3.1.1 – Browsing Instruments using keyboard arrow keys

­­­­­­­­­28 3 - The Instrument Browser

3.1.2 – Browser filters

­­­­­­­­­29 3 - The Instrument Browser

3.1.3 – Synth column

­­­­­­­­­30 3 - The Instrument Browser

3.1.4 – Filters column

3.1.5 – Clearing filters

­­­­­­­­­31 3 - The Instrument Browser

3.1.6 – Text search

3.1.7 – Tag an Instrument as favorite

­­­­­­­­­32 3 - The Instrument Browser

Chapter 4 – The Synth Panel

4.1 – Synth Panel Overview

­­­­­­­­­33 4 - The Synth Panel

4.2.2 – Osc 2 Enable

4.2.3 – Osc 2 Detune

­­­­­­­­­34 4 - The Synth Panel

4.3.1 – Filter Type

Chapter 2 – Getting started 18

Chapter 3 – The Instrument Browser 28

Chapter 4 – The Synth Panel 33

4.4.1 – LFO Wave Shape 38

Chapter 5 – The Effects Panel 45

Chapter 6 – The Arpeggiator Panel 87

6.5.2 – Arpeggio Trigger Mode 95

Chapter 7 – The Multi Panel 98

Chapter 8 – Troubleshooting 104

Chapter 9 – Support 106

6 License Agreement

7 License Agreement

8 License Agreement

9 License Agreement

18 2 - Getting started

19 2 - Getting started

20 2 - Getting started

21 2 - Getting started

22 2 - Getting started

23 2 - Getting started

24 2 - Getting started

25 2 - Getting started

26 2 - Getting started

27 2 - Getting started

28 3 - The Instrument Browser

29 3 - The Instrument Browser

30 3 - The Instrument Browser

31 3 - The Instrument Browser

32 3 - The Instrument Browser

33 4 - The Synth Panel

34 4 - The Synth Panel

35 4 - The Synth Panel

36 4 - The Synth Panel

37 4 - The Synth Panel

38 4 - The Synth Panel

39 4 - The Synth Panel

40 4 - The Synth Panel

41 4 - The Synth Panel

42 4 - The Synth Panel

43 4 - The Synth Panel

44 4 - The Synth Panel

45 5 - The Effects Panel

46 5 - The Effects Panel

47 5 - The Effects Panel

48 5 - The Effects Panel

49 5 - The Effects Panel

50 5 - The Effects Panel

51 5 - The Effects Panel

52 5 - The Effects Panel

53 5 - The Effects Panel

54 5 - The Effects Panel

55 5 - The Effects Panel

56 5 - The Effects Panel

57 5 - The Effects Panel

58 5 - The Effects Panel

59 5 - The Effects Panel

60 5 - The Effects Panel

61 5 - The Effects Panel

62 5 - The Effects Panel

63 5 - The Effects Panel

64 5 - The Effects Panel

65 5 - The Effects Panel

66 5 - The Effects Panel

67 5 - The Effects Panel

68 5 - The Effects Panel

69 5 - The Effects Panel