User Guide: Powered by RPCX

User Guide
Powered by RPCX
Welcome
First released in 2005, the original version of BLUE has truly stood the test of time. As
such, it remains a bona fide software synthesizer classic to this day, much loved by
synth players and producers worldwide. It, delivered FM and subtractive synthesis in a
single package, and later added Phase Distortion and wave shaping synthesis into the
mix to create one seriously creative combination, truly deserving the label Crossfusion
synthesis.
Today BLUE-II remains true to that ethos with even more sound dimensions and
features to its extended name, starting with six oscillators, two analogue-style
modelled stereo filters with 27 different filter types, an enormous range of
processing and modulation options, sequencer, and an incredibly powerful
arpeggiator.
BLUE-II takes the useful XY pad features from its popular virtual instrument sibling
Blade and is complemented by four top-quality FX processors, each offering 35 FX
types.
But BLUE-II is also easy to use, thanks to its user-friendly user interface and an
innovative Easy Edit page for speedy sound changes.
All told, then, BLUE-II represents an amazing journey into Crossfusion synthesis and,
quite simply, sounds stunning!
Rob Papen and the RPCX team, February 2014
Installation
Please refer to the separate installation instructions on how to get BLUE-II up and
running.
Rob Papen BLUE-II 2

Navigating BLUE-II
First we’ll give you a quick overview of BLUE-II, so you can find your way around. You will
find all the details that make up BLUE-II in the following chapters.
4
2
1 Presets and In this section you select Presets and Banks and gain access to the
Globals Bank Manager, Easy Page, FX Page, XY Page, External Midi
Controller Setup and this User Guide. Click on the BLUE-II logo to
open the Back Panel
2 Oscillators The Oscillator area contains all the controls to adjust the
parameters of the six oscillators
3 Filters The filter section gives you access to Blue-II’s two filters
4 Amplifier The amplifier section determines the overall volume of a Preset.
5 LCD Panel The LCD Panel is used to access many different areas of Blue-II.
This is the place where you [1] find control modifiers such as
Envelopes, LFOs, sequencer and arpeggiators, [2] make settings
for the oscillator architecture through algorithm construction and
Phase Distortion and Wave Shaping parameters
6 Play Mode In the play mode section you decide whether Blue-II plays as
polyphonic or monophonic synthesizer or is played by its internal
sequencer and arpeggiator. The unison and chord modes may be
used to enhance your playing style even further.
Rob Papen BLUE-II 3

Controls
BLUE-II uses controller knobs, sliders, buttons and drop-down menus to adjust its
parameters. You operate the controls with the mouse: in general click-and-hold the
control and move it to the desired value. While you move the control, its name and value
are shown in BLUE-II’s read-out screen, which is located at the top of the plug-in panel.
In most cases you move a knob or slider by (left) clicking on it and moving the mouse up
and down (knob) or left and right (slider). You will see the value change in the read-out
screen. If you hold the shift-key while moving the mouse, you can make minor
adjustments accurately. Consider this a fine-tuning method. To reset a control to its
default value you can either double-click or ctrl-click the control.
There are three kinds of buttons:
On / Off Buttons The value toggles between on and off with every mouse click
Radio Buttons Select one option out of several predefined settings by clicking on
the desired value.
Menu Buttons While the menus are technically not buttons, in practice they work
similar to radio buttons. The first click opens the menu which lists
all possible values. With a second click, you select the value.
Right clicking (or control-click on Mac) on a control will open the midi / control menu. This
menu displays the parameter name, its current value and which midi control is linked
(latched) to the parameter. It allows you to select from the following:
Set to default Set the control to its default value.

Set to minimum Set the control to its minimum value.
Set to maximum Set the control to its maximum value.
Set to mid Set the control to its medium value.
Set to random Set the control to a random value.
Increase Increase the control by 1%in the text field
Decrease Decrease the control by 1%.
Set value Enter the value of the control directly into the text field
Latch to midi Latches the control to the next first midi control received.
As an example, to latch Volume to an external midi expression controller, right click on

Volume Knob and select Latch to Midi in the pop-up menu. Next, move the midi
expression controller. From now the Expression controller will move the BLUE-II Volume
knob. You can still operate the BLUE-II Volume knob directly in BLUE-II though.
Rob Papen BLUE-II 4

These latched midi controllers are global and will work for all Presets and active BLUE-II
instruments in your host.
Set midi Brings up an entry box that allows you to key in the numerical
value of the midi controller
Unlatch midi Clears the link for this particular BLUE-II parameter from any midi
controls.
Clear midi Clears all of the midi latching.
Note: In the Preset section you can save or load your whole midi (latch) controller setup to
hard-disk. This function is called ECS (External Controller Setup). For an explanation of
this function, please see the ECS chapter later in this manual.
You can select Presets and Banks using the computer keyboard. BLUE-IIs back panel is
where you enable and disable this function. To access the back panel, click on the BLUE-
II logo.
Note: Scrolling the mouse wheel up and down scrolls through the Presets
Up Arrow key Previous Preset.

Down Arrow key Next Preset.
Right Arrow key Increase Preset number by 32 (useful in the Bank Manager)
Left Arrow key Decrease Preset number by 32 (useful in the Bank Manager)
Page Down key Next BLUE-II Bank
Page Up key Previous BLUE-II Bank
Rob Papen BLUE-II 5

Presets and Globals
In the Preset Section you manage all the Presets, Banks and external control settings of
BLUE-II. It includes a Favorite function, which makes it easy to create and manage your
own sets of favorite BLUE-II Presets. You select a Preset by clicking on the Preset screen
which will open a Preset selection menu. Use the < and > keys to scroll through the
Presets of the selected Bank one by one.
The Preset menu also has Quick Browser, Recently Browsed and Favorites functions. It
allows you to manage Presets and Banks through load, save, rename, copy, paste and
reset to default operations.
Note: The Presets are saved as part of a Bank. When you start creating your own
Presets, we recommend you create of copy of the Bank by saving it with a new name.
This ensures you keep all factory Presets that come with BLUE-II, while you have full
control over any new / changed Presets in their own Bank.
Quick Browser
The "Quick Browser" shows all the available Banks and their Presets. When you click on
a Preset, the Preset and the corresponding Bank will be loaded.
Recently Browsed
This shows a list of all the recently used Presets. Clicking on an entry reloads the Preset.
Clicking on "Clear Recent" removes all entries from the menu.
Favorites
This shows a list of Presets selected as being Favorite Presets. Clicking on an entry loads
the Preset. Add a Preset to the Favorites by clicking on "Add Current to Favorites".
"Remove Current from Favorites" removes the current Preset from the Favorites list, and
"Clear Favorites" removes all entries from the list.
The Favorites list is stored on the computer's hard disk, so the list will be available the
next time you use BLUE-II and in any other instances of the plug-in.
Bank
In the Bank section you can select the Bank, either by clicking on the Bank screen and
selecting from the menu or by using the < and > to scroll through the different available
Banks. All BLUE-II Banks are saved in the “BLUE-II/Banks” folder on your computer. It is
recommended that you save BLUE-II Banks that you have created in their own folder.
To save a Bank or to load a Bank you need to use the file function in this section.
Note: if you change a Preset in a Bank, you need to save the Bank to keep the changed
Preset. To keep the original Preset Banks, always save the Bank with a new name.
Rob Papen BLUE-II 6

Edit / Orig
As soon as you start editing a Preset (i.e. change a BLUE-II control), the Edit button will
light up. If you the click on the Orig button it will return the Preset to its original settings
(your edited sound is still available!). To return to the edited Preset, click on the Edit
button and it will reflect all changes that you made previously. This function allows you to
compare the original Preset with the edited one, to hear the differences and impact of any
parameter changes.
Note: if you change a Preset in a Bank, you need to save the Bank to keep the
changed Preset. To keep the original Preset Banks, always save the Bank with a new
name.
Direct Access Buttons

At the centre of the Presets and Globals section you find 6 buttons that give you direct
access to various areas of BLUE-II. These are:
Man Click to open the Bank Manager

Easy Click to open the Easy Page
FX Click to open the FX section
XY Click to open the XY panel
ECS Click to open the ECS menu
Help Click to open the Blue-II manual
Rob Papen BLUE-II 7

ECS (External Midi Control)
BLUE-II responds to external Midi messages to change its sound parameters
dynamically. The assignment of external Midi messages to BLUE-II controls is defined in
the ECS. ECS is short for External Controller Setup. It contains all assignments of midi
controllers to BLUE-II controls that are being targeted for real time manipulation.
Remember, you set each individual midi controller assignment by using the right button
(or control-click on a Mac) menu and selecting latch to midi. You can also unlatch midi
controls the same way or clear all of the midi control assignments. The ECS button allows
you to load and save a complete external midi controller setup. Once set, it is shared by
all Presets, and all instances of BLUE-II that are loaded in your DAW.
Load ECS This opens the folder that holds ECS set-ups. The installer of
BLUE-II installed a folder called ECS that holds all .ECS files
Save ECS This gives you the option to save the midi set-up you created and
use it in other songs. It is saved as an .ECS file
Reset all Midi This clears all the midi settings for BLUE-II. Handy if you want to
start from scratch
Rob Papen BLUE-II 8

Easy Mode
For those people who want a minimum amount of controls for the maximum sonic impact,
BLUE-II includes an Easy Mode page. Easy Mode incorporates a select number of
controls that can change the sound most dramatically. Don’t let the term easy put you off
though. The Easy mode is particularly useful in a live-performance situation when you
have assigned physical keyboard controllers like wheels, knobs and switches to the Easy
Page’s controls.
In general, when used in combination with an external hardware controller with a limited
number of faders and knobs, the Easy Mode Page may be all you need to work with.
You can access the Easy Control page via the Easy button near the top of the LCD panel.
The Easy Mode page gives you access to the following synthesis parameters:
The tuning of all BLUE-II oscillators Adjust from -48 to +48 semitones.
The tuning of oscillators A, C and E Adjust from -48 to +48 semitones.
The tuning of oscillators B, D and F Adjust from -48 to +48 semitones.
The overall level of Frequency Adjust from 0% to 100%
Modulation
All feedback settings Adjust from -100% to 100%. This amount is relative
to the programmed individual feedback amounts.
All symmetry settings Adjust from -100% to 100%. This amount is relative
to the programmed individual feedback amounts.
All PWM settings Adjust from -100% to 100%. This amount is relative
to the programmed individual PWM amounts. Note
that the PWM must be active in the current Preset for
this to have any effect.
Rob Papen BLUE-II 9

All Shape settings Adjust from -100% to 100%. This amount is relative
to the programmed individual shaping amounts. Note
that the PD/WS must have changed shape for it to
have any effect. See the PD/WS chapter in this
manual.
The filter frequency settings Adjust from -100% to 100%. This amount is relative
to the programmed individual filter frequencies.
The filter Q settings Adjust from -100% to 100%. This amount is relative
to the programmed individual filter Q settings.
The filter distortion settings Adjust from -100% to 100%. This amount is relative
to the programmed individual filter distortion settings.
The envelope timings Adjust from -100% to 100%. This amount is relative
to the programmed individual envelope time settings.
The LFO speeds Adjust from -100% to 100%. This amount is relative
to the programmed LFO speed settings.
The LFO amount settings Adjust from -100% to 100%. This amount is relative
to the programmed LFO amount settings.
The mod sequencer speed Adjust from -100% to 100%. This amount is relative
to the programmed mod sequencer speed.
The arpeggiator/sequencer speed Adjust from -100% to 100%. This amount is relative
to the programmed arpeggiator/sequencer speed.
The effect type of FX A to D
The FX Mix settings Adjust from -100% to 100%. This amount is relative
to the programmed FX Mix settings.
Bypass FX A to D .
Global amount of XY Pads X amount Adjust from -100% to 100%. This is relative to
programmed XY Pads X value.
Global amount of XY Pads Y amount Adjust from -100% to 100%. This is relative to
programmed XY Pads Y value.
The XY Pads playback speed Adjust from -100% to 100%. This is relative to
programmed XY Pads playback speed.
Try it out for yourself! Take a Preset and change parameters. You will find out that you
can easily create new exciting Presets. All the changes you make in this easy page are
stored as part of the Preset. Don’t forget to save the changed Preset or the Bank if you
want to be able to recall it later
Rob Papen BLUE-II 10

Oscillators
An oscillator is a tone generator. It is the first building block in the sound construction
process. The frequency setting of the oscillator determines the pitch of the sound. The
selected waveform defines the sound’s tonal character, or timbre.
BLUE-II uses up to 6 oscillators in per voice (note played). The oscillators can be arranged in
many different ways to support different styles of synthesis. You select this arrangement in
the Algorithm section of the LCD panel.
The algorithm also determines how the oscillators interact using the FM, Ring and Sync
functions of oscillators A to F. Look at the Algorithm description in the Algorithm section of this
manual to understand the available configurations.
A good example of the combination of several different types of synthesis is the Preset Fritz
Groove. You find it in Bank 01_Diverse 01. In this Preset, Osc A and B, in combination with
Filter A, are used in a subtractive synthesis set-up. Osc D modulates Osc F using FM
modulation and is fed directly into FX A (bypassing the filter).
Following are the oscillator controls. These are available for all oscillators A to F
Oscillator On/Off
Pressing the buttons A to F will turn the corresponding oscillator On and Off. To cut down on
CPU usage, we recommend you turn the oscillator off if you are not using it. If you right click
on the On / Off button, it is possible to switch the oscillator to solo mode. The On / Off button
will flash when the oscillator is in solo mode.
Waveform
Use the display next to the On / Off button to select the wave-type or sample used by the
oscillator. BLUE-II offers different types of waveforms, including Analogue, Additive and
Spectral.
The samples too are organised in groups. There are Sample A and B and Percussive, which
are instantly available in BLUE-II. Sample ST A and B need to be loaded in from disk. You
can use 4 different sample sets at any one time as a maximum.
Scroll through the individual waveforms by clicking on the left and right hand side of the wave
selector button. The - and + symbols pop up as soon as you hover the mouse over the wave
selection area.

Phase
The phase button inverts the phase of the oscillator output.
Free
The Free button is used to select the reset-behaviour of the oscillator. If Free is turned off, the
oscillator waveform is reset to zero phase position each time you play a note. When Free is
turned on, the oscillator is free running; i.e. it is not reset when you play a note.
Trak
The trak switch enables and disables keyboard tracking. It controls whether the pitch of the
oscillator follows the keyboard or is fixed regardless of the note played.
Mode (Oscillator B – F only)

Oscillators B to F can be modulated by any of the other oscillator(s). This is allows BLUE-II to
do FM and PD synthesis and create Ring Modulation effects. The modes are:
FM Enables frequency modulation of the oscillator. The selected Algorithm
determines the precise configuration.
Ring Enables ring modulation of the oscillator. The selected Algorithm
determines the precise configuration.
Sync A The oscillator is synced to oscillator A.
Shape
BLUE-II has two different waveform shaping modes, phase distortion (PD) and wave shaping
(WS). In phase distortion, the phase of the oscillator is modulated to change the harmonic
content. In wave shaping the output of the oscillator is altered to create the final waveform.
The Mode button toggles between the PD and WS shape modes.
Note: Phase distortion and wave shaping do not affect the waveforms white noise and pink
noise.
Ratio
The ratio button allows you to set the oscillator frequency ratio multiplier. A ratio of 2.00 in the
means the oscillator’s frequency is doubled relative to that of the input oscillator. Ratio is used
for setting up musically useful frequency modulation ratios between oscillators and ism
typically used for FM and ring modulation sounds.
Semi
Semi sets the coarse tuning of the oscillator in semitones from 48 semitones (-4 octaves) to
+48 semitones (+4 octaves). Right clicking on the semi control allows you to set the coarse
tuning directly.
Tip: while making FM style sounds, use the semi control in combination with the ratio control.
Fine
Fine controls the fine-tuning of the oscillator in cents, from -100 cents to +100 cents.
Sub
Sub controls the volume of the sub-oscillator. The sub-oscillator is tuned to one octave below
the oscillator. The sub-oscillator knob lets you select two different waveforms. A counter
clockwise position produces a sinus waveform. Turn it clockwise and it produces a square
waveform. The centre position turns the sub-oscillator off.

Shape
Shape sets the amount of phase distortion or wave-shaping applied to the original oscillator
waveform. To hear the effect of this control the phase distortion or wave-shaping, mode
needs to be selected first.
Feedback
Feed sets the amount of feedback for the oscillator. The higher the feedback setting, the more
harmonics will be generated. It is possible to generate a saw waveform from a sinus shape,
with a high enough feed setting.
PWM
Pulse width modulation controls the pulse width of the Square and other waveforms. You
need to use this in tandem with the pulse width modulation LFO to set up pulse width
modulation sounds. This is all explained in more detail in the LFO chapter.
Note: If you do not hear any changes you need to raise the PWM amount and the LFO speed
parameter. If either is zero this means that the LFO is shut down and that you need to open
the speed and/or amount of the PWM LFO.
Symmetry
Sym controls the symmetry of the oscillator waveform. This is most commonly used with the
Square waveform where it alters the pulse width. It is also applicable to other waveforms
except White Noise and Pink Noise. Use the sym control for subtle harmonic changes..
Spread
Spread adds oscillators to the main oscillator with a slightly higher and slightly lower pitch
than the main oscillator. In practice it fattens up the sound. The spread control sets the
difference in oscillator pitch and higher settings will make the effect more pronounced.
Drift
Drift adds slight irregular variations’ to the oscillator pitch. This can make a sound livelier and
is an essential ingredient for when you want to simulate older analog synthesizer with
sometimes unstable and temperature dependent electronic circuits.
Vel (Velocity)
The velocity controls lets you drive the oscillator volume by the way you play the keyboard.
You find this type of control mostly in the amplifier section of synthesizers but BLUE-II
presents you here with a more refined control per oscillator.
For a traditional subtractive synthesizer models you might want to keep this control at zero. If
you are using frequency or ring modulation, this parameter is important because it changes
the amount of modulation the input oscillator applies and therefore impacts on the harmonic
content of the sound produced.
Volume
This control sets the volume of the oscillator in decibels. When the oscillator is used as the
modulator for frequency or ring modulation, it controls the modulation amount.
Destination
The destination menu sets the routing of the oscillators. It is only relevant for oscillators with a
direct sound output. It does not apply for oscillators used as modulators. Please refer to
Algorithm screen in the LCD panel to confirm the role of each oscillator.

The routing options are:
Dry Bypasses all the Filters and FX.
Filter A Feeds into Filter A.
Filter B Feeds into Filter B.
Filter A + B Feeds into Filter A & B.
FX A Bypasses the Filters and feeds into FX A.
FX B Bypasses the Filters and feeds into FX B.
FX A + B Bypasses the Filters and feeds into FX A & B.
FX C Bypasses the Filters and feeds into FX C.
FX D Bypasses the Filters and feeds into FX D.
FX C + D Bypasses the Filters and feeds into FX C & D.
All FX Bypasses the Filters and feeds into all the FX.
Oscillator Command Menu

It might be daunting at times to make the many oscillator settings manually. We have included
an oscillator command menu that allows you to copy, paste, clear the settings from one
oscillator to the next. Please access the Oscillator Command Menu by clicking on the
oscillator label.

Filters A and B
BLUE-II offers two high quality analogue modelled filters for subtractive alteration of the
sound. Cross-fusion synthesis also allows you to use these filters in FM sounds, offering you
additional possibilities over traditional FM. These filters have the most important modulation
parameters pre-defined, such as Envelope, Velocity and Modulation Wheel. This makes
sound editing easier and faster. In the following section we will describe the controls for Filter
A and Filter B. Controls are the same for both filters.
The Mode switch sets the routing of the oscillator signals through the two filter sections (A
and B). It allows you to set the two filters in series, or in parallel configuration.
In the Series setting, all oscillator signals go to filter A. The output of the filter A is
subsequently fed to Filter B. Filter B feeds into the amplifier section.
The Parallel configuration feeds all oscillators to both filters simultaneously. The output
signals of both filters are then mixed again and passed on to the amplifier.
Filter Type
Bypass The filter is bypassed and the sound passes through

unaffected
6dB LowPass Low frequencies pass through this filter; frequencies
above the Cutoff frequency are reduced by 6dB per
octave. For example: a frequency 2000Hz is 6dB softer in
volume if the Cutoff frequency is set to 1000Hz.
6dB HighPass High frequencies pass through this filter; those below the
Cutoff frequency are reduced by 6dB per octave. The filter
is open if the Cutoff frequency knob is turned fully counter-
clockwise.
12dB LowPass Low frequencies pass through this filter; those above the
Cutoff frequency are reduced by 12dB per octave.
Cutoff frequency are reduced by 12dB per octave. The
filter is fully open if the Cutoff frequency control knob is
turned fully counter-clockwise.

filter is fully open if the Cutoff frequency knob is turned
fully counter-clockwise.
fully counter-clockwise.
12dB BandPass This filter mode is a combination of 12dB LowPass and

12dB HighPass filters. Only those frequencies near the
filter Cutoff frequency pass through (a band of
frequencies), the resonance (Q), controls the width of this
band so that low and high frequencies are removed.
24dB BandPass This filter mode is a combination of a 24dB LowPass and
24dB HighPass filter. Only those frequencies near the
filter Cutoff frequency pass through (a band of
frequencies), the resonance (Q) controls the width of this
band, so low and high frequencies are removed.
12dB Notch The frequencies in the region around the filter Cutoff
frequency are reduced in volume (12dB), the resonance
controls the width of this region.
24db Notch The frequencies in the vicinity of the filter Cutoff frequency
are reduced in volume (24dB), the resonance controls the
width of this region.
fully counter clockwise

Comb Positive This is a very short delay, which emphasizes the comb
filter frequency. The Cutoff frequency controls the length
of this delay and resonance (Q) the feedback of the filter.
Comb Negative This is a very short delay, which reduces the comb filter
frequency. The Cutoff frequency controls the length of this
delay and resonance (Q) the feedback of the filter.
Vox filter Vocal Filter, which adds a voice-like filtering to the sound.
In Vox filter mode, the distortion knob controls the vowel
of the filter. Vowel Sets the vowel formant (a,e,i,o and u)
as used by the vox filter
Formant 2 Band Vocal Filter, which creates a vocal character based on 2
bands. In Formant 2 mode, the distortion knob controls
the separation of the bands.
Formant 4 Band Vocal Filter, which creates a vocal character based on 4
bands. In Formant 2 mode, the distortion knob controls
the separation of the bands.
Ring Ring Modulation effect, Q alters the amount of ring
modulation.
Filter Controls
Freq
The Cutoff Frequency sets the filter’s frequency at which point the filter starts altering the
sound. For instance, if you set the Cutoff to 2000Hz and use a 12dB Lowpass filter it reduces
any frequencies above 2000Hz, and frequencies at 4000Hz will be reduced by 12dB. The
Cutoff frequency can be static at a single programmed frequency, but for more dynamic
sounds, try modulating the Cutoff Frequency with the Filter Envelope, Keyboard tracking,
Modulation Wheel and LFO.
Q (Resonance)
Q is the resonance level of the filter. Sounds at and directly around the filter cutoff frequency
are emphasised by the resonance. For the 6dB filters types it has no effect though, because
the filter’s slope is not steep enough. In the Ring filter it controls the amount of ring
modulation. In the Comb Filter it controls the amount of feedback and in the Vox filter the
bandwidth of the formant filters.
Vowel
In the Vox filter this controls the vowel of the filter. For Formant 2 / 4 filters, it controls the
separation of the filter bands.
Cutoff Frequency Modulation
Envelope (Env)
The envelope moves the filter cutoff frequency, following the contour of the envelope. The
Envelope is part of the Filter section. Keep in mind that if you use negative modulation, the
control signal is inverted: as the envelope level rises the filter frequency is lowered.

Velocity (Vel)
Typically, the harder you strike the keys, the more the filter opens. When you use negative
modulation values the filter closes with increasing velocity. If BLUE-II is in sequencer mode
(Play mode) the sequencer velocity settings drive the filter frequency.
KeyTrk
Again typically, the Cutoff frequency increases, i.e. the filter opens, with notes played higher
on the keyboard. When you use negative modulation values, the filter closes with increasing
note pitch.
Modulation Wheel (ModWhl)

This control lets the position of the modulation wheel determine the cutoff frequency of the
filter. The strength of the Mod Wheel – Filter Frequency coupling is set by the level of this
control.
Volume and Pan

The volume and panning controls should be self-explanatory: one sets the output volume of
the filter, the other positions the filter output in a stereo field.
Tip: Consider setting one of the filters to Bypass and use the panning control to pan the
output of the oscillators without filtering them, or you use it for panning modulation effects.
Filter Command Menu

It might be daunting at times to make the many filter settings manually. We have included a
filter command menu that allows you to copy, paste, clear the settings from one filter to the
other. Please access the Filter Command Menu by clicking on the filter label.

Amplifier
While the oscillator section controls the pitch, the filter section the timbre, the amplifier section
is responsible for the sound’s volume. It amplifies the signal and modifies the volume. An
important component of the amplifier section is the Volume Envelope. The envelope defines
the loudness contour. The amplifier section also contains the velocity control. This sets the
response of BLUE-II to the velocity information.
Volume
The Volume sets the overall volume of the Preset. Use this control to adjust the relative
volumes between Presets in a Bank.
Velocity (Vel)
The Velocity control determines how the sound’s volume responds to changes in note
velocity. It applies to notes played on a keyboard and those triggered by the BLUE-II
sequencer.
Volume Envelope
An envelope is a time-based modulation inside a synthesizer. When triggered – typically by
playing a note – it moves from 0% up to 100% and back to 0% when you release the key.
The Volume Envelope determines the volume contour of a sound.
The first part is known as the attack stage. It represents the time it takes for the envelope to
reach 100%. If you open the Attack knob, it takes longer to go from 0 to 100%. With Attack
closed, the envelope starts at 100%.
After the attack stage, with the envelope at 100%, the decay stage starts. The decay stage
brings the volume down to the sustain level. If the sustain is set to 50%, the decay brings the
volume down to 50% and stays there for as long as the key is held. If you use a long decay, it
takes long to reach the sustain level. This is useful for evolving pad sounds. Short decay
times are a god ingredient for percussive sounds. If the sustain level is 100% the impact of
the decay stage is effectively eliminated.

The sustain stage is characterised by a (sustain) level setting. After the attack and decay
stage, the envelope reaches the sustain stage and remains here for as long as you hold a
key. The sustain level is the level of this sustain stage and as such is main control for the
perceived volume of a sound.
The envelope release stage starts when you release a key. The envelope fades out from the
sustain level to 0% in the time set by the release control.
Note: You will find more controls for the volume envelope in the Envelope display of the LCD
panel.

Algorithm
The algorithm display provides insight and control over how the six oscillators are
interconnected. There are predefined algorithms and you can create your own using the FM
matrix. The algorithm display is located in the LCD panel at the bottom of BLUE-II. Press the
Alg button to open the display.
Preset Algorithm Mode

The Preset Algorithm Mode is enabled when the Alg button is turned on. BLUE-II comes with
a collection of predefined algorithms (oscillator configurations) that determine the sound
generating structure of the Preset.
At the top left of the algorithm display you find left and right arrow buttons. Use these to cycle
through the available algorithms one by one. The name of the selected algorithm is displayed
at the top of the display. Direct selection of algorithms is possible too. The algorithm selection
menu lists all the pre-defined algorithms. Use a right-click anywhere on the algorithm display
to access this menu.
When you look at the algorithm itself, you will find two ways that oscillators can be connected:
1. As a sound generator, feeding into the output via filter and effects
2. As a modulator for one of the other oscillators
The sound generating oscillators are connected to the output by a vertical line to the output
bar at the bottom of the screen. The modulator oscillators are connected by a horizontal line
that connects to the input of one of the other oscillators.
To illustrate this, take a look at algorithm 2 (pictured above) which is named AB C-F DE. The
name gives away much of the algorithm’s structure already. Oscillators A, B, D and E are the
direct sound generators and oscillator C modulates oscillator F which subsequently feeds into
the output section.
Have a look at the Preset Cjungs Dream (Bank 01_Diverse 01) to get an idea about the
extensive possibilities of BLUE-II’s cross-fusion synthesis. This Preset uses algorithm 4.
Oscillator A is involved in subtractive synthesis with PWM modulation and uses Filter A,
configured as a 12dB BandPass filter. Oscillators C, D and E modulate Oscillator F, using FM
modulation. The Oscillator F output is routed to FX A.
FM Matrix Mode
The FM Matrix gives you precise control over the level of modulation applied between each
pair of oscillators. The modulation paths are represented by a matrix of numerical boxes. The
sound generating oscillators are listed in a column on the left. The top row across represents
all modulator oscillators. The strength of the modulation is represented by a percentage in the
cells of the matrix. The Out column on the right list the output levels of the oscillators.

So in the above example:
• Osc A modulates Osc B by 100%, which is output at 63% volume.
• Osc B imodulates Osc A by 100 %, which is output at 100% volume.
• Osc C is not modulated and is mixed in the output with a volume of 26%.
• Osc D to F are not connected to the output.
PM / FM
BLUE-II uses phase modulation by default for is FM algorithms (as found in the original DX7).
However you can use real frequency modulation by clicking on the FM button. The two
methods create different harmonic content. It is easy to switch between the two methods, so
please experiment and see which one is most fitting for your purpose.
Presets
The Preset button takes you back to the Preset Algorithm Mode.

Phase Distortion / Waveshaping (PD / WS)
The Phase Distortion / Wave Shaping module (PD/WS) is used to alter the basic waveforms.
It changes the harmonic content by reshaping the original waveform. The majority of the
display is taken up by a graph called the shaper. This is the shape the phase distortion /
waveshaping module uses as the basis for transforming the original waveform.
Consider the shaper as one input to a mathematical equation and the original waveform as
another. The PD/WS module applies the shaper to the waveform and is able to create a
drastically different output. To the right of the shaper you find two small windows that
represent the waveform after the PD/WS module.
A good example of what you can do with phase distortion / wave shaping is demonstrated in
the Preset PD molate in Bank 01_Diverse 01. In this Preset the amount of phase distortion is
controlled by an LFO.
Note: To hear the effect of the PD/WS module you need to set the Oscillator Shaper knob to a
non-zero value and in the same oscillator section you need to select either Phase Distortion
or Wave Shaping.
The oscillator boxes A to F give you access to the phase distortion / wave shaping setup for
oscillators A to F. The big news is that you can draw your own shapers. An initialised Preset
will show a straight line as a shaper. This has no effect on the waveform. You can draw any
shaper form you like. Depending on your artwork it may add subtle harmonics or result in wild
distortions of the waveform.
We have included a PD/WS command menu that allows you to copy, paste, clear the shapers
you create and use. Please access the PD/WS Command Menu by right clicking or through
the commands button.
Tip: In the Modulation Matrix consider selecting the Shape amount for each oscillator as a
modulation target. This modulation path lets you blend between unchanged waveforms and
changed waveforms.

XY Screen
One of the coolest features of BLUE-II is the XY controller. Use the mouse to control up to 16
BLUE-II controls simultaneously by moving the blue dot around the pad. It is also possible to
record these movements as paths, and use the XY pad as a programmable two-dimensional
LFO. Consider the XY controller as combination of 16 linked modulation paths. The position
of the XY dot is the modulation source and the 16 knobs surrounding the XY pad represent
the modulation destinations.
XY basics
The knobs around the XY pad can be assigned to any of the BLUE-II parameters via the
destination menus below them. The control level indicates the strength of the linkage between
the XY pad and the BLUE-II parameter. To hear the effect of the XY pad the controls need to
be set to non-zero value. Each knob also has its own Mute and Solo buttons. The Mute button
takes the control out of sphere of influence of the blue dot. The Solo button makes that the
corresponding control is the only one being modulated by the XY screen.
You can move the blue dot manually across the XY pad (use the mouse to click and drag)
when replay is set to off / live.
You can also record movements on the XY pad as paths. Switch on the Rec button to the
right of the XY pad, and draw a path. For as long as you keep the mouse button pressed,
BLUE-II will capture all movements as a path in its memory.
After recording the path is ready for playback. Hit the Play button, and play a note. You will
see the XY indicator moving across the screen according to previously recorded path. The
path is saved as part of the Preset, and is ready to go when you recall the Preset.

Loop
When loop is On, upon reaching the end of the path the blue dot will jump to the and repeat
the movement. In the < > mode, the XY path also loops but travels back and forth along the
path. When loop is Off it travels only one-way once.
Mode
BLUE-II operates in Poly, Free or Mono mode. The mode setting determines how the XY
responds when you hit one or more keys simultaneously.
Poly Each note you play starts its own XY path and each path starts from
Its initial position.
Free The XY path is free running and all the notes share the same XY
Path. The path is not reset when you play a note. In Free mode the XY
path is looped automatically.
Mono All notes played share the same XY path, but the XY path is reset when your
play a new key.
Sync To
By default, when the XY path is replayed, it plays back at the speed with which it was
recorded. However Sync To enables you to play back the XY path in a set timeframe.This can
be beat or a full measure. The path timing will get scaled to the selected Sync To value.
Point Quantization
Paths are stored as 128 points. You can alter the number of points stored, using the Point
Quantization menu. The minimum number of points is 4 points, for very straightforward paths.
If you return the resolution back to 128 points, the original points will be restored (unless you
have edited them).
Space Quantize
Space Quantize allows you to restrict all the points in the current path to a set of grid lines.
The default setting is off, but when you select 32, 16, 8 or 4, it will then snap all the points into
the path to the nearest grid point. If you turn off Quantize it will return the points back to their
original position (unless you have edited them).
Time Quantize
Time Quantize sets the update frequency of the XY position (blue dot). Use this in conjunction
with the Sync function to find the optimised balance between update frequency and number of
points in the path.
Smooth
The smooth control will soften any sharp edges and corners in a path. Use this control if you
want to avoid sudden changes (which may sound harsh) in modulation signals.
Speed / Speed Control / Speed Source

As well as being able to sync to a set musical time, you can also scale the playback speed
manually or by a modulation source. The Speed knob changes the playback speed from
taking 1/16 of the original time, to 16 times the original time. Speed Ctrl / Speed Source allow
you to modulate this speed change using the regular range of modulation sources.

Edit Button
The Edit button puts the XY path in edit mode. In edit mode you can move individual points in
the path a new position.
XY Menu
A right click on the XY display or the command button opens the XY Menu with the following
options:
Edit Position Enables editing of the path’s points
Edit Grouping Single Only the selected point is edited.
Edit Grouping Narrow The 3 points before and after the current position are
changed.
Edit Grouping Wide The 8 points before and after the current position are changed.
Reset to Position Resets XY to the central position in direct mode.
Set to circle, square Sets the XY path to a circle, square and other Preset shapes.
Reverse Reverses the XY path, so it will be traversed backwards.
Flip Horizontally Flips the XY path horizontally.
Flip Vertically Flips the XY path vertically.
Rotate Rotates the XY path by a set number of degrees.
Snap to Grid Snaps the XY path to a set number of grid points.
Smooth Smooths the XY Path.
Scale X & Y Scales the XY path around the centre by a set amount.
Undo Undo the last command.
Copy Copies the current XY path.
Paste Pastes the last copied XY path.
Clear Clears the current XY path.

Envelopes
The Envelope display gives you access to the main envelopes used by BLUE-II. The
envelopes included control the volumes for oscillators A to F, the cutoff frequency for filters A
and B and the main volume in the amplifier section.
The effect of the envelopes in this screen depends on the algorithm used in the Preset. In a
subtractive scenario the oscillator volume envelopes control just that. They provide a
(dynamic) volume mix of the six oscillators. In the context of an FM algorithm however, the
same envelopes control the strength of any frequency modulation and therefore the timbre of
the sound.
The buttons on the left are used select one of the nine envelopes.
To illustrate the use of the envelopes, explore the sound NM Bass in Bank 01_Diverse 01. In
this Preset:
• Oscillator A does not use its Envelope (amount to zero) and the output feeds into
Filter A.
• Oscillator D does use its Envelope (positive amount) and is used to frequency
modulate Oscillator F.
• Oscillator F does not use its own Envelope, which means that the main Volume
Envelope controls its volume.
All envelopes have the same Attack, Decay, Sustain and Release controls. These are
described as part of the envelope in the amplifier section. What follows is a description of the
additional controls that you have access to in the envelope display.
Pre-Delay Time
Pre-Delay is an additional phase that delays the start of the attack phase of the envelope. .
Attack time / Curve

The attack time is the time the envelope takes to reach its maximum value. The attack curve
sets the shape of the attack phase.
Hold
The hold control keeps the envelope at its maximum value and is placed between the attack
and the decay phase.
Decay time / Curve

The decay time is the time the envelope takes to reach the sustain level. The decay curve
sets the shape of the decay phase.
Sustain
The sustain control sets the sustain level of the envelope.

Fade
The sustain fade control alters the slope of the sustain stage. Typically it is flat, i.e. the
volume stays the same. With a positive Fade amount however, the volume will slowly
increase over time. A negative fade setting reduces the volume during the sustain stage.
Release Time and Curve

The release time is the time the envelope takes to fade to zero from the sustain level. The
release stage starts when a key is released. The release curve sets the shape of the decay
phase.
Key > Speed

This control allows you to change the envelope times based on note pitch. A positive value
here means that higher keys produce faster envelopes. A negative value has the opposite
effect: higher notes get slower envelopes.
Vel > Speed

This control allows you to change the envelope times based on note velocity (how hard you
strike a key). A positive value here means that forte notes produce faster envelopes. A
negative value has the opposite effect: piano notes get the faster envelopes.
Envelope Retrigger and Times

Envelopes can be retriggered, independently of any notes played. This is especially useful for
envelopes that are being used as modulation sources. The time after which an envelope
retriggers is synchronised with the host DAW and can be set in musical values such as whole
note, half note and so on. For all envelopes, except the volume envelope, you can set the
number of times the envelope will be retriggered. Use the Retrigger Times slider for this.
Please note that a value of zero means endless retriggers.
Velocity > Vol (Volume Envelope only)

This control allows you to drive the volume envelope amplitude with note velocity (how hard
you strike a key). A positive value here means that forte notes produce loud envelopes. A
negative value has the opposite effect: piano notes get the loudest envelopes
Tempo Sync
Activate Tempo Sync to synchronise all envelope times to the current DAW tempo
Envelope display
The envelope display allows you click and drag the envelopes in their desired shapes. Pick up
a line segment and drag it to change the envelope parameter values.
• The first part of the screen affects the attack time and level. Use the shift key to alter
the attack curve.
• The second part affects the decay time Use the shift key to alter the decay curve.
• The third part affects the sustain level. Use the shift key to alter the sustain fade.
• The final part affects the release time. Use the shift key to alter the attack curve
Envelope Command Menu

It might be daunting at times to make the many envelope settings manually. We have
included an envelope command menu that allows you to copy, paste, clear the settings from
one envelope to another. A right click on the envelope activates this menu.

Multi-Envelopes
The multi-envelope display gives you access to BLUE-II’s multi-envelopes. There are four
multi-envelopes, Multi A to Multi D. They can only be used as modulation sources in the
Modulation Matrix.
Multi-Envelopes are made up of up to 16 different sections, and have loop start and loop end
positions. Using loop points divides these envelopes in an attack phase, a (looped) sustain
phase and a release phase. The attack phase sits before the loop start point. The sustain
phases cycles through the looped section for as long as a key is held down. The release
phase plays either the region after the loop end point or fades out the looped section.
Editing envelope points

Editing of the multi-envelopes takes place in the graphical screen. To move a connection
point between segments, simply click and drag the point to the desired location. When you
click on a line segment itself, moving the mouse changes the curve of that segment.
Other operations to modify a multi-envelope include:
• To add a point: hold shift and click on the new point location. Alternatively, double
click on the new point location.
• To set the loop start point: hold the ctrl key and click on the loop start point.
• To set the loop end point: hold the alt key and click on the loop end point.
Multi Envelope Command Menu

The multi envelope command menu allows you to edit, copy, paste, clear multi-envelopes A
right click on the envelope or a click on the commands button activates this menu.

The commands are:
Undo Undoes the last envelope edit.
Add Point Adds a point.
Delete Point Deletes a point.
Copy Copies the current envelope.
Paste Pastes the last copied envelope.
Loop Start Sets the loop start position.
Loop End Sets the loop end position.
Loop Off Sets the looping off.
Loop All Loops between all the points.
Load Loads a pre-saved envelope.
Save Saves the envelope to disk.
Presets Envelope Presets.
Envelope Length
The envelope length control sets the total length of the multi-envelope. If the parameter
Tempo Sync is on, the length setting is tempo based; otherwise the value will be in
milliseconds.
Tempo Sync On/Off

The Tempo Sync switch determines the unit of measure for envelope length and some other
parameters If Tempo Sync is on, the values are tempo based; otherwise values will be
displayed in milliseconds.
Release stage
This control defines the presence of a release stage. If set to off, the looped section will be
used for the release and faded out during the release. If a release stage has been defined,
the release stage picks up after the loop end point.
Key > Env

This control allows you to change the envelope times based on note pitch. A positive value
here means that higher notes produce faster envelopes. A negative value has the opposite
effect: higher notes get slower envelopes.
Loop On / Off
This switch turns the envelope loop on and off. When it is turned off the loop points are
ignored and the multi envelope traverses its segments from start to finish in a single motion.

LFO
BLUE-II has 14 LFOs (low frequency oscillators). The routing of 10 LFOs is predefined (or
hardwired) for faster access and easier editing. The remaining four LFOs can be used as
modulation sources in the Modulation Matrix.
The LFOs available are:
PWM A to F Pulse Width Modulation LFO for the oscillators.
Filter A/ B Filter frequency LFO for Filter A and Filter B.
Trem Tremolo LFO (Main volume modulation).
Vib Vibrato LFO (Main pitch modulation).
Free A to D Freely assignable LFOs for use in the modulation matrix.
Each LFO has an identical set of controls to determine its behaviour.
Waveform type
The available waveforms are Sine, Triangle, Saw Up, Saw Down, Square and S&H. The
waveform determines the modulation pattern of the LFO. Sinus and Triangle are often used
because these move the LFO up and down in a smooth fashion. The other waveforms are
more suitable for a more pronounced impact.
Reset Type
The LFO reset type has three different modes:
Poly In poly mode, each note played has its own LFO.
Free The LFO is free running and all the notes share the same LFO. The LFO is always
running and does not reset when you press a key.
Mono Similar to free mode. All notes share the same LFO. However when you press a
key in Mono mode, the LFO is reset to its initial phase (start position)
LFO Sync Off / On

If you turn Sync on, the Speed of the LFO will be based on the host DAW tempo. It will
synchronise with the song tempo. In Sync Mode, please use the Speed parameter to select
the desired beats / divisions setting.
LFO Speed
The speed control determines how fast cycles through its selected waveform. It is measured
either in hertz (cycles per second) (Sync Off) or note lengths (Sync On)..

LFO Amount
The LFO amount of the Filter A/B, tremolo and vibrato LFOs controls the amount by which
these LFOs modulate their targets. The Free LFOs also have an amount control. We
recommend keeping these at their maximum level and to use the amount control in the
Modulation Matrix.
Key > LFO Speed

This control allows you to change the LFO speed based on note pitch. A positive value here
means that higher notes produce faster LFOs. A negative value has the opposite effect:
higher notes get slower LFOs.
LFO Symmetry
This controls the LFO waveform symmetry and essentially sets the balance between the time
the waveform rises and the time it takes for the waveform to fall. It is useful in conjunction with
the square wave where it controls the pulse width.
LFO Smooth
The smooth control allows you to eliminate sudden changes in the LFO waveform. Use this
control to soften the effect of a square wave or saw wave.
LFO Phase
The LFO Phase sets the starting point of the LFO waveform. It is measured in degrees, where
0 equals the start of the wave, 90 is a quarter in, 180 is at the halfway point and 270 is 3
quarters through.
LFO Attack
LFO Attack slowly fades in the amplitude of the LFO and sets the time it takes for the LFO to
reach full strength.
LFO Decay
Use this control in conjunction with the LFO Attack control. The LFO Decay kicks in when the
attack phase is complete and the LFO is at full level. The Decay setting defines the time it
talks for the LFO to fade out to 0. At the maximum setting the Decay stage is turned off and
the LFO stays at its maximum amplitude.
LFO Humanization
The LFO humanization control introduces slight random variations to the LFO Speed. This
helps to make the LFO modulations sound less mechanic and more human. Try to apply this
when you need a natural effect such as vibrato.
LFO Command Menu

The LFO command menu allows you to edit, copy, paste, clear LFO settings. A right click on
the LFO or a click on the commands button activates this menu.

Modulation Matrix
The modulation matrix allows you to dynamically alter BLUE2 parameters, using both internal
modules such as envelopes and LFOs, and external MIDI controllers such as pitch bend,
aftertouch and other control messages defined in the midi-standard.
There are twenty different modulation matrix slots, and they are used in order until a blank
modulation slot is encountered. You need to ensure that there are no blank slots in-between
populated modulation slots. The Mod Page 1 and Mod Page 2 buttons toggle between the
two modulation matrix pages.
The source column gives you access to all modulation sources. They are divided into Midi
(midi input), Modulation (such as the free LFOs and multi envelopes), and Other (such as
constant offset).
In the amount column you define the modulation strength for each modulation slot. It sets the
level of impact the modulation source has on its destination or target. It speaks for itself that
depending on the selected source and the amount the effect ranges from subtle variations to
outrageous manipulation. The amount control is an intelligent one. It displays its value
according to destination type. For example if the destination is pitch, then the modulation
amount is shown in semitones. If the modulation targets are time based such as the Speed of
an LFO the range goes from 25% up to 400% which is from 25% of the original speed (i.e. ¼
as fast) to 400% of the original speed (i.e. 4 times as fast).
The destination column lists which parameter is subject to the programmed modulations.
Key and Velocity Scale
The Key Scale and Velocity Scale buttons reveal two additional modulation sources. It defines
a modulation value for each key number and velocity value. In practice you may want to use
these to define keyboard splits or zones and control oscillator volumes based on the key pitch
(midi key number). A similar thing can be achieved by using velocity as the controlling
modulation source. The velocity scale is a good source to construct crossfades of velocity
splits between different sets of oscillators. It may require quite a bit of fine tuning to get right,
but we think it is well worth the effort.

Mod Sequencer
BLUE-II has three thirty-two-step, mod sequencers to be used as modulation sources. Select
Sequencer A, B or C via the buttons on the left.
You can draw the values of each step directly in the sequencer graphic. The value of each
step is represented by a vertical bar.
Start / End
Start / End represent the start point and end point of the sequence loop. In Loop-mode the
sequence jumps back to the start point when the end point is reached. The value of both start
and end is the step number.
Play Mode
The step sequencer works in three different play modes:
Poly In poly mode, each note played has its own step sequence.
Free The step sequence is free running and all the notes share the same step
sequence. The step sequence is running continuously and does not reset
when you press a key.
Mono Similar to free mode. All the notes share the same step sequencer.
However when you play a note in Mono mode, the step sequencer is reset
to its initial step (start position)
Loop Mode
The loop mode determines the sequencer behaviour when in loop mode.
Loop This is the default mode, The sequencer plays to the end of the sequence
and then goes back to the first step. For example with start set at step 2
and an end at step 5, the steps played are: 1 – 2 – 3 – 4 – 5 – 2 – 3 – 4 –
5-2…
Single The sequencer runs through its steps, until it reaches the end point, once
only
Ping-Pong 1 & 2 The Ping-Pong modes loop the sequence through its steps alternating the
direction between forward and backward. Ping-Pong mode 1 plays the
start and end points only once, while Ping-Pong mode 2 repeats them.
Following the previous example the sequenced steps are:
Ping Pong 1: 1 – 2 – 3 – 4 – 5 – 4 – 3 – 2 – 3 – 4 – 5 – 4 – 3 – 2 – 3 - …
Ping-Pong 2: 1 – 2 – 3 – 4 – 5 – 5 – 4 – 3 – 2 – 2 – 3 – 4 – 5 – 5 – 4 - …

Release
The release switch gives you two options for which steps are played when you release a key.
With release set to off, the sequencer will continue to cycle through the looped section of its
sequence. If release is enabled (on), the sequencer will play through the end-point of the
sequence and continue playing steps beyond the end point.
Speed
This control sets the speed of the step sequencer relative to the speed of the host DAW.
Smooth
The smooth control eliminates the sudden transitions between sequencer steps. It makes for
gradual changes in modulation value between steps.

Sequencer
The sequencer plays notes in phrases of up to 32 steps long. Please note that in order to use
the sequencer you need to put BLUE-II into sequencer mode by changing play mode to Seq.
The sequencer is monophonic. Should you play more than one note at the same time, only
the last one will be played. Each step in the sequencer has several properties that determine
how the corresponding note will be played. You can get really creative here. Most of these
properties are in the Normal view of the sequencer. If you intend to change oscillator
waveforms, please use the Wave view. Please note that the display shows only 16 steps at
any time. Use the corresponding buttons to switch between steps 1 – 16 and 17 – 32.
Normal
Step Number Click on a step number to mute / un-mutes it

Tie Tie links the step to the previous steps and as such extends the note
length.
Tune Each step has a range of -3 octaves to +3 octaves in semi-tones
Vel Vel defines the velocity value of the note
Slide Slide is a switch that enables smooth transitions in pitch between notes.
This is similar to the portamento function.
Filter A Filter A frequency offset from -100% to 100%.
Filter B Filter B frequency offset from -100% to 100%.
Free The Free property can be used in the modulation matrix as a modulation
source.
Wave
In wave view, you have access to the waveform that each oscillator uses in every steps. Each
oscillator can play a different waveform or sample at every sequencer step. If you want the
programmed waveform to be used, set the step value to set. A value of off silences the
oscillator for that step only. Thus the wave view gives you the opportunity to build wave
sequences and rhythmic patterns with the right choice of samples.
What follows is a listing of sequencer controls that affect the sequence as a whole and apply
to all steps.
Start / End
Start / End represent the start point and end point of the sequence loop. In Loop-mode the
sequence jumps back to the start point when the end point is reached. The value of both start
and end is the step number.

Loop Mode
The loop mode determines the sequencer behaviour when in loop mode.
Loop This is the default mode, The sequencer plays to the end of the sequence
and then goes back to the first step. For example with start set at step 2
and an end at step 5, the steps played are: 1 – 2 – 3 – 4 – 5 – 2 – 3 – 4 –
5-2…
Single The sequencer runs through its steps, until it reaches the end point, once
only
Ping Pong 1: 1 – 2 – 3 – 4 – 5 – 4 – 3 – 2 – 3 – 4 – 5 – 4 – 3 – 2 – 3 - …
Ping-Pong 2: 1 – 2 – 3 – 4 – 5 – 5 – 4 – 3 – 2 – 2 – 3 – 4 – 5 – 5 – 4 - …
Retrig
The retrigger option allows you to control whether the sequencer restarts or continues, based
on your playing style. When you play notes legato style (slightly overlapping notes), the
sequencer will continue playing from its current position with every new note. You need to
leave retrigger off for this to work. If retrig is enabled, the sequencer will restart for every new
note played.
Speed
This control sets the speed of the step sequencer relative to the speed of the host DAW, for
example 2 x tempo or ¼ x tempo.
Key
This switch enables keyboard entry of the notes in the sequencer.
Swing
Swing is a control that allows you to change the rhythmic feel of the sequence. It does this by
slightly moving every other note relative a fixed timing grid. Whether it suits your work
depends very much of the musical piece you are working on, so you we encourage you to
experiment with different values here.
Vel / Key
The velocity of the steps in the sequence can be controlled by their programmed values, by
the velocity of the key played that is used to trigger the sequence or a combination of both.
The Vel / Key control sets the balance between these.
Slide Amount
The slide amount controls the strength of the slide effect. This only affects thos steps that
have the slide option enabled.
Volume Smoothing
The volume smoothing control eliminates jump in volume between sequencer steps. It is
useful to get rid of any clicks between steps.

Bypass
This switch bypasses the sequencer and puts BLUE-II into poly play mode.
Latch
Latch frees your hands. When turned on you don’t need to keep holding a key for the
sequencer to continue playing. Tip: you can use also the sustain pedal to latch and unlatch
the sequencer.
Lock Mode
Lock Mode locks the current sequence. It keeps it going even when you change Presets
There are 3 modes:
Off Lock is turned off
On Lock is turned on. The sequence stays the same when you change
Presets, but it can’t be modified. It will not change the new Preset.
Set The current (locked) sequence is saved with new Preset. Locking
is turned off in the new Preset.
Tied Mode
Tied mode lets you select whether tied steps use their own programmed values for tuning,
velocity etc. (tied mode off) or use the values of the step they are tied to. (tied mode on)
Sequencer Command Menu

The sequencer command menu allows you to edit, copy, paste, clear sequencer settings. A
right click on the sequencer display activates this menu.

Arpeggiator
BLUE-II offers a unique and very extensive arpeggiator. An arpeggiator (arp) plays a chord as
individual notes in sequence. For example, if you play a C-major chord, the arpeggiator will
first play the C, then the E and finally the G. Depending on the arpeggiator mode, it will then
cycle through these notes again and again, up and down until you release the notes. The
arpeggiator has a built in sequencer for making rhythmic patterns, and offers tune, reset,
slide, velocity, free modulation and length settings per step/note! With every note that it plays,
the arpeggiator steps through its sequence. This lets you determine how the arpeggiator
plays each individual note. In addition to the classic arpeggiator modes, BLUE-II also offers a
special mode called Chord Mode which triggers the notes as a chord.
To turn on the arpeggiator, select arpeggiator in the Play Mode menu.To change any
arpeggiator settings, click the atrp button in the LCD panel.
Arpeggiator Screen
The Arpeggiator has 32 to steps, of which you can see 16 at any time. Click on the 1 to 16 or
17 to 32 button allows you to swap between the first 16 or last 16 steps. Per step you can
make the following settings:
Step Number Click on a step number to mute / un-mutes it
Tie Tie links the step to the previous steps and as such extends the note
length.
Slide Slide is a switch that enables smooth transitions in pitch between notes.
This is similar to the portamento function.
Tune Each step has a range of -3 octaves to +3 octaves in semi-tones
Vel Vel defines the velocity value of the note
Len Len defines the length (note duration) of the step as a percentage of
standard step duration. Please note that if you tie steps together, the
length of the first step needs to be 100% for the tie function to work
correctly. Also be aware that the arpeggiator control length can be used
to override individually set step length.
Free The Free property can be used in the modulation matrix as a modulation
source.
What follows is a listing of arpeggiator controls that affect the arpeggiator as a whole and that
apply to all steps.

Arp Mode
The arpeggiator mode controls the order in which the arpeggiator plays its notes
Up The notes are played from low to high
Down The notes are played from high to low
Up/Down The notes are played from low to high followed by from high to low
Down/Up The notes are played from high to low followed by from low to high
Random The notes are played in random order
Ordered The notes are played in the order in which they were triggered, i.e.
first note played first and last note played last
Rev. Ordered The notes are played in the reverse order in which they were
triggered, i.e. last note played first and first note played last
Ordered Up/Down The notes are played from first to last followed by last to first
Ordered Down/Up The notes are played from last to first followed by first to last
Chord The arpeggiator plays all notes as chord in a rhythmic pattern
Bypass
This switch bypasses the arpeggiator and puts BLUE-II into poly play mode.
Latch
Latch frees your hands. When latch is turned on you don’t need to keep holding notes for the
arpeggiator to continue playing. Tip: you can use also the sustain pedal to latch and unlatch
the arpeggiator.
Lock Mode
Lock Mode locks the current arpeggiator sequence. It keeps it going even when you change
Presets There are 3 modes:
Off Lock is turned off
On Lock is turned on. The arpeggiator sequence stays the same when
you change Presets, but it can’t be modified. It will not change the
new Preset.
Set The current (locked) arpeggiator sequence is saved with new
Preset. Locking is turned off in the new Preset.
Tied Mode
Tied mode lets you select whether tied steps use their own programmed values for tuning,
velocity etc. (tied mode off) or use the values of the step they are tied to. (tied mode on)
Start / End
Start / End represent the start point and end point of the arpeggiator sequence loop. In Loop-
mode the arpeggiator sequence jumps back to the start point when the end point is reached.
The value of both start and end is the step number.

Loop Mode
The loop mode determines the arpeggiator sequencer behaviour when in loop mode.
Loop This is the default mode, The arpeggiator sequencer plays to the end of
the sequence and then goes back to the first step. For example with start
set at step 2 and an end at step 5, the steps played are: 1 – 2 – 3 – 4 – 5
–2–3–4–5-2…
Single The arpeggiator sequencer runs through its steps, until it reaches the end
point, once only
Ping Pong 1: 1 – 2 – 3 – 4 – 5 – 4 – 3 – 2 – 3 – 4 – 5 – 4 – 3 – 2 – 3 - …
Ping-Pong 2: 1 – 2 – 3 – 4 – 5 – 5 – 4 – 3 – 2 – 2 – 3 – 4 – 5 – 5 – 4 - …
Octave
The octave setting gives you the option to play the arpeggiated notes in multiple octave,
relative to the original notes. For example, an octave setting of 2 means that the original notes
will play first, followed by the same notes one octave higher.
Speed
This control sets the speed of the arpeggiator relative to the speed of the host DAW, for
example 2 x tempo or ¼ x tempo.
Key
This switch enables keyboard entry of the notes in the arpeggiator sequencer.
Swing
Swing is a control that allows you to change the rhythmic feel of the arpeggiator. It does this
by slightly moving every other note relative a fixed timing grid. Whether it suits your work
depends very much of the musical piece you are working on, so you we encourage you to
experiment with different values here.
Vel / Key
The velocity of the steps in the arpeggiator sequence can be controlled by their programmed
values, by the velocity of the key played that is used to trigger the arpeggiator or a
combination of both. The Vel / Key control sets the balance between these.
Slide Amount
The slide amount controls the duration of the slide effect between steps. This only affects
those steps that have the slide option enabled.
Length
The length control can be used to set the arpeggiator note duration for all steps
simultaneously at an identical value. This setting is relative to the step size, i.e. from 1% to
100%. The sequencer will use the programmed step amount if the length control is set to set.

Arpeggiator Command Menu
The arpeggiator command menu allows you to edit, copy, paste, clear arpeggiator settings. A
right click on the arpeggiator display activates this menu.

Play Mode
This panel contains controls to set the Play settings for BLUE-II
Play Mode
Poly Multiple notes can be played at the same time. BLUE-II is polyphonic
Mono Only a single note can be played at a time. Any new note will stop previous
note.
Legato Similar to mono but if you play overlapping notes, the envelopes and LFOs
will not be retriggered for the new note.
Sequencer Any notes played will trigger the sequencer (See the Sequencer section)
Arpeggiator Any notes played will trigger the sequencer (See the Arpeggiator section)
Pitch Bend Up / Down

These controls set the maximum range of pitch change that can be achieved by the pitch
bend MIDI controller.

Port Mode
Portamento mode (the amount of portamento is controlled by the Amount control)
None No portamento.
Constant Rate The note pitch changes at a constant rate from one note to the next.
Greater keyboard note ranges take a longer time.
Constant Time The note pitch changes between notes always take the same time,
regardless of note range.
Held Rate This mode works the same as constant rate, but only affects overlapping
notes (legato style)
Held Time This mode works the same as constant time, but only affects overlapping
notes (legato style)
Port Amount
This control sets the rate or time for the portamento effect.
Unison
In Unison mode, BLUE-II plays multiple voices, for each note played. The Unison detune
parameter makes that these voices can be detuned slightly from each other. Ultimately this
gives you an extremely rich sounding stack of voices. The unison parameters are an excellent
tool to create fat lead sounds.
The table below lists the unison options:
Off Unison is not activated. Each note played uses only a single voice.
Unison 2 This combines 2 voices on one note. If you use the unison detune
these 2 voices are detuned resulting in a fatter sound.
Detune Amount
Unison detune amount controls the level of detuning between the stacked voices in Unison
2/4/6 play modes. It creates a natural chorus effect.
Stereo Spread
Stereo spread places the unison voices in a stereo image, and in doing so widens the sound
and creates a spatial effect.

Chord
The Chord memory control enables you to record chords. Up to 8 notes can be memorised
and these are saved as part of the Preset. The chord function gives you the following options:
Off Chord memory is Off and has no effect.
Learn Chord memory will store any 8 notes you play. First, play the root note and
then the other notes of the chord.
Play Plays chord memories. If you played C, E and G while in chord learn mode,
and now play a D in chord play mode, D, F# and A will sound.
Alt The chord notes are first played in normal order and then in reverse order. Use
this mode in combination with the strum time function to create a (guitar)
strumming effect.
Strum Time
The dial next to chord button controls the delay between the notes played by the chord
function. This is required to create a strumming effect. The Sync button synchronises the
strum with the host DAW’s tempo.

Bank and Preset Manager
A click on the Man button opens the Bank and Preset Manager. The Bank and Preset
Manager serves to manage the thousands of sounds that BLUE-II comes with. That number
will be higher once you start creating your own sounds. The layout is pretty straightforward:
on the left you see the Preset screen which lists all the Presets in the currently loaded Bank.
On the right you find a list of all installed Banks. At the bottom of the screens you find buttons
that represent Bank and Preset commands to save, copy, clear and move Banks and Presets.
Many operations can be carried out directly in the Bank and Preset screens though. You can
simply click and drag a Preset to a new location. The shift and control keys on your keyboard
let you select continuous groups and non-continuous groups of Presets. To swap Preset
location you need to hold the alt-key while performing the click-and-drag. In the Bank section,
a click on a Bank name will immediately load it.
Bank and Preset Command Menus

The Bank and Preset command menus allow you to save, load, copy and paste Banks and
Presets. A right click on the Preset or Bank section activates these menus.

Preset Commands
Load Loads a saved Preset / Presets.

Save Saves the current Preset/Presets as a fxp file.
Copy Copies the current Preset.
Paste Pastes the last copied Preset.
Swap Swaps the current Preset with another.
Move Moves the current Preset to a new loaction
Insert Inserts a blank Preset at the current position and moves any existing Presets in
the Bank
Original Reverts the current Preset to its original settings.
Edited Reverts the current Preset to its last edited settings.
Default Sets the current Preset to the default settings.
Delete Deletes the current Preset, and moves any existing Presets in the Bank
Rename Renames the current Preset.
Find Starts the find function.
Help Displays the manual
Undo Undoes the last command.
Preview Previews the current Preset.
Bank Commands
Load Loads a Bank, if the current Bank has been changed from its original state, a back
up is created automatically
Save Saves the current Bank.
Copy Makes a copy of current Bank.
New Creates a new Bank.
Delete Deletes the current Bank
Rename Renames the current Bank.
Preview
The preview button plays a C3 note, using the selected Preset.
Find
The find function works through a separate window that takes a search string. It searches all
the Banks for Presets which include the search string. It returns the search result as a
collection of highlighted Presets in the Preset section (the non-matching Presets are shown in
grey). In the Bank section, all matching Presets across all Banks are displayed in a similar
way. BLUE-II list the Bank and all (matching) Presets in that Bank. Now you can load the
Bank or Preset with just a single click.

FX section
Each BLUE-II Preset incorporates up to four independent high quality effects. The four effects
can be used in various configurations. You can access the routing via the path menu. Each
effect type comes with default parameter settings and can be used straight away upon
selection. If you make any changes to the effect controls however, it will remember these.
This allows you to experiment with different effect types, while keeping any changes you
made intact.
Dry Volume / Dry Pan

These controls control the volume and panning of the dry (unaffected) signal only.
FX Command Menu
The FX command menu allows you to save, load, copy and paste FX settings. A click on the
command button opens this menu.

Path
This path defines how the effect section A, B, C and D are interconnected.
Parallel All the effects are routed in parallel and are output to the FX Output.
Serial The effect are routed in serial, so the output of FX A goes into FX B,
the output of FX B go into FX C and the output of FX C goes into FX
D. FX D output is then at the FX Output.
(A + B + C) > D FX A, B & C are done in parallel, and this output is then sent into FX
D.
A > B >C + D FX A, B & C are all in serial, with FX C being output as the FX output.
Also FX D is done in parallel, and that output is added to the FX
output.
(A + B) > C > D FX A & B are routed in parallel, this out is then sent into FX C. The
output of FX C is sent to FX D, and then the output of FX D is the FX
output.
(A + B ) > C + D FX A & B are routed in parallel, this out is then sent into FX C. The
output of FX C is sent the FX output. Also FX D is routed in parallel,
and the output of FX D is added to the FX output.
A>B+C>D FX A is output into FX B, and FX C is output into FX D. The output of
FX B & D is then sent to the FX Output.
A>B+C+D FX A is output into FX B, FX C & D are routed in parallel, and then the
output of FX B, C & D is sent to the FX Output.
FX A to D Bypass
All of the FX have a bypass button, turning it on bypasses the effect. Clicking on the FX A to
D label turns off all input / output for that FX.
FX A to D Volume
Volume of the output of the FX.
FX A to D Mix
Mix between the input and the output after passing through the effect.
FX A to D Pan
FX pan position, either from left only, to centre to right only.
Effect modulation matrix

Below each FX section you find two modulation matrix slots. These allow you to modulate the
parameters for the selected effect.
Source Select the modulation source
Amount Set the strength of the modulation path
Destination Select the modulation destination. A variety of modulation targets is available,
depending on the FX type. Some may work better than others, but it doesn’t hurt
to experiment.

Effect Types
Mono Delay
A mono tempo based delay, great for making rhythmic grooves. For instance the 1/8* (1/8
dotted) is nice for all kinds of sequenced or lead sounds. To make the sound a bit spacey,
modulation of the length is possible which makes the delay swirl.
Length Length of the delay set in tempo based settings
Feedback Feedback of the delay
LP Filter Low pass filter frequency
HP Filter High pass filter frequency
Widen Stereo widening amount
Mod Amount Delay modulation amount
Mod Speed Delay modulation speed
Stereo Delay
The stereo delay is made up of two tempo based delays. One delay for each of the audio
channels (left and Right). This is useful for making deep pad sounds if you use 1/8* (Left) and
1/4 (right) settings. The Feed Equal option makes it possible to have equal feedback fade
time, even if the left and right delay are have other length settings.
Left Delay Left length of the delay set in tempo based settings
Right Delay Right length of the delay set in tempo based settings
CrossFeed Feedback between the left / right delay
Feed Equal Equal on makes that both L and R feedback do fade way
equal, regardless which length you use.

Mono Tape Delay
Tape Delay emulates the characteristics of an echo effect created by an analogue tape delay.
It is based on the code of the full RP-Delay plug-in, and it this case replicates a Mono Delay.
Length Length of the delay set in tempo based settings
Sync Switches the delay settings between tempo-based and

time-based
Mod Speed Delay modulation speed
Stereo Delay
Tape Delay emulates the characteristics of an echo effect created by an analogue tape delay.
It is based on the code of the full RP-Delay plug-in, and it this case replicates a Stereo Delay.
Left Delay Left length of the delay set in tempo based settings
Right Delay Right length of the delay set in tempo based settings
Sync Switches the delay settings between tempo-based and

time-based
CrossFeed Feedback between the left / right delay
Feed Equal Links the feedback settings of the left and right channel
Feed Equal Equal on makes that both L and R feedback do fade way
equal, regardless which length you use.

Comb
The Comb Filter effect uses two joined comb filters where the output of one is fed back into
the other one. Comb filters that are very short in delay and has a frequency, which in turn
determines the length of this delay.
Comb 1 Freq Comb Filter 1 Frequency
Comb 1 Feed Comb Filter 1 Feedback amount
Comb 1 Mod Comb Filter 1 Feedback modulation amount
Comb 2 Freq Comb Filter 2 Frequency
Comb 2 Feed Comb Filter 2 Feedback amount
Comb 2 Mod Comb Filter 2 Feedback modulation amount
Mod Speed Feedback tempo based modulation speed
Reverb
This effect reproduces the sound of acoustics in rooms using different sizes and reflections.
Pre-Delay Pre-delay amount of the reverb signal
Size Reverb room size
Damp Reverb damping amount
Spread Stereo spreading amount
Length Length of reverb
Gate Limit Noise Gate threshold level
Gate Hold Hold time for the noise gate
Gate Decay Decay time for the noise gate

HQ Reverb
This effect is a higher quality version reverb and requires a bit more CPU power to run.
Pre-Delay Pre-delay amount of the reverb signal
Size Reverb room size
Damp Reverb damping amount
Spread Stereo spreading amount
Length Length of reverb
Gate Limit Noise Gate threshold level
Gate Hold Hold time for the noise gate
Gate Decay Decay time for the noise gate
Chorus
The chorus is a modulated delay signal which is useful for thickening up the sound and
making it sound fatter.
Length Length of the chorus
Width Maximum change or modulation to chorus length
Speed Speed that the chorus length changes
Spread Difference in speed between the left and right hand

channels
Tape Chorus
Tape Chorus emulates the characteristics of a chorus created by an analogue tape delay.
Length Length of the chorus
Width Maximum change or modulation to chorus length
Speed Speed that the chorus length changes
Sync Synchronises the chorus speed with the host DAW tempo
Spread Difference in speed between the left and right hand

channels

Chorus/Delay
This is a combined chorus / delay effect. It saves you having to use two separate effect slots,
with the trade-off of having fewer parameters to tweak the effect settings.
Length Maximum length of the chorus in milliseconds.
Width The amount how much the chorus length will change
Speed The rate the chorus length changes
Spread The amount the chorus length differs between left and right
channels.
Delay Length of the chorus delay. Delay is behind the chorus.
Feedback Amount the chorus delay feeds back into the sound
Delay Vol Volume of the delay.
Ensemble
This effect uses 6 choruses, each having its own setting, to give the effect of several copies of
the sound playing at once.
Length Length of the ensemble effect
Width Maximum change to ensemble length
Speed Speed the ensemble length changes
Sync Synchronises the ensemble speed with the host DAW tempo
Feedback Amount the choruses differ from each other
Ensemble Introduces slight differences between the chorus units
Spread The amount of panning for each of the chorus units
Flanger
The flanger effect is based on a very short modulated delay.
Length Length of the delay (time)
Width Maximum change to flanger length
Speed Speed the flanger length changes, this is midi tempo based
Feedback Feedback of the flanger
Pan Mod Flanger panning amount

Tape Flanger
The flanger effect is based on miniscule delays between two simultaneously running tape
recorders.
Length Length of the delay (time)
Width Maximum change to flanger length
Speed Speed the flanger length changes, this is midi tempo based
Sync Synchronises the ensemble speed with the host DAW

tempo
Feedback Feedback of the flanger
Pan Mod Flanger panning amount
Phaser
A phaser is a combination of filters that can create a phasing effect
Stages Number of stages in the phaser
Pitch Pitch of the phaser
Feedback Feedback of the phaser
Width Maximum change to phaser pitch
Speed Speed the phaser length changes, this is midi tempo based
Spread Amount the phaser stages are spread from the central pitch
Pan Mode Speed the phaser pans from the left / right hand channels
Analog Phaser
The analogue phaser effect emulates the classic phasing effect built up from discrete
analogue electronic components. The phaser is built out of a number comb filters that sweep
back and forth through the frequency spectrum
Stages Number of stages in the phaser
Pitch Pitch of the phaser
Feedback Feedback of the phaser
Width Maximum change to phaser pitch
Speed Speed the phaser length changes, this is midi tempo based
Spread Amount the phaser stages are spread from the central pitch
Pan Mode Speed the phaser pans from the left / right hand channels
Q Sets the amount of emphasis of the comb filters

Ring Mod
The ring modulator multiplies two audio signals and generates non-harmonic overtones.
Type Sine, Saw, Sqr & Tri, multiplies the input with an oscillator of the
set type. L + R, multiplies the left & right channels together.
Frequency Sets the oscillator frequency.
Q Sets the ring modulation amount.
Distort (distortion)
This distorts the audio by saturating, limiting, rectifying and bandpass filtering the input.
Limit Hard limiter threshold
Rect Amount of rectification, from -100% (no change) , 0% half

to 100% - full
Distort Amount of Distortion
Tone Frequency of the band pass filter
Emphasis Bandwidth of the band pass filter
Post-Boost Amount the filter signal is boosted
MWheel > Tone Amount the band pass filter frequency is changed by the
modulation wheel
Multi Distort
Allows you to use several different types of distortion effects
Type Different type of distortion allowed, they are None, Atan, Cos,
Cross, Foldover, Fuzz, Limiter, Overdrive, Power, Rectifier,
Saturator, Square. None means no distortion is used
Pre-Boost How much the signal is boosted before going into the
distortion
Amount 1 Control how much the signal is distorted
Amount 2 Additional distortion parameter for Fuzz
Normalize How much the output volume is normalized to the input

volume, at 100% the output volume should be the same as
the input volume.
Low Filter Post distortion low-pass filter
High Filter Post distortion high-pass filter
Post-Boost How much the output of the distortion is boosted

Low-Fi
This effect reduces the digital audio quality of the sound, which results in old style computer
sound effects.
Bits Bit level of the signal.
Sample Rate Sample rate of the signal.
LP Filter Frequency of the low pass filter.
MWheel > Filter Amount the low pass filter frequency is changed by the
modulation wheel.
WaveShaper
The waveshaper effect shapes the in-going sound to a kind of distorted version of it. It is then
passed through a low pass filter where its frequency is changed over time by a tempo based
LFO.
Top Amt The amount positive input is waveshaped.
Bottom Amt The amount negative input is waveshaped.
Rect The amount the sound is rectified, at -100% the sound goes
through as normal, at 0% no negative output is heard and at
100% any negative output is made positive.
Filter Low pass filter frequency. This filter does not filter the high
frequencies.
LFO Amount The amount the low pass filter frequency can change.
LFO Speed The rate the low pass filter frequency can change.
Clipper Distortion
This distorts the audio clipping the tops and troughs of the input signal waveform.
Drive Pre-boost amount.
Tone High pass filter to set the tonal character of the distortion.
Limit Sets the signal level above which the clipping comes into effect.
Symmetry Sets the balance between the clipping of the negative and positive
parts of the waveform signal.
LP Low Pass Filter.
HP High Pass Filter.
Post Boosts the signal post-clipping.

Amp Sim
Several types of amp types are simulated. Great for creating edgy sounds.
Type Type of amp simulation. Settings are:- None, 4x10 guitar
speakers, 4x12 guitar speakers, Bass speaker, Combo
speaker and Radio speaker. The none speaker setting is
useful if you want to only use the distortion in the FX
effect.
Distort Amount of distortion added to the sound. Also works if the

none speaker setting is selected.
Bass Bass EQ Volume. Adds or removes low end from the

speaker simulator.
Treble Treble EQ Volume. Adds or removes high frequencies

from the speaker simulator.
Volume Volume boost. Adjusts the volume of the processed

sound.
Note: with the Amp simulator FX it is recommended to fully open the Mix control knob (wet).
Cabinet
Several types of cabinets are simulated. Great for creating edgy sounds.
Type Type of cabinet simulation. Settings are: None, Fender,
Marshall and Off Axis. The None speaker setting is useful if
you want to only use the distortion in the FX effect..
Distort Amount of distortion added to the sound. Also works if the

none cabinet setting is selected.
Bass Bass EQ Volume. Adds or removes low end from the speaker
simulator.
Treble Treble EQ Volume. Adds or removes high frequencies from

the speaker simulator.
Volume Volume boost. Adjusts the volume of the processed sound.
Note: with the Amp simulator FX it is recommended to fully open the Mix control knob (wet).
Stereo Widener
This widener is a spatial effect that broadens a sound’s soundstage.
Width Maximum change to the stereo widening amount
Speed Speed that the stereo widening amount changes.
LP Filter Low pass filter frequency.
HP Filter High pass filter frequency.

AutoPan
Autopan moves the sound between the left and right outputs.
Wave Sets the wave shape of the panning pattern
Amount Amount the autopan moves the sound in the stereo field.
Smooth Smooths out sudden changes in pan position
Speed The rate at which the autopan moves the sound. This is
Tempo based so for example 1/1 does mean that the pan
moves from left to right within 1bar.
Sync Synchronises the panning speed with the host DAW tempo
Note: for maximal effect you also need to open the Fx Mix control knob fully right (wet)
Tremolo
Tremolo changes the volume in a cyclic pattern
Wave Sets the wave shape of the tremolo pattern
Amount Sets the level of volume changes
Smooth Smooths out sudden changes in volume
Speed Sets the speed of the tremolo pattern
Sync Synchronises the tremolo speed with the host DAW tempo
Note: for maximal effect you also need to open the Fx Mix control knob fully right (wet)

Gator
The gator uses a 16 step sequencer to alter the volume of the sound to give a trancegate type
effect. Basically it is a sequencer controlled audio gate.
Speed The speed of the gator. Speed is time based from 16/1 up to
1/32T speed. If for example the speed is set to 1/1 each
step is 1/16 note. If for example the speed is set to 2/1 then
each step is 1/8 of a note.
Smooth How much the volume changes are smoothed out. This
helps to avoid clicks.
Mode Whether the gator affects the left & right channels, the left
channel only or the right channel only or both.
Sync Turns on / off the host syncing. For example if you do not
hear the gator FX in standalone host, then switch to off.
When used in a host sequencer program we recommend
using the auto or sync setting. The default setting in most
Presets is auto. If it seems that you cannot get the gator to
run, please try changing the sync setting to Off.
Left Left channel sequencer. Clicking here turns on / off that step
in the gator. When a step is on (light colour) the gate is
open and you can hear the audio. When a step is off (dark
colour) the audio is muted.
Right Right channel sequencer. Clicking here turns on / off that

step in the gator. When a step is on (light colour) the gate is
open and you can hear the audio. When a step is off (dark
colour) the audio is muted.
Note: FX Mix sets how much of the Gator FX is added. With the Gator FX we recommend to
fully open the Mix control knob (wet).
Compressor
The compressor is an audio effect that changes the dynamic range and response of a signal.
Threshold This sets the threshold on which the compressor starts to
work
Ratio This sets the amount of dB reduction. So if a signal exceeds

the threshold the 4dB gets 2dB with a ratio setting of 1:2.
Attack This sets how fast the compressor kicks in.
Release This sets how long the compressor takes to react to a

reduction in volume
Volume This allows you to correct the volume after the signal has
been compressed.
Note: FX Mix sets how much of the Compressor FX is added. With the Compressor FX we
recommend to fully open the Mix control knob (wet).

Noise Gate
The noise gate blocks a signal when it falls below a certain volume threshold
Threshold This sets the threshold at which the noise gate kicks in
Attack This sets how fast the noise gate kicks in.
Decay This sets the time the noise gate takes to bring the volume to
zero
Hold This sets how long the volume has to below the threshold volume
before the noise-gate is triggered.
Note: FX Mix sets how much of the Compressor FX is added. With the Compressor FX we
recommend to fully open the Mix control knob (wet).
FX Filter
This is an analogue modelled stereo Multimode Filter, which has all the properties of BLUE-IIs
main filter.
Type Sets the type of filter, offering 6dB LowPass and HighPass,
12dB, 18dB and 24dB LowPass, HighPass , 12dB and 24dB
BandPass, 12dB and 24dB Notch and Comb Filter modes.
Frequency Sets the Cutoff frequency of the filter
Q Sets the Resonance level of the filter
Distort Sets the pre-filter distortion of the filter
Vowel Sets the vowel for the Vocal / Formant filters.

Wave Waveform of the Filter LFO.
LFO Amount The Filter LFO modulates the filter frequency. This controls the
amount .
LFO Speed The Speed of the Filter LFO.
Sync Determines if the Filter LFO is tempo-synced.
Mod Wheel Model Wheel > Filter Frequency.
Equalizer
The equalizer uses 5 bands at 60Hz, 200Hz, 600Hz, 2000Hz and 8000Hz frequencies. The
control knob for each band controls that bands volume, from -20db to +20db When using the
equalizer, it is recommended that you use a fully (100%) wet signal.
2 Band EQ
This is a two band parametric equalizer.
Low Freq Low band frequency.
Low Boost Low band volume.
Hi Freq High band frequency.
Hi Boost High band volume.

Bass Enhancer
This effect emphasises bass frequencies.
Freq Frequency below which the bass signal is enhanced
Pre-Boost Pre-boost amount of the bass signal
Distort Amount of distortion applied to the bas signal
Post-Boost Set the amount of additional boost after the distortion

section
Wah/Delay
This effect produces a wahwah type effect by running the sound through a lowpass-filter thats
frequency is changed over time. There is a built in delay which adds delays to the sound.
Low Range Lowest Frequency of the filter. Here you can adjust how
deep the LP filter ranges. The more you move the dial to
the left, the lower the filter goes.
High Range Highest Frequency of the filter. Here you can adjust how
high the LP filter goes. The more you move the dial to the
right, the higher the filter goes.
Speed The rate the filter frequency changes over time. Tempo
based.
Resonance Controls the resonance of the used low-pass filter.
Delay Length of the wahwah delay. This delay is after the

WahWah FX.
Feedback Amount the wahwah delay feeds back into the sound
Delay Vol Volume of the delay
Auto Wah
Autowah uses a low/bandpass filter to filter the signal using the volume of signal to alter the
frequency of the filter.
Type Type of auto-wah filter, lowpass or bandpass
Low Lowest frequency of auto-wah filter

Frequency
High Highest frequency of auto-wah filter

Frequency
Amount How much the volume of the signal alters the filters frequency
Q Resonance / Bandwidth of autowah filter
Smooth How much signal volume is smoothed

Back Panel
A click on the Blue-II logo will display the back panel. The back panel contains a number of
global controls that affect all instances of BLUE-II. Typically, the settings you make here are
of the type Set-and-Forget; i.e. you only need to do it once right after installation of the plug-
in. Think of these as a collection of preferences.
Arp / Seq Sync On/Off

The Sync setting determines whether the BLUE-II arpeggiator and sequencer are
synchronised with the host program's tempo. If set to Off, the Speed control on the
Sequencer Page determines the sequencer's tempo
Computer Keyboard on/off

You can leaf through the Presets and Banks using the computer-keyboard. The assigned
keys are:
Up Arrow Button Previous Preset
Down Arrow Button Next Preset
Left Arrow Button Decrease Preset number by 32
Right Arrow Button Increase Preset number by 32
Page Up Previous BLUE-II Bank
Page Down Next BLUE-II Bank
Midi Channel
The Midi Channel setting sets the MIDI channel to which BLUE-II will respond. The Omni-
setting means that BLUE-II responds to messages on any midi-channel.

Midi Program / Bank Change
This switch enables BLUE-II to respond to Midi Bank Select and Midi Program Change
commands to select Banks and Presets. If set to Off, BLUE-II will ignore any Program
Change and Bank Select commands received over Midi.
External Midi Control Capture Mode
The Capture Mode switch, when enabled, ignores incoming MIDI controller messages that
are latched to a BLUE-II control, until the value of the MIDI controller matches that of the
value of the BLUE-II control. It prevents sudden jumps in parameter values that otherwise
may occur as soon as you touch a latched external MIDI controller.
Velocity Curve
The Velocity Curve setting lets you match BLUE-II’s velocity response to that of your
controller keyboard and your playing style. We recommend that you start with a neutral
setting. In most situations this will work just fine. If you don’t get the required velocity
response from BLUE-II however, or are after a specific application, please feel free to deviate
from the default.
Global Tuning
Global Tuning sets the reference tuning for BLUE-II. The default setting is A4 440 Hz.
Tuning
It is possible to work with alternative tunings. BLUE-II installs a number of tuning definition
tables upon installation. These are accessible through a drop-down menu, access through
load, which lists all the available tunings. Simply select the required tuning from the menu. Be
aware that this setting affects all instances and sounds of BLUE-II that are active. Click on the
Reset label to revert to Standard Tuning.

Appendix A: LFO / Envelope Sync Settings
Off 16/1* 16/1 16/1T

8/1* 8/1 8/1T 4/1*
4/1 4/1T 2/1* 2/1
2/1T 1/1* 1/1 1/1T
1/2* ½ 1/2T 1/4*
1/4 1/4T 1/8* 1/8
1/8T 1/16* 1/16 1/16T
1/32* 1/32 1/32T.
Please note: T means for Triplet and * indicates a dotted note. In the case of a dotted note,
the note duration is equal to 1.5 times that of the original note.

Appendix B: Delay Sync Settings
Off ½ 1/2T 1/4*
1/4 1/4T 1/8* 1/8
1/8T 1/16* 1/16 1/16T
1/32* 1/32 1/32T.
Note: "T" stands for Triplet and "*" stands for a dotted note. In the case of a dotted note, the
note duration is equal to 1.5 times its original non-dotted value.

Appendix C: Modulation Sources
None No source
Mod Wheel Modulation Wheel Value
Mod/After Maximum of Modulation Wheel or Aftertouch
Channel After Channel Aftertouch
Poly After Polyphonic Aftertouch
Note Midi Note Number
Velocity Note On Velocity
Release Velocity Note Off Velocity
Pitch Bend Pitch Bend Value
Breath to CC90 Midi CC Sources
Osc Env A to F Oscillator Envelopes A to F Value
Filter Env A to B Filter Envelope A to B Value
Volume Env Volume Envelope Value
Multi-Env A to C Multi-envelope A to C Value
Filter A LFO to Vibrato Set LFO Values
LFO
Free LFO A to D Free LFO Values
Mod Seq A to C Modulation Sequencer A to C Value
Seq Vel Sequencer Velocity Row Value
Seq Free Sequencer Free Row Value
Arp Vel Arpeggiator Velocity Row Value
Arp Free Arpeggiator Free Row Value
Vector X / Y XY Pad X / Y Value
Offset Constant Offset
White Noise White Noise Value
Pink Noise Pink Noise Value
Note Random 1 / 2 Random Value Set on Note On
Osc A to F Output of Oscillator A to F
Filter A to B Output of Filter A to B
Output Final Output
Output Left / Right Final Left / Right Output
Key / Vel Scale Keyboard / Velocity Scaling

Appendix D: Modulation Destinations
None None
Global Volume Main volume (amp) control
Global Mod Volume Main mod volume control (see below)
Global Pan Main pan position
Global Pitch Main pitch control in semitone ranges
Global Fine Main pitch control in cents
Port Time Portamento time control
Unison Detune Unison detune amount.
Unison Spread Unison spread amount.
Strum Time Chord strum time.
Volume Envelope Main Volume Envelope speed control
Speed
Volume Envelope Pre Main Volume Envelope pre-time amount
Delay
Volume Envelope Main Volume Envelope attack time
Attack
Volume Envelope Hold Main Volume Envelope hold time
Volume Envelope Main Volume Envelope decay time
Decay
Volume Envelope Main Volume Envelope sustain level
Sustain
Volume Envelope Fade Main Volume Envelope fade amount
Volume Envelope Main Volume Envelope release time
Release
Volume Envelope Main Volume Envelope retriggger time
Retrigger
Tremolo / Vibrato Tremolo / Vibrato LFO speed control.
Speed
Tremolo / Vibrato Tremolo / Vibrato LFO amount.
Amount
Tremolo / Vibrato Tremolo / Vibrato LFO symmetry.
Symmetry
Tremolo / Vibrato Phase Tremolo / Vibrato LFO phase.
Tremolo / Vibrato Attack Tremolo / Vibrato LFO attack amount.
Tremolo / Vibrato Decay Tremolo / Vibrato LFO decay amount.
Dry Volume Dry output channel volume control
Dry Pan Dry output channel panning control

Volume A to F Volume control of oscillator
Mod Volume A to F Mod volume control of oscillator (see below)
Pan A to F Pan position of oscillator
SubOsc A to F Sub-Oscillator volume control
Semi A to F Pitch control of oscillator in semitones
Fine A to F Pitch control of oscillator in cents
Drift A to F Drift control of oscillator
Spread A to F Spread amount for oscillator
Type A to F Osc wave type.
WS A to F Amount of modulation by waveshaping
(only if WS is used)
Shaping A to F Amount of PD/WS shape
FM A to F Amount of FM
Ratio A to F FM Ratio amount
Feed A to F Amount of Feedback
Offset A to F Oscillator phase offset
Sym A to F Symmetry control
PWM A to F Amount PWM LFO speed amount
PWM A to F Speed PWM LFO speed control
PWM A to F Sym PWM LFO symmetry.
PWM A to F Phase PWM LFO phase.
PWM A to F Attack PWM LFO attack amount.
PWM A to F Decay PWM LFO decay amount.
Env A to F Amount Osc Envelope amount.
Env A to F Speed Osc Envelope speed control
Env A to F Pre-Delay Osc Envelope pre-time amount
Env A to F Attack Osc Envelope attack time
Env A to F Hold Osc Envelope hold time
Env A to F Decay Osc Envelope decay time
Env A to F Sustain Osc Envelope sustain level
Env A to F Fade Osc Envelope fade amount
Env A to F Release Osc Envelope release time
Env A to F Retrig Osc Envelope retriggger time
Filter A / B Freq Cutoff Frequency control.
Filter A / B Q Resonance control or amount of ring modulation in the Ring filter or
the amount of feedback of the comb filer. No function for the Vowel

filter.
Filter A / B Vowel Filter Vowel control
Filter A / B Distort Controls the pre-filtering saturation distortion.
Filter A / B Pan Filter panning control
Filter A / B Volume Filter volume control
Filter A / B LFO Amount Filter LFO speed amount
Filter A / B LFO Speed Filter LFO speed control
Filter A/ B LFO Sym Filter LFO symmetry.
Filter A/ B LFO Phase Filter LFO phase.
Filter A/ B LFO Attack Filter LFO attack amount.
Filter A/ B LFO Decay Filter LFO decay amount.
Filter Envelope A / B Filter Envelope amount.
Amount
Filter Envelope A / B Filter Envelope speed control
Speed
Filter Envelope A / B Filter Envelope pre-time amount
Pre-Delay
Filter Envelope A / B Filter Envelope attack time
Attack
Filter Envelope A / B Filter Envelope hold time
Hold
Filter Envelope A / B Filter Envelope decay time
Decay
Filter Envelope A / B Filter Envelope sustain level
Sustain
Filter Envelope A / B Filter Envelope fade amount
Fade
Filter Envelope A / B Filter Envelope release time
Release
Filter Envelope A / B Filter Envelope retriggger time
Retrig
Multi-Envelope A to D Speed of Multi-Envelope control
Speed
Free A to D LFO Speed Free LFO speed amount
Free A to D LFO Free LFO speed control
Amount
Free A to D LFO Sym Free LFO symmetry.
Free A to D LFO Phase Free LFO phase.
Free A to D LFO Attack Free LFO attack amount.

Free A to D LFO Decay Free LFO decay amount.
Mod Seq A to C Speed Mod Sequencer Speed
Mod Seq A to C Amount Mod Sequencer Amount
Sequencer Speed Sequencer Speed
Arp Speed Arpeggiator Speed
XY Speed XY speed
XY Multiply XY position multiplication
X Amount XY X offset
Y Amount XY Y offset
X > Dest 1 to 8 XY X Mod amount
Y > Dest 1 to 8 XY Y Mod amount
Osc A mod A to F Amount Osc A is modulated by Osc A-F in FM Matrix
Osc B mod A to F Amount Osc B is modulated by Osc A-F in FM Matrix
Osc C mod A to F Amount Osc C is modulated by Osc A-F in FM Matrix
Osc D mod A to F Amount Osc D is modulated by Osc A-F in FM Matrix
Osc E mod A to F Amount Osc E is modulated by Osc A-F in FM Matrix
Osc F mod A to F Amount Osc F is modulated by Osc A-F in FM Matrix
Osc A to F Out Amount Osc A-F is output in FM Matrix
Mod Slot 1 to 20 Mod amount for slots 1 to 20
Trigger Retriggers the destination. It is retriggered when is not zero, and is
different from previous value.
Mod Volume destinations

The Mod Volume is a secondary volume modulation control, where the volume is completely
controlled by the modulation source.
For instance, in a modulation matrix slot set the source to mod wheel, the mod amount to
100%, and the destination to “Global Osc Volume”. When the mod wheel is 0%, the
oscillator’s volume is 0. When the mod wheel is 100% the oscillator’s volume is the full
programmed volume for the oscillator.
When you set up another modulation matrix slot, similar to above but set the mod amount to -
100% and target a different oscillator, you have created a Preset which crossfade between
two sounds based on the mod wheel position.
If you would use key position as a modulation source instead of the modulation wheel you
would crossfade between sounds based on the note pitch.

Appendix E: Samples
Sample A and Sample B
Sample sets A and B consist of mono samples only. In each instance only a single sample is
used to cover the whole keyboard range. These samples sound at their best (most realistic)
over a limited range. In some cases you may hear some interesting side-effects when
transposed which can be used creatively. The Sample A and Sample B sample waves are
also a good ingredient for building wave sequences in the sequencer.
Percussive Samples A – Percussive Samples C

BD Bass drums (acoustic and electronic)
SN Snare drums (acoustic and electronic)
HH Hi Hats, closed and open (acoustic and electronic)
Clap Claps (acoustic and electronic)
Tom TomToms (acoustic and electronic)
Perc Various percussion sounds (acoustic and electronic)
FX Percussive effect sounds (acoustic)
Sample ST A and Sample ST B

The letters ST stand for “Stereo or Stacked. Stacked samples include multi-samples across
the keyboard range and sometimes include velocity layers that trigger different sample sets
based on how hard you hit the keys.
Bass01s multi-sample electronic bass sound
Bass02s multi-sample electronic bass sound with separate bass sample in the
lower end
Bass03s multi-sample electronic bass which toggles between samples. Play
twice the same note to hear this.
Bass04s multi-sample electronic bass with velocity switch. From velocity 097
another sample plays.
BottleHisS stack sound of bottle with sfx metal sound
BottleWaveS stereo made bottle blow waveform
FXBoil02s stereo made boil scrape FX sound
Glass08s wine glass hit with velocity switch. From velocity 097 another sample
plays
Glass09s wine glass hit with toggling samples. Play twice the same note to hear
this.
Glass10s wine glass hit with toggling samples. Play twice the same note to hear
this.
Glass11s wine glass hit with random stereo spreading while playing
Glass12s wine glass hit with random stereo spreading while playing
Glass13s wine glass hit with stereo image
Glass15s wine glass combi sound with stereo image
GlassFX01s wine glass fx with stereo image
GlassFX02s wine glass fx with stereo image

GlassFX03s wine glass fx combination sound with stereo image
MboilHit02s metal bowl hit with stereo image
MuteG01s multi-sample muted guitar
MuteG02s multi-sample muted guitar with different lower range
MuteG03s multi-sample muted guitar with stereo image
MuteG04s one sample muted guitar with stereo image
Panflute01s multi-sample panflute
Panflute02s toggling samples. Play twice the same note to hear this.
Panflute03s toggling samples. Play twice the same note to hear this.
Panflute04s velocity switch. From velocity 097 another sample plays
Panflute05s multi-sample panflute with toggling samples. Play twice the same note
to hear this.
RingFX01s Rob Papen patent sample with stereo image
R-Tube01s mixed and looped rain tube sample with stereo image
R-Tube02s looped rain tube sample with stereo image
R-Tube03s mixed looped rain tube sample with stereo image
Valve01s flute valve finger played and tuned, stereo image
Valve02s flute valve finger played and tuned, stereo image
Valve03s flute valve finger played and tuned, stereo mix of two sounds
Vox-Aah01s multi-sample Aah choir with stereo image
Vox-Aah02s aah choir variation (mix), stereo image
Vox-Aah04s aah choir variation, stereo image
Vox-hmmm01s hmmm choir, stereo image
Vox-hmmm02s hmmm choir, stereo image
Vox-hmmm03s hmmm choir variation (mix), stereo image
Vox-hmmm04s hmmm choir / synthvox variation (mix), stereo image
Vox-oe01s multi-sample oeeh choir, stereo image
Vox-ooh01s multi-sample ooh choir, stereo image
Vox-ooh02s multi-sample ooh choir variation, stereo image
Vox-ooh03s multi-sample ooh choir (mix), stereo image
Vox-ooh04s multi-sample ooh choir (mix), stereo image

* Vox-syn01s synthesized vox, stereo image
* Vox-syn02s synthesized vox (mix), stereo image
* Wglass01s wine glass fingertone, stereo image
* Wglass04s wine glass fingertone with other sample startpoint, stereo image
* Wglass06s wine glass fingertone and mix of two samples
* Wglass08s wine glass fingertone with other sample startpoint and mix of 2
samples
* Wglass09s wine glass fingertone with other sample startpoint and mix of 2
samples
* XMetal01s Rob Papen patent sample with stereo image
* XyloOcts xylophone in octaves and with stereo image

Sample ST Big
The Sample ST Big group contains stereo sample sets and more extensive waveform sets.
Please consider that they may take a bit longer to load.
OddStr B classic strings with different samples start time compared to Strings B
OddStr C classic strings with different samples start time compared to Strings C
OddStrings classic strings with different start time at the sample compared to
Strings
Strings B classic strings with the same sample range playing each time
Strings C classic strings with the same sample range playing each time
Strings classic strings which toggles between the Strings B and String C each
time you play a note.
Vox-Epic01 a big choir sound
Vox-Epic02 a big choir sound, like Epic01 but with different sample start point
Vox-Hoe01 a choir having a ‘hoe’ vowel singing
Vox-Hoe02 a choir sound, like the Vox-Hoe01 but with a different sample start
point

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Rob Papen BLUE-II 2

Rob Papen BLUE-II 3

Set to default Set the control to its default value.

As an example, to latch Volume to an external midi expression controller, right click on

Rob Papen BLUE-II 4

Up Arrow key Previous Preset.

Rob Papen BLUE-II 5

Rob Papen BLUE-II 6

Direct Access Buttons

Man Click to open the Bank Manager

Rob Papen BLUE-II 7

Rob Papen BLUE-II 8

Rob Papen BLUE-II 9

Rob Papen BLUE-II 10

Rob Papen BLUE-II 11

Mode (Oscillator B – F only)

Rob Papen BLUE-II 12

Rob Papen BLUE-II 13

Oscillator Command Menu

Rob Papen BLUE-II 14

Bypass The filter is bypassed and the sound passes through

Rob Papen BLUE-II 15

12dB BandPass This filter mode is a combination of 12dB LowPass and

Rob Papen BLUE-II 16

Cutoff Frequency Modulation

Rob Papen BLUE-II 17

Modulation Wheel (ModWhl)

Volume and Pan

Filter Command Menu

Rob Papen BLUE-II 18

Rob Papen BLUE-II 19

Rob Papen BLUE-II 20

Preset Algorithm Mode

Rob Papen BLUE-II 21

Rob Papen BLUE-II 22

Rob Papen BLUE-II 23

Rob Papen BLUE-II 24

Speed / Speed Control / Speed Source

Rob Papen BLUE-II 25

Rob Papen BLUE-II 26

Attack time / Curve

Decay time / Curve

Rob Papen BLUE-II 27

Release Time and Curve

Key > Speed

Vel > Speed

Envelope Retrigger and Times

Velocity > Vol (Volume Envelope only)

Envelope Command Menu

Rob Papen BLUE-II 28

Editing envelope points

Multi Envelope Command Menu

Rob Papen BLUE-II 29

Tempo Sync On/Off

Key > Env

Rob Papen BLUE-II 30