RP Blade2 Manual

Manual
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WELCOME
The original BLADE synthesizer released in 2012 had a unique concept in controlling the
waveform harmonics (Harmolator) by using an XY Pad. On top of that the XY Pad movement
could also be recorded, edited and played back tempo-based.
This concept of Blade meant that you could generate some very unique sounds, compared to
regular subtractive and additive synthesizers.
With BLADE-2 we have expanded the features of Blade even further; making it a dream
synthesizer for synth lovers who like to think out-of-the-box and love to experiment!
We have now included an Additive mode which allows you to morph or mix between 4 additive
waveforms using the XY Pad. In addition to using these additive waves, you can also create and
edit your own! Sample data can be analyzed and transformed into a waveform, which can be
used in the Harmolator or Additive section.
To complement the digital side, BLADE-2 also includes an analog type oscillator and a noise
oscillator. It doesn’t stop there yet, there are now 32 different Filter types included to help shape
your sound further!
The Arpeggiator section inside BLADE-2 has received a huge update with some very cool new
features. Two additional rows for controlling the X and Y position of the XY Pad are included, as
well as a completely new ratcheting feature.
Finally, BLADE-2 has 3 Multi FX processors with high-quality, top-notch – Rob Papen – FX.
Enjoy the cutting edge of BLADE-2!
Rob Papen and Team
Rob Papen BLADE-2 2

NAVIGATING BLADE-2
First, we’ll give you a quick overview of BLADE-2, so you can find your way around. You will find
the details that make up BLADE-2 in the following chapters.
3
6
1 Presets and In this section, you select Presets and Banks and gain access to the Bank
Globals Manager, External MIDI Controller Setup and this manual. Click on the
BLADE-2 logo to open the Back Panel
2 Harmonlator / The Harmolator and Additive oscillators are BLADE-2’s primary sound
Additive sources
3 Additional BLADE-2 has a couple of sound sources in addition to the Harmolator: the
Sound Sources analog waveform oscillator and a noise generator
4 Play and The center stage is focused on Harmolator interaction. The XY Pad provides
Harmolator control over up to 24 BLADE-2 parameters. The Partials display at the top
Controls gives you an indication of the spectral content of the Harmolator.
The labels above the XY Pad give access to several pages and modules.
Click on the labels to work with the Arpeggiator, Harmolator Modulation,
Matrix Modulation, User Wave management and Play Mode.
5 Distortion / Filter The final sound shaping features include Distortion, Filter and Amplifier
/ Amplifier (Volume) sections
6 Effects BLADE-2’s effect section contains three independent effect units
Rob Papen BLADE-2 3

CONTROLS
BLADE-2 uses controller knobs, sliders, buttons and drop-down menus to adjust its parameters.
You operate the controls with the mouse. In most cases, you click-and-hold the control and
move it to the desired value. As you move the control, the readout at the top of the screen
displays the parameter name and its value.
If you hold the shift-key while moving the mouse, you can make minor adjustments with high
accuracy. Consider this to be 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. An
example is the Free button in the additive section.
Radio Buttons Radio buttons select one option out of several predefined settings by
clicking on the desired value, as in the mid-panel screen sections
Trigger Buttons A Trigger Button starts an action, such as the sound preview (Note
Symbol) to the left of the Preset Browser
Note: Many section labels in BLADE-2 are On / Off buttons. A brightly lit label indicates the
section is active. A dimmed label means the section is disabled / Bypassed.
Note: Many sections in BLADE-2 can display multiple sets of controls. Which ones appear
on screen is selected by the Blade-icon adjacent to a section label.
Menus
Drop-down menus Drop-down menus work similarly to radio buttons, in that they select
one out of many predefined values. The first click opens a menu
which lists all possible values. The second click selects the value. An
example is the ECS menu near the top of BLADE-2
MIDI / Control Menu
Right clicking (or control-click on Mac) on a control opens 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 do the following:
• Set control values

• Assign MIDI CC numbers
• Work with modulation paths
Rob Papen BLADE-2 4

Set Control Values
The control value menu items operate directly on the control value.
Set to default Sets the control to its default value

Set to Zero Sets the controller to zero (0)
Set to Minimum Sets the control to its minimum value
Set to Maximum Sets the control to its maximum value
Set to Mid Sets the control to its medium value
Set to Value Enter the value as a numerical value in a text box
Set to Random Sets the control to a random value
Increase Increases the control by 1% or to the next menu-entry
Decrease Decreases the control by 1%.or to the previous menu-entry
MIDI Control through Latching

The Latching construct sets up connections between MIDI Continuous Controllers (CC) and
BLADE-2 controls.
Latch to MIDI Latches the control to the next MIDI control message received.
Unlatch MIDI Clears the BLADE-2 parameter from any MIDI controls.
Set MIDI CC Enter the MIDI Controller as a numerical value in a text box
Clear MIDI Clears all MIDI latching.
As an example, to latch Volume to an external MIDI expression controller, go through the
following steps:
1. Right click on the Volume Knob

2. Select Latch to MIDI in the pop-up menu
3. Next, move the MIDI Expression controller.
From now on the Expression controller will move the BLADE-2 Volume knob. You can still
operate the BLADE-2 Volume knob directly in BLADE-2 though. The latched MIDI controllers
are global and will work for all Presets and active BLADE-2 instruments in your host.
Note: In the Preset section you can save or load your whole MIDI (latch) controller setup to
disk. This function is called ECS (External Controller Setup). For an explanation of this
function, please see the ECS section later in this manual.
Rob Papen BLADE-2 5

Modulation Settings
The third part of the MIDI / Control Menu gives access to modulation routing. More details are
provided in the Modulation Matrix chapter.
Modulated by Displays the modulation source that controls this parameter.

Set Modulation To Creates an entry in the Modulation Matrix that has this parameter as
its destination.
Default Modulation Sets all entries in the modulation matrix that have this parameter as
Slot Amount their destination, to the default amount.
Bypass / Un-Bypass Bypasses or un-bypasses all modulation matrix entries using this
Modulation Slot parameter as a destination.
Clear Modulation Slot Clears all entries in the modulation matrix that have this parameter
as their destination.
Drag and Drop Controls

You can drag and drop controls onto the modulation matrix. When you drop the control, the
control is added to the modulation matrix.
Computer Keyboard
You can select Presets and Banks using the computer keyboard. BLADE-2’s back panel is
where you enable and disable this function. To access the back panel, click on the BLADE-2
logo.
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 BLADE-2 Bank
Page Up key Previous BLADE-2 Bank
Note: Rolling the mouse wheel up and down scrolls through the Presets
Rob Papen BLADE-2 6

PRESETS / GLOBALS
BLADE-2 uses a Preset / Bank model to select and manage Presets. Please note that this is in
addition to the Bank Manager section in BLADE-2, which is aimed at managing Presets in the
context of Folders.
To select a Preset, click on the Preset display to open the Preset Menu. The top five entries in
the menu give you access to the Presets in the current Folder. They are grouped in sub-menus
of 50 entries each. To step through the Presets one by one, use the < and > keys. These will
take you to, respectively, the previous or next Preset in the current Folder.
Please note: The Presets are stored as individual files on your drive. The Banks are
represented as Folders on disk and the Presets are files within the Folders. You may store up to
256 Presets in a Folder but have an unlimited number of Folders.
Quick Browser
The Quick Browser shows all available Folders and their Presets. When you select a Preset, the
Preset itself and its corresponding Folder will be loaded.
Recently Browsed
Recently Browsed displays a list of all recently used Presets. Selecting an entry loads that
Preset. The Clear Recent function removes all entries from this menu.
Favorites
Favorites shows the list of Presets that were saved in the 001 Favorites Folder. Selecting a
Preset immediately loads that Preset.
Save Current Preset in Favorites
This will save the current Preset to the 001 Favorites Bank Folder. The Favorites feature is used
for collecting Presets that you use often. This Folder holds up to 256 Presets. If you have more
than 256 Favorites, you will need to create a new Folder. You could create one called 001
Favorites 02 for instance.
Keep in mind that this new Folder will not be used with the Save Current Presets in Favorites
function. This function is hard wired (connected) to the original Favorites Folder. You can use
the Bank Manager to manage multiple Favorite Folders and copy Presets between them.
Please note: BLADE-2 has a feature in the Bank Manager called Star. This allows you to
highlight favorite Presets and work with them as if they resided within a single Folder. The Star
function and Favorites Folder complement one another and allow you to work with your most
cherished sounds.
Rob Papen BLADE-2 7

Save Preset
Save Preset writes any changes you have made to the current Preset to disk, overwriting the
old version.
Save Preset As
Save Preset As writes any changes you have made to the current Preset to disk with a new
name. This Preset will be saved in the current Folder.
Save Preset in Folder

Save Preset in Folder writes any changes you have made to the current Preset to disk in a
Folder other than the current Folder. BLADE-2 will prompt you to select the Folder you want to
use.
Rename Preset
Rename Preset asks you for a new Preset name. The Preset will be then saved with the new
name. The older version of the Preset is deleted.
New Preset
New Preset creates a new Preset with default settings.
Load Preset
This function loads a Preset from disk or any other attached storage, including USB drives.
Revert to Original Preset / Revert to Edit Preset
The Revert function is the same function that you find as a button in the top section of BLADE-2.
It allows you to toggle between, and compare, an edited Preset and the original version of the
Preset.
Clear Preset
This function sets all parameters to their default values but leaves the Preset name unchanged.
Default Preset
This function sets all parameters to their default values and sets the Preset name to Default.
Convert Blade 1 Bank / Preset

Converts a Blade 1 Bank (.fxb file) or Preset (.fxp file) to a BLADE-2 Preset(s). After selecting
the file to convert you will be then asked where you want to save the converted Presets.
BLADE-2 will notify you when the conversion has completed.
100/125/150/200 Screen Size

Changes the screen size for BLADE-2. This takes effect when you next open BLADE-2.
Rob Papen BLADE-2 8

BANK
BLADE-2 uses a Bank menu to select and manage Bank Folders. Please note that this is in
addition to using the Bank Manager section in BLADE-2. To select a Bank Folder, click on the
Bank display to open the Bank Menu. To step through the Banks one by one, use the Page Up
and Page Down keys. These will take you to the previous and next Bank Folder.
Create New Folder

This function creates a new Folder on your hard disk in the following location (by default)
• PC: Documents\Rob Papen\BLADE-2\Bank Folder\

• Mac: Applications\Rob Papen\BLADE-2\Bank Folder\
On a PC you can select any Folder to install the Banks to in the installer, though we recommend
that you use the Documents Folder.
Edit / Orig
As soon as you start editing a Preset (i.e. change a BLADE-2 control), the Edit button will light
up. If you the click on the Orig button it will return the Preset to its original settings (please note
that 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 have 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.
External Controller Setup (ECS) – External MIDI Control

BLADE-2 responds to external MIDI messages to change its sound parameters dynamically.
The assignment of external MIDI messages to BLADE-2 controls is defined in the ECS. ECS is
short for External Controller Setup. It contains all assignments of MIDI controllers to BLADE-2
controls that are being targeted for real time interaction. 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 may unlatch MIDI controls the same way or clear all 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 BLADE-2 that are loaded in your
DAW.
Rob Papen BLADE-2 9

Load ECS Load ECS opens the Folder that holds ECS set-ups. The BLADE-2
installer creates a Folder called ECS that holds all ECS files
Save ECS Save ECS saves the MIDI set-up you created so you may use it in
other songs. It is saved as an ECS file
Reset all MIDI This clears all MIDI settings for BLADE-2 Useful if you want to start
from scratch
Miscellaneous Buttons
Across the Presets and Globals section you find a number buttons that give you direct
access to various BLADE-2 functions. These are:
Manager Click to open the Bank Manager

Note (C3) Click to play a C3 note to audition the current Preset
ECS Click to open the ECS menu
Help Click to open the BLADE-2 manual
Easy Opens the Easy page with a smaller set of macro controls
BLADE-2 Logo
A click on the BLADE-2 logo takes you to the Back Panel. The Back Panel hosts several
global settings and infrequently accessed controls.
Control Menu
The three-line icon to the top right of the Rob Papen logo is Control Menu icon. The icon opens
the Control Menu. The Control Menu contains items to set the screen size, set how BLADE-2
responds to MIDI, whether to display Graphic envelopes or knob-style controls and whether to
display dial modulation animation and other options.
Some of these settings are also available in the Back Panel, which can be accessed by clicking
on the Blade-2 logo. Please check the chapter Back Panel for more information.
Rob Papen BLADE-2 10

HARMOLATOR AND PARTIALS
The heart of BLADE-2 is the Harmolator, this is an additive oscillator with 96 partials. Before
going into more detail about this, it’s a good idea to have a closer look at additive synthesis.
Additive synthesis uses sine waves of different frequencies to create more complex waves. The
first sine wave is known as the fundamental or the first partial. The second sine wave is twice
the frequency of the fundamental and is known as the second partial. The third sine wave is
three times the frequency of the fundamental and is known as the third partial. And in general,
the 9th sine wave is 9 times the frequency of the fundamental and is known as the 9th partial.
A harmonic partial is a partial with a frequency that is an integer multiple (whole number
multiple) of the fundamental partial’s frequency. These are often referred to as harmonics. You
find these in the sound of instruments with a clearly defined pitch such as a flute. We chose the
name Harmolator since it relates to the harmonic content of the waveform.
Inharmonic partials do occur and have a frequency that is not an exact multiple of the
fundamental partial. These play an important role in giving percussion instruments their sonic
character (in combination with some harmonic partials), for example a marimba. The sound of
some instruments, such as cymbals, is made up of mostly inharmonic partials.
An example additive spectrum is shown below
Multiple partials at different volumes and volume changes over time deliver complex sounds.
Traditional additive synths create sounds by allowing you to set each partial’s volume, plus an
individual volume envelope. To operate this can be time consuming, especially when you need
make changes to a large number of partials.

BLADE-2 uses global controls to set the general additive spectrum. This makes it easier to
create interesting sounds. We have called this approach of encapsulating the additive spectrum,
a Harmolator. It has the following controls.
Base
The Base knob controls the base partial, which is the central and loudest partial. Increase it
raises the pitch of the sound, decreasing it lowers the pitch of the sound.
Range

The Range knob controls the width of the additive spectrum. At lower values the only the
partials around the base partial are active. At high values, most available partials are included.
Symmetry
The Symmetry knob controls the balance between partials below and those above the Base
Partial. At the central position, they are evenly distributed. Turn the Symmetry knob to clockwise
to reduce the volume of those partials below the Base Partial. Turn the Symmetry control
counter-clockwise to reduce the volume of the partials above the Base Partial.

Timbre

Timbre controls the overall harmonic structure of the sound, either the relationship of harmonic /
inharmonic partials, or the mixing between stored Timbre waves (partials). If the control is fully
left, the Base, Range and Sym controls set the base for the waveform, which can be altered by
the Harm and Ripple controls. If the Timbre control is fully to the right, the Timbre wave sets the
base for the waveform which then again can be altered by all the other controls. Of course, the
Timbre control allows you to mix between these two settings.
The Timbre type is set in the Timbre Type Menus.
For the timbre types 1 to 16, the timbre alters the harmonics of the additive spectrum, for timbre
waves the Timbre mixes between the current additive spectrum and stored additive spectrums
or even the user wave in the Timbre Type menu can load in saved user waves.
The small display next to the Timbre Type Menu shows the waveform of the current Timbre
Type, scroll-wheeling over it changes the Timbre Type.
Timbre Type
In this mode, different partials are changed in volume depending on the Timbre Type, these are
known as the harmonic partials.
So for instance in the case Timbre Type 1, octaves and fifths of the base partials are used, so if
the base partial was 4, then the harmonic ones would be 1 (1/4x base),2 (1/2x base),4 (same as
original),8 (2x base),12 (3x base), 16 (4x base) etc, the rest (partials 3, 5, 6, 7, 9 etc) are a-
harmonic (the picture below only shows octaves to make things clearer)
At the central position of the Timbre knob, all the partials are unaltered. Turn the Timbre knob to
the right, and the a-harmonic partials are reduced in volume. Turn the Timbre knob to the left
and the harmonic partials are reduced in volume.

The first 16 Timbre Types are:
Timbre 1 Octaves + Fifths

Timbre 2 Upper Octaves + Fifths (x1, 2, 3, 4, 6, 8 etc)
Timbre 3 Lower Octaves + Fifths (x1, ½, 1/3, ¼, 1/6, 1/8, etc)
Timbre 4 Octaves only
Timbre 5 Upper Octaves only
Timbre 6 Lower Octaves only
Timbre 7 3rds, i.e. (1, 3, 1/3, 6, 1/6 ...)
Timbre 8 Near fractions (1, ½, 2, 1/3, 2/3, 3/2, 3 ...)
Timbre 9 Primes (1, 2, ½, 3, 1/3, 5, 1/5, 7, 1/7 ...)
Timbre 10 Upper Primes (1,2,3,5,7, 11 …)
Timbre 11 Lower Primes (1,1/2,1/3,1/5,1/7, 1/11)
Timbre 12 Squares (1,4, ¼, 9, 1/9, 16, 1/16 …)
Timbre 13 A-harmonic 1 (1, 3, 1/3, 9, 1/9, 15, 1/15, 33, 1/33)
Timbre 14 A-harmonic 2 (1, 5, 1/5, 7, 1/7, 17, 1/17, 31, 1/31)
Timbre 15 All Upper (1, 2, 3, 4, 5, 6, 7)
Timbre 16 All Lower (1, ½, 1/3, ¼, 1/5, 1/6, 1/7)
Timbre Waves
The additive spectrum, defined by the base, range, and symmetry controls is mixed against
stored additive spectrums, to give a range of sounds. Only positive Timbre amounts have any
effect.
User Wave allows you to load your own additive timbre wave. This can be generated using the
Analyse Wave section (for more information see the User Wave chapter), or you can load in
pre-saved additive timbre waves using Load User Wave

Even / Odd
Even / Odd controls the relative volumes of the even, and odd partials. At the central position of
the Even / Odd knob the partials are mixed evenly. Turn the Even / Odd knob to the right, and
the even partials are reduced in volume. This produces a sound like a square wave. Turn it to
the left and the odd partials are reduced in volume. In this case the sound becomes more like
that of a saw wave.

Ripple / Ripple Width
Ripple / Ripple Width adds a ripple type volume reduction in the additive spectrum. This creates
peaks and troughs in the spectrum, which can produce a vocal sound character.
The type of wave and position and range of these ripples is set by the Ripple Type and Ripple
Wave menus
Ripple controls the depth of the ripples, and Ripple Width controls their widths.
Ripple Wave controls the ripple wave type, Sine, Triangle, Saw (up and down) and Square.
Constant Random uses a random ripple wave which is set per voice, and Random uses a
random wave, which changes over time, how quickly it changes is set by the Ripple Width.
The small display next to the Ripple Wave Menu shows the waveform of the current Ripple
Wave, scroll-wheeling over it changes the Ripple Wave
Ripple Type controls how the ripple spreads out and where from. In the Base modes the ripple
is centred on the base partial, in Start modes the ripple is centred on the first partial. The other
types Constant to Narrow determine how the ripple spreads over the spectrum.
In Constant mode the ripple amount is the same over the whole additive spectrum. For the
others the ripple amount decreases the further you get from the ripple center, with Log meaning
the ripple amount only decreases slightly over the additive spectrum, and Narrow meaning the
ripple amount decreases very quickly and so it only changes the partials around the ripples
center.

Harmonic / Harmonic Volume / Shift
Harm /Harm Volume allows you to add to the primary additive spectrum (shown in blue), a
secondary shifted additive spectrum (a harmonic, shown in green), which is the same as the
primary spectrum but is shifted in position and changed in overall volume, so giving additional
overtones to the sound.
The Harm knob alters the shift in position of the harmonic, moving it to the left (lower in
frequency than the primary spectrum) or to the right (higher in frequency than the primary
spectrum). The Harm Volume knob changes the volume of this harmonic (at zero you don’t hear
the harmonic).
How this secondary additive spectrum is shifted depends on the Shift button.
When it’s Off, the partials in the harmonic changes frequency (i.e. it’s multiplied by a constant
amount) from the primary additive spectrum. So, if the Harm value was 2.0, then the frequency
of the partials in the harmonic are double that in the primary additive spectrum. So, if the
harmonic volume is at maximum, partial 2 in the harmonic has the volume of partial 1 in the
primary, partial 4 in the harmonic has the volume of partial 2 in the primary, partial 8 in the
harmonic has the volume of partial 4 in the primary, and so on. For in-between partials in the
harmonic, interpolated values are used, so partial 3 in the harmonic would have an interpolated
value from the values of partial 1 and 2 in the primary.
When it’s On, the partials in the harmonic changes position (i.e. by a constant amount) from the
primary additive spectrum. So, if the Harm value was 1, then the frequency of the partials in the
harmonic are one more than in the primary additive spectrum. So, if the harmonic volume is
maximum, partial 2 in the harmonic has the volume of partial 1 in the primary, partial 3 in the
harmonic has the volume of partial 2 in the primary, partial 4 in the harmonic has the volume of
partial 3 in the primary, and so on)

HARMOLATOR / ADDITIVE OSCILLATOR
The main oscillator in BLADE-2 is the Harmolator / Additive oscillator. It can operate in either
Harmolator or Additive mode, you can select between these by clicking on the Harmolator or
Additive radio buttons, and it can be turned On and Off by clicking on the Harmolator / Additive
label.
The top section of this oscillator, the controls from Unison to Output, is the same for both the
Harmolator and the Additive oscillator.
Unison
In Unison mode, the Harmolator / Additive oscillator plays up-to 4 unison voices, for each note
played. This works at an Oscillator / Filter level, so you can still play up to 16 voices in poly
mode.
The Unison detune parameter changes the pitch slightly for all these voices. This gives you an
extremely rich sounding stack of voices. The Unison spread, pans the unison voices to the left /
right channels.

Free-running
When disabled (switched Off), the Harmolator / Additive oscillator returns the waveform from its
initial position each time a new note is played. When enabled, the Harmolator / Additive
oscillator waveform cycles continuously, it is free-running, regardless of any notes being played.
The latter setting can be useful in pad sounds, as every note tends to get a slightly different
transient attack.
Octave
The Octave knob controls the frequency of the fundamental or the first partial, from 2 octaves
below to 2 octaves above the base frequency.
Volume
Sets the Volume of the Harmolator / Additive oscillator.
Sub-Oscillator
This knob controls the volume of the Harmolator / Additive oscillator sub-oscillator. The sub-
oscillator tuning is set in the Sub-Shift menu. For instance, if it’s set to -1 Oct, the sub-oscillator
tuning is set to be one octave below the Harmolator / Additive Oscillator.
The sub-oscillator can generate two separate waveforms. Turn the control counter-clockwise to
produce a sinus waveform. Turn it clockwise to produce a square waveform. The center position
turns the sub-oscillator off.
For the square wave sub-oscillator, you can use the sub-oscillator symmetry position
modulation destination to alter the square waves width, so you can create pulse width
modulation (PWM) sounds by using an LFO to alter this width.
Output
The Harmolator / Additive oscillator output target is set via the Output menu. You can send the
oscillator to the Pre-Filter Distortion, the Filter itself, FX 1 to 3 or to the Dry Output.

ADDITIVE OSCILLATOR
In Additive mode up to 4 sets
of 16 partials are available
(known as a Wave-set) for
sound generation. These
partials are more complicated
than the 96 partials used in
the Harmolator because you
can set the pitch, volume,
wave and phase of each
partial individually.
We choose 16 editable
partials as a manageable
number with editable
properties. There are many
additional features, like the
ability to load the Timbre
waves which also appear in
the Harmolator or the option
to save and load waves and
use these in the Harmolator.
Select from the 4 Wave-sets

(Set A, Set B, Set C and Set
D) using the Edit Set menu.
The Wave sets are blended

based on the Wave-sets combination mode, and the position of the XY indicator in the XY
screen.

Set A Only Wave-set A is used.
Set A+B Mix X Wave-sets A and B are playing at the same time (so allow 32 partials),
Axis with the volume mix between the two depending on the X position.
Set A-D Mix X Axis Wave-sets A to D are used, with the Wave-sets used depending on the
X position. As you move from left to right on the XY Pad, Wave-sets A,
B, C and finally D are used, with the mix between these Wave-sets
defined by the X position.
Set A-D Mix XY Wave-sets A to D are used simultaneously (so allowing 64 partials).
Axis The Wave-set mix is determined by the XY positions. Top left
represents Wave-set A, top right represents Wave-set B, bottom left
represents Wave-set C and bottom right represents Wave-set D.
Set A+B Morph X Wave-sets A and B serve as input. The values of Wave-sets A and B
Axis parameters are morphed by moving the XY position in the X direction.
You will hear the equivalent of a single Wave-set, with its parameter
values derived from Wave-sets A and B. For example, if Partial 1 in
Wave-set A has a tuning of +0 semi-tones, and in Wave-set B it is set
to +1 semi-tones, then moving the X position from left to right will
increase the tuning and you’d hear a rising tone.
Set A-D Morph X Wave-sets A, B, C and D serve as input. The values of Wave-sets A to
Axis D parameters are morphed into a single value by moving the XY
position along X axis. You will hear the equivalent of a single Wave Set,
with its parameter values derived from Wave-sets A, B, C and D.
Set A-D Morph XY Wave-sets A, B, C and D serve as input. The values of Wave-sets A to
Axis. D parameters are morphed into a single value by moving the XY
position along X axis. Top left represents Wave-set A, top right
represents Wave-set B, bottom left represents Wave-set C and bottom
right represents Wave-set D. You will hear the equivalent of a single
Wave Set, with its parameter values derived from Wave-sets A, B, C
and D.
Edit Mode
Each of the 16 partials in the 4 Wave-sets uses 5 parameters. These can be edited in the
Additive screen. The Edit Screen menu selects the parameter to be worked on. To select more
than one partial, hold the shift key. Double-clicking sets the partial to its default value. Adjust the
value with the scroll wheel.

Amp Sets the amplitude (volume) of the partial.
Phase Sets the phase of the partial.
Tune Sets the coarse tuning of the partial from 1x to 128x the base
frequency. To stay in line with the Harmolator partials, the default is
set to be partial A – 1x base frequency, partial B – 2x base
frequency, partial C – 3x base frequency and so on, but you can
adjust these to any tuning.
Fine Sets the fine-tuning of the partial, from -100 cents to +100 cents (-1
to +1 semi-tones).
Wave Waveform used by the partial. The included waveforms are Sine,
Saw, Square and Triangle. In Morph modes, the Wave set A
waveform is used.
Wave Preset
Via the wave Preset menu, you can load an additive factory or user wave Preset.
Command
The Command Menu applies to all partials or individual partials, dependent on the item
selected.
Select All Select all the partials in the current Wave-set.

Unselect Deselect the partials.
Clear Selected Clear selected partials.
Clear Set Clear all the partials in the current Wave-set.
Clear All Clear all the partials in all the Wave-sets.
Normalize Set Change the amp of the partial in the current Wave-set so the
waveform generated is normalized.
Normalize All Change the amp of the partial in all the Wave-sets so the waveforms
generated are normalized.
Reset Set Tune Reset the partial tuning to default settings in the current Wave-set.
Reset All Tune Reset the partial tuning to default settings in all the Wave-sets.
Interpolate Tune Interpolate the tuning between the first and last select partials (or all
the partials if none are selected).
Copy To Copy the current Wave-set.
Copy To All Copy the current Wave-set to all the other Wave-sets.
Swap With Swap Wave-sets.

Load Single Set Loads a previously saved wave-set
Save Single Set Saves the currently selected wave-set to disk
Load All Set Loads a previously saved wave-sets A to D
Save All Set Saves the current wave-sets to disk.
If a partial is selected the following commands are available
Set Amp Value Set the value manually

Set Phase Value Set the value manually
Set Tune Value Set the value manually
Set Fine Value Set the value manually
Set Semi Value Set the value manually
Set Wave Value Set the value manually
Set To Current Partial Set all the partials to the currently selected partial.
Set Wave To Current Set all the partial waves to the currently selected partial.
Partial
Preset 1 to 3 This will set the current Wave-set to the selected Presets.
Timbre 1 to 4 This will set the current Wave-set to selected timbre as much as
possible (due to the smaller number of partials the loudest 16
partials are used).
User Wave Sets the partial to the user wave as much as possible (due to the
smaller number of partials the loudest 16 parts are used).
Load User Wave Loads a previously saved user wave.
Undo Undoes last command.

ANALOG / NOISE OSCILLATOR
BLADE-2’s additional sound
sources are the Analog
modelled oscillator and the
Noise Oscillator. Click on the
Oscillator and Noise label to
enable them. The labels
function as On / Off buttons.
The corresponding Blade icon

switches the display of
controls between those of the
Analog Oscillator and the
Noise Oscillator. These two
oscillators hugely expand
BLADE-2’s sound options as
demonstrated by the new
BLADE-2 Presets.
ANALOG OSCILLATOR
Waveform
Selects which waveform to be used, you can select: Sine, Saw, Square or Triangle. The small
display Wave shows the waveform of the current Wave. Use the scroll-wheel over this display to
change the waveform type. Move the mouse across the graphic display to change the
symmetry of the waveform.
Volume
Sets the Volume of the Analog Oscillator.
Semi
The root note pitch setting of the Analog Oscillator is set in semitone steps. The tuning range
runs from -36 semitones below (-3 octaves) to 36 semitones above (+3 octaves) the base note.
Output
The Analog Oscillator output target is set via the Output menu. You can send the oscillator to
the Pre-Filter Distortion, the Filter itself, FX 1 to 3 or to the Dry Output.

Unison
In Unison mode, the Analog Oscillator plays up-to 4 unison voices, for each note played. This
works at an Oscillator / Filter level, so you can still play up to 16 voices in poly mode.
The Unison detune parameter changes the pitch slightly for all these voices. This gives you an
extremely rich sounding stack of voices. The Unison spread, pans the different unison voices to
the left / right channels.
Free-running
When disabled (switched Off), the Analog Oscillator returns the waveform from its initial position
each time a new note is played. When enabled, the Analog Oscillator waveform cycles
continuously, it is free-running, regardless of any notes being played. The latter setting can be
useful in pad sounds, as every note tends to get a slightly different transient attack.
Sym
Sym controls the symmetry of the Analog Oscillator waveform. This is most commonly used with
the Square waveform where it changes the Pulse Width. It is also applicable to other waveforms
except the Saw Wave.
SMA / Speed
This controls how much the symmetry of the wave changes over time. You can set the Speed
Amount of the modulation. Use this combination to create Pulse Width modulation when using a
square wave.
High-pass Filter
The Analog Oscillator has a built in 12dB zero-delay High-pass Filter. Th control knob sets the
Filter Frequency.
TIP: The Filter contains a hidden Q (resonance) parameter. By using the Modulation
Matrix and Offset as modulation source, select the Q (resonance) as the modulation
destination to change its value.
Low-pass Filter
The Analog Oscillator has a built in 12dB zero-delay Low-pass Filter, this knob controls the
frequency of this Filter. The key-track button means that the Low-pass Filter frequency tracks
the note pressed, when it’s turned on.
ANALOG OSCILLATOR ENVELOPE

The Analog Oscillator envelope controls the oscillator’s volume

Attack
An Envelope rises from 0 to 100% and back to 0% when the key is released. Attack controls
how quickly it rises to 100%. The further you open the Attack control, the longer it takes to reach
100%. An Attack time of 0 start the Envelope instantly at full level (100%).
Decay
After the Attack stage, with the Envelope at 100%, the Decay stage begins. Decay reduces the
Envelope level to the Sustain level over a set time. If you use a long Decay, it takes longer to
reach the Sustain level. If the Sustain level is 100% the Decay stage plays no role as the
Sustain level is reached immediately after the Attack stage.
Sustain
Sustain is a level control. After the Attack and Decay stage, the Envelope reaches the Sustain
level and remains at this level while you hold the key. Sustain level in the Filter Envelope
represents the Cutoff Frequency while you hold the key(s).
Sustain Fade
If the Fade is set to 0 (Off), the Sustain works as a classic Sustain. If you open the Fade amount
clockwise it creates a second Attack stage. In this case when the Decay reaches the Sustain
level, the envelope level starts to rise to 100% in the time set by the Fade control. If you turn the
Fade control counter-clockwise it creates a second Decay. In this case, when the Decay
reaches the Sustain level, the envelope level starts to fall to 0% in the time set by the Fade
control.
Release
When you release a key (note), the Release stage starts. The Envelope drops from its current
level to 0%, in a time set by the Release control. At the maximum value of the release knob
there is no release stage, when you release a key the envelope stays at its current value.
Sync
Sync synchronizes the envelope time-based stages (Attack, Decay, Release) to the host tempo.

NOISE OSCILLATOR
Turn the Noise Oscillator On
by clicking on the Noise label.
To display the Noise
Oscillator controls, click on
the (Blade icon) radio button
to the right of the Noise label.
Colour
Colour blends the levels of
Pink Noise (at 0%) and White
Noise (at 100%).
Volume
Sets the Volume of the Noise
Oscillator.
Envelope Amount
Sets the extent to which the
Envelope determines the
oscillator’s Volume. At 0% it
has no effect, at 100% it has full effect.
Output
The Noise Oscillator output target is set via the Output menu. You can send the oscillator to the
Pre-Filter Distortion, the Filter itself, FX 1 to 3 or to the Dry Output.
Tune / TRK
Enable Tune to send the Noise source through a band-pass Filter. The Filter Frequency can be
tracked to note (pitch) with TRK enabled.
Bandwidth
Sets the Bandwidth of the Band-pass Filter. High values create peaks in the spectrum that
sound like high resonance sounds.
Frequency
Frequency sets the Band-pass Filter frequency directly (i.e. from 20Hz to 20kHz). When Trk is
enabled, the Filter Frequency follows the notes played (-36 to +36 semitones).
Frequency Envelope
Sets the Filter Frequency modulation amount for the Envelope. Please note that the modulation
can be inverted (up to -100%), where the filter frequency is lowered as the envelope runs
through its stages.

Spread
Spread introduces small differences in the Filter Frequency between the left and right channels.
In doing so, it creates a stereo effect.
High-pass Filter
The Noise Oscillator has a built in 12dB zero-delay High-pass Filter, this knob controls the
frequency of this Filter. The key-track button means that the Filter frequency tracks the note
pressed when turned on, and the envelope amount controls how much the Noise envelope
changes the frequency of this Filter.
Low-pass Filter
The Noise Oscillator has a built in 12dB zero-delay Low-pass Filter, this knob controls the
frequency of this Filter. The key-track button means that the Filter frequency tracks the note
pressed when turned on, and the envelope amount controls how much the Noise envelope
changes the frequency of this Filter.
Noise Envelope
The Noise Envelope can be assigned to control the Noise Oscillator Volume, the Band-pass
Filter Frequency and the Low / High pass Filter frequency.
Attack
100%. An Attack time of 0 start the Envelope instantly at full level (100%).
Decay
Sustain level is reached immediately after the Attack stage.
Sustain

Sustain Fade
control.
Release
there is no release stage, when you release a key the envelope stays at its current value.
Sync

SPECTRAL DISPLAY
The Spectral Display shows the spectrum or wave of the Harmolator / Additive oscillator. You
can switch between the following display options:
Harmonic Displays the set Harmolator / Additive partials. In Additive mode the
4 sets of partials are shown.
Dynamic Displays the Harmolator / Additive partials in real-time for the voice
playing. In Additive Mode, the volumes of partials 1 to 128 are
visible.
Waveform Displays the Harmolator / Additive oscillator waveform.
Change display mode by clicking in the center of the spectral screen.

XY PAD
The XY Pad is a combination of a live, interactive control and automated programmable

modulation source. Use the mouse to control up to 24 assignable parameters simultaneously,
by moving the XY Blade icon around the XY Pad. It is possible to record these movements as
Paths and use the XY Pad as a programmable two-dimensional LFO.
The position of the XY icon is the modulation source for the 24 destinations positioned around
the edges of the XY Pad. Select the XY Screen by clicking on the XY button.

XY Basics
The XY Pad can be set up to control 24 parameters simultaneously. With the original Blade,
these parameters were mainly connected to the Harmolator. When you play one of the original
Blade Presets (Bank Number 100 and up), you will notice that the original parameter
configuration is maintained. With BLADE-2 however, as the sound engine has been expanded
with the Additive, Oscillator and Noise sections, additional target parameters are available.
The original Blade configuration is available in the command menu as a Preset. It is called
Harmolator.
For the XY Pad to have any effect, the Mod Amount controls need to be set to a non-zero value.
Each modulation target has an On / Off button which makes it easy to bypass the target.
Drag the icon across the XY Pad (use the mouse to click and drag) when the XY Pad status is
Live to hear the effect of any Modulations that are active.
It is possible to record the moving icon on the XY Pad as a path. Switch the XY Pad status to
Rec and drag the icon around. BLADE-2 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 move across the screen following the previously recorded path.
The XY Path is saved as part of the BLADE-2 Preset and is ready to be used when you recall
the Preset.
Modulation Controls
Along the edges of the XY screen you find a large number modulation controls. The ones at the
top and bottom are controlled by the Y position, those on the left and right sides are controlled
by the X position. The controls set the modulation amount, the menus select the modulation
destination. The On / Off buttons enable and disable the modulation path. Clicking on the XY
label bypasses the XY Pad altogether.
XY CONTROLS
Mode
The XY Pad operates in Poly, Free or Mono mode. The Mode setting determines how the XY
responds when you play 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, so it is not reset when you play a key.
All notes share the same XY Path. In Free mode the XY Path is
looped automatically. If you are using a sequencer, the XY Free is
reset when you restart the sequencer.
Mono All notes played share the same XY Path, but the XY Path is reset
with every new key you play.

Loop
When Loop is On, the XY position jumps from the end of the path, back to the start of the path
and keeps moving. In the < > mode, the XY Path loops but travels back and forth along the
path. When Loop is Off it travels the XY Path one-way only once.
Sync To
By default, when the XY Path is replayed, it plays back at the speed with which it was recorded.
However, if you want to alter this, the Sync To menu enables you to set the time period the XY
Path takes to play back. This is set in quarter-beats and is synced to the hosts tempo.
Points
Paths are stored as points and lines that connect the points (up to 128 points and the
connections in-between). You can change the number of points stored, using the Points menu.
The minimum number of points is 4, suitable for very straightforward paths. If you return the
resolution to 128 points (Off), the original points will be restored.
Space Quantize
Space Quantize restricts the paths position to a set of grid lines. The default setting is Off. When
you select a grid of 32, 16, 8 or 4 grid lines, BLADE-2 will snap all points to the nearest grid
point. The Quantize setting is non-destructive. Disabling Space Quantize will return the points to
their original positions.
Time Quantize
Time Quantize sets the update frequency of the XY position. Use this in conjunction with the
Sync function to find an optimal balance between update frequency and number of points in the
path.
Play Speed
The Play Speed control changes the playback speed of the recorded XY Path. It ranges from
1/16 of the set time to 16 times the set time.
Smooth
The smooth control will soften any corners in a path. Use this control if you want to avoid
sudden changes (which may sound harsh) in modulation signals.
Speed Control
Speed Control selects a Speed modulation source (via the menu) and sets the maximum
modulation amount.
Edit
The Edit button located near the XY Pad puts the XY Path in edit mode. While in edit mode, you
can move the path’s points around and thus edit the XY Path manually.

Commands
A right click on the XY display or the command button opens the XY Command Menu.
Edit Position Enables editing of the paths points.

Edit Grouping Single Only the selected point is edited.
Edit Grouping Narrow The 3 points before and after the current position are selected for
editing.
Edit Grouping Wide The 8 points before and after the current position are selected for
editing.
Reset Position Reset the XY position.
Reset All Resets all XY settings.
Reset Modulation Resets all XY modulations controls.
Copy Copies the current XY settings.
Paste Pastes the last copied XY settings.
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 center by a set amount.
Undo Undo the last command.
Latch X/Y Latches the X/Y position to the next received MIDI CC control.
Set X/Y CC Opens an input box where you can set the MIDI CC to link the X/Y
position to.
Unlatch X/Y Unlatches the X/Y MIDI latching.
Load XY Preset Loads a previously saved XY Preset.
Save XY Preset Saves the current XY settings in a Preset.
XY Presets Shows all previously saved XY Presets. Select one to load it.

ARPEGGIATOR
BLADE-2 incorporates a classic style Arpeggiator. If you select the Sequencer mode, it works
as a classic analog style sequencer.
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 controls for making rhythmic patterns, and offers
Tune, Tie, Velocity, Free, XY and ratcheting parameters for each step. The Velocity, XY and
Free rows can be used in the Modulation Matrix to control the other BLADE-2 parameters.
Other features of BLADE-2’s Arpeggiator include Sequencer Mode and Modulation Mode. The
latter may be used in the Non-Arpeggiator Play modes Poly, Mono and Legato. The Arpeggiator
becomes a Modulation Source.
Open the Arpeggiator page by clicking on the ARP label. To activate the Arpeggiator, click on
the On button in the Arpeggiator screen (or set the Play Mode to Arp).

Arpeggiator A / B Play Mode.
The Play Modes are
Arpeggiator A plays Arpeggiator A only.

Arpeggiator B plays Arpeggiator B only.
Join play Arpeggiator A, then Arpeggiator B, then Arpeggiator A and so
on.
Top the top MIDI keys sets which sequence is played, MIDI notes 93 sets
the Arpeggiator to A and MIDI note 94 sets the Arpeggiator to B.
Arpeggiator A and B have their own Step and Speed menus. All other settings are shared
between the two.
Steps
Set the number of steps in the Arpeggiator pattern, from 1 to 16 steps.
Speed
The Speed control sets the speed of the Arpeggiator relative to the Host’s tempo. For example,
to double the arpeggiator speed, select 2x tempo.

Arpeggiator Screen
The Arpeggiator has up to 16 steps. Per step you can set the following values:
Step Number Click on a Step Number to Mute/ Unmute it
Tie Tie links the step to the previous steps and as such extends the note
lengths.
Slide Slides the pitch from one step to the next. The slide rate is set by the
Slide control.
Tune Each step has a range of -3 octaves to +3 octaves in semitones.
Vel Vel defines the Velocity value of the step.
Free The Free property can be used in the Modulation Matrix as a

modulation source.
X/Y The X and Y row values directly change the X and Y positions.
Ratcheting Ratcheting repeats notes within the time interval of a single step. The
Ratcheting setting determines the number of repeats. Ratcheting can
be mad conditional via the Ratcheting Menu / Vel > Ratcheting knob
(see below).
Double clicking on a value will set that value to its default. Moving the mouse with shift press
down allows for fine changes to a value, and right click brings up the Arpeggiator menu. This
allows you to copy, paste, clear, swap values, enter values numerically and load / save
Arpeggiator settings.
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
Reverse 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
Sequencer In this mode the Arpeggiator acts as a sequencer and plays the
programmed pitches relative to the played note. It continues playing
in sequence with every new note played.
Note: The Octave setting remains active, which allows you to create
more complex sequences.
Sequencer Reset In this mode the Arpeggiator acts as a sequencer and plays the
programmed pitches relative to the played note. The Sequencer
resets to Step 1 with every new note played.
Note: The Octave setting remains active, which allows you to create
more complex sequences.
Octave
The octave setting gives you the option to play the arpeggiated notes in multiple octaves,
relative to the original notes. For example, an octave setting of 2 results in the original notes
being played first, followed by the same notes one octave higher.
Note: The Octave setting remains active also if the Sequencer or the Sequencer Reset mode is
active.
Tie Mode
Tie Mode determines how programmed values for Tuning, Velocity behave when Steps are tied.
The options are:

Normal Tied steps do not have individual slide, tune, velocity and free settings.
Special Tied steps do have still individual slide, tune, velocity and free settings.
Toggle 1 The Arpeggiator alternates between Special Mode and Normal Mode
(Special Mode on the first cycle).
Toggle 2 The Arpeggiator alternates between Normal Mode and Special Mode
(Normal Mode on the first cycle).
Step Len
This controls how long each Arpeggiator note/step is. Note that a 100% setting is needed if you
use a tied step!
Swing
Swing is a control that changes 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.
Slide
Slide works as an intra-sequence portamento. It sets the time it takes for the pitch to change
between adjacent steps.
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.
Ratchet Mode
Ratchet mode controls how the ratcheting works, the ratcheting can be set to change every time
the Arpeggiator cycles (depending on the mode).
Off The ratcheting is always off.

On The ratcheting is always on.
Off / On Cycle The ratcheting alternates per cycle, starting with off and then on, and
then off, and so on.
On / Off Cycle The ratcheting alternates per cycle, starting with on and then on, and
then on, and so on.
2 Off / 1 On Cycle The ratcheting alternates per cycle, starting with off then off and then
on, and so on.

3 Off / 1 On Cycle The ratcheting alternates per cycle, starting with off then off then off
and then on, and so on. In a repeating pattern Off / Off / Off / On
1 On / 2 Off Cycle The ratcheting alternates per cycle, starting with on, then off and
then off, and so on.
1 On / 3 Off Cycle The ratcheting alternates per cycle, starting with on, then off, then off
and then off, and so on.
Velocity The ratcheting is on if the note velocity is below the value set in the
Vel > ratcheting knob.
Host Sync
The Host Sync switch synchronizes the arpeggiator with your DAW’s tempo. It will start on a
quarter beat and is On by default.
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. Please see the
MIDI section on how to set this up.
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 carries over between
a change of Presets, but it can’t be modified. It will not change the
new Preset.
Set The current (locked) Arpeggiator sequence is saved with the new
Preset. Locking is turned off in the new Preset.
Key Entry
This switch enables keyboard entry of the notes in the Arpeggiator sequencer. A value of 0 is
used as middle C.
Arpeggiator Command Menu
The Arpeggiator command menu allows you to Edit, Copy, Paste, Clear, Save and Load
Arpeggiator settings. A right click in the Arpeggiator or the Command menu button activates this
menu.

HARMOLATOR MODULATION
On the HARM MOD page, you find controls that directly address the Harmolator / Additive
parameters and Filter Frequency via a number of preconfigured modulation sources. For the
Additive Oscillator you can control the X and Y position and thus change / mix / morph between
the Additive Wave-sets.
Open the Modulation page with a click on the HARM MOD button.

Harmonic / Additive / Filter Velocity
These knobs allow you to modulate the Harmolator / Additive / Filter controls using key velocity.
Clicking on the Velocity label bypasses the Velocity modulation. Clicking on one of the
Harmolator / Additive / Filter labels, bypasses that specific modulation route.
Harmonic / Additive / Filter Envelope

These knobs allow you to modulate the Harmolator / Additive / Filter controls using an
Envelope. Clicking on the Envelope label bypasses the envelope modulation. Clicking on one of
the Harmolator / Additive / Filter labels, bypasses that specific modulation route.
Sync
Graphic Envelope controls.

By default, the graphic Pitch / Free Envelope appears. If you prefer knob-type controls, you can
enable these via the Control Menu. Access the Control Menu by clicking on the three-line icon in
the upper right corner of the BLADE-2 window.
Curve control
By holding the control key and moving the mouse, it is possible to change the Attack curve and
the Decay/Release curve of the Harmolator Envelope. These curve controls also appear in the
dials in Pitch / Free Envelope section.
The default settings of BLADE-2 are linear for the Attack parameter and exponential (-20) for
the Decay and Release parameters.
Right clicking brings up the envelope menu, which allows you to latch / unlatch the envelopes
parameters to MIDI CC values, reset the envelopes parameters, set the values numerically,
save the envelopes to disk or load in previously saved envelopes.
ENVELOPE CONTROLS
Pre-Delay
Pre-Delay defines the time interval between the beginning of playing a note and the start of the
Attack phase.
Attack
An envelope always rises from 0 to 100% and falls back to 0% when the key is released. Attack
controls how fast it rises to 100%. So, if you open the Attack control knob, it takes longer to go
from 0 to 100%. With Attack closed, the envelope starts at 100%. The Attack Shape knob
controls the shape of the Attack, from logarithmic to exponential.

Decay
After the attack stage, with the envelope at 100%, the decay stage is reached. Decay reduces
the envelope level to the sustain level over a set time. So, if you use a long decay, it takes
longer to reach the sustain level. If the sustain level is 100% the Decay has nothing to fall to and
so the sustain stage is reached immediately after the attack. The Decay / Release Shape knob
controls the shape of the Decay, from logarithmic to exponential.
Sustain
Next, we have the sustain stage. After the attack and decay stage, the envelope reaches the
sustain stage and remains here for as long as you have a key pressed down. The sustain level
is the level of this sustain stage. Sustain level in the Free Envelope means that the
level(amount) selected in the destination parameter stays for as long as you hold down the
key(s).
Sustain Fade
If the fade is set to off, the sustain remains at the sustain level i.e. it is a classic sustain If you
open the fade amount in a positive direction the sustain changes into a second attack. So, after
the Decay reaches the Sustain level it starts rising to 100% again and the time it takes to reach
100% is set by the Fade time. If you open the fade amount in a negative direction the sustain
changes into a second decay. So, after the Decay reaches the Sustain level it starts falling to
0% again and the time it takes to reach 0% is set by the Fade time.
Release
After you have released a key (note) the release stage starts. The envelope then decays from
the sustain level to 0%, the amount of time this takes is set by the release knob. At the
maximum value of the release knob there is no release stage, when you release a key the
envelope stays at its current value. The Decay / Release Shape knob controls the shape of the
Release, from logarithmic to exponential.
Key-Track
The Key-Track knob controls how much the envelope changes depending on the note played.
At 0% the envelope plays the same speed independent of which key is pressed, at positive
amounts higher notes generate faster envelopes than lower notes, at negative amounts lower
notes generate faster envelopes than higher notes.
Harmonic / Additive / Filter LFO

These knobs allow you to modulate the Harmolator / Additive / Filter controls using an LFO.
Clicking on the LFO label bypasses the LFO modulation. Clicking on one of the Harmolator /
Additive / Filter labels here, bypasses that specific modulation route. The LFO has the following
controls.

Waveform
Selects the LFO waveform from Sine, Triangle, Saw Up, Saw Down, Square and S&H. Sinus
and Triangle are often used because they produce a smooth periodic modulation signal as used
in expressing vibrato and tremolo. The other waveforms create more specialised modulation
signals.
Mode
Mode determines how the LFO behaves in response to monophonic or polyphonic playing. The
options are:
Poly Each note played uses its own LFO and each LFO starts from the
zero position
Free The LFO is free running and all notes share the same LFO. The LFO
is not reset when you play a key.
Mono A single LFO is used. It is reset with every note played
Speed
Speed sets the LFO frequency. If Sync is enabled, the speed is displayed in note durations.
Sync
If you turn Sync On, the LFO Speed is based on the host tempo. This synchronises the LFO
with the song tempo. Adjust the Speed parameter for the desired rhythmic effect.
Speed control and source

Allows you to modulate the Pitch LFO’s speed using BLADE-2’s modulation sources. Control is
the amount of modulation and source sets the modulation source.
Harmonic / Additive / Filter Modulation Source

There are two freely selectable Modulation Sources to modulate the Harmolator / Additive /
Filter controls. Any available BLADE-2 modulation source can be assigned via the Source 1/2
menu.
Clicking on the Source 1/2 label bypasses all modulation paths originating from Source 1 or 2.
Clicking on one of the Harmolator or Filter labels, bypasses that specific modulation route.

MATRIX MODULATION
The MOD screen brings together BLADE-2’s free modulation sources and Modulation Matrix.
Note that BLADE-2 has an Envelope and LFO dedicated to Pitch Modulation. Open the
Modulation Screen by clicking on the Mod button.

Pitch / Free 1 and 2 Envelope
The Pitch Envelope is hard-wired to BLADE-2’s pitch. Clicking on the Env label bypasses it.
Free Envelope 1 and 2 are modulation sources that can be assigned via the modulation matrix.
Use the radio buttons (Pitch Env, Free Env 1 or Free Env 2) to select between the different
envelopes.
Graphic Envelope controls.

By default, the graphic Pitch / Free Envelope appears. If you prefer knob-type controls, you can
enable these via the Control Menu. Access the Control Menu by clicking on the three-line icon in
the upper right corner of the BLADE-2 window.
Curve control
By holding the control key and the moving mouse, it is possible to change the Attack curve and
the Decay/Release curve of the Harmolator Envelope. These curve controls also appear in the
dials in Pitch / Free Envelope section.
the Decay and Release parameters.
Pre-Delay
Pre-Delay defines the time interval between the beginning of playing a note and the start of the
Attack phase.
Attack
An envelope always rises from 0 to 100% and back to 0% when the key is released. Attack
controls how fast it rises to 100%. So, if you open the Attack control knob, it takes longer to go
from 0 to 100%. With Attack closed, the envelope starts at 100%.
Decay
After the attack stage, with the envelope at 100%, the decay stage is reached. Decay reduces
the envelope level to the sustain level over a set time. So, if you use a long decay, it takes
longer to reach the sustain level. If the sustain level is 100% the Decay has nothing to fall to and
so the sustain stage is reached immediately after the attack.
Sustain
Next, we have the sustain stage. After the attack and decay stage, the envelope reaches the
sustain stage and remains here for as long as you have a key pressed down. The sustain level
is the level of this sustain stage. Sustain level in the Free Envelope means that the
level(amount) selected in the destination parameter stays for as long as you hold down the
key(s).

Sustain Fade
If the fade is set to off, the sustain remains at the sustain level i.e. it is a classic sustain If you
open the fade amount in a positive direction the sustain changes into a second attack. So, after
the Decay reaches the Sustain level it starts rising to 100% again and the time it takes to reach
100% is set by the Fade time. If you open the fade amount in a negative direction the sustain
changes into a second decay. So, after the Decay reaches the Sustain level it starts falling to
0% again and the time it takes to reach 0% is set by the Fade time.
Release
After you have released a key (note) the release stage starts. The envelope then decays from
the sustain level to 0%, the amount of time this takes is set by the release knob. At the
maximum value of the release knob there is no release stage, when you release a key the
envelope stays at its current value.
Sync
Amount
Sets maximum range for pitch change that the Pitch Envelope creates (up-to 3 octaves up or
down).
Amount control and source

Allows you to modulate the Pitch envelope using BLADE-2 s regular modulation sources.
Control is the amount of modulation and source the modulation source.
Key-Track
At 0% the envelope plays at the same speed independent of which key is played. A positive
amount creates faster envelopes for higher notes. A negative amount results in lower notes
playing with faster envelopes than higher notes.
PITCH / FREE 1 AND 2 LFO

The Pitch LFO is hard-wired to BLADE-2’s pitch. Clicking on the LFO label bypasses it. Free
LFO 1 and LFO 2 are modulation sources that can be assigned via the modulation matrix. Use
the radio buttons (Pitch LFO, Free LFO 1 or Free LFO 2) to select between the different LFOs.
Waveform
Selects the LFO waveform from Sine, Triangle, Saw Up, Saw Down, Square and S&H. Sinus
and Triangle are often used because they produce a smooth periodic modulation signal as used
in expressing vibrato and tremolo. The other waveforms create more specialised modulation
signals.

Mode
Mode determines how the LFO behaves in response to monophonic or polyphonic playing. The
options are:
Poly Each note played uses its own LFO and each LFO starts from the
zero position
Free The LFO is free running and all notes share the same LFO. The LFO
is not reset when you play a key.
Mono A single LFO is used. It is reset with every note played
Speed
Speed sets the LFO frequency. If Sync is enabled, the speed is displayed in note durations.
Sync
If you turn Sync On, the LFO Speed is based on the host tempo. This synchronises the LFO
with the song tempo. Adjust the Speed parameter for the desired rhythmic effect.
Humanization
Humanization introduces small random variations in the LFO speed.
Symmetry
This controls the LFO symmetry, It determines how quickly the LFO reaches its middle point.
This can be useful in combination with the square wave to change the pulse width.
Phase
Sets the initial phase of the LFO
Smooth
Smooths the LFO signal. This can be useful in combination with the square or S&H waveforms.
Speed control and source

Allows you to modulate the Pitch LFO’s speed using BLADE-2’s modulation sources. Control is
Amount
Sets maximum range for pitch change that the Pitch LFO creates (one semitone up and down).
Amount control and source

Allows you to modulate the Pitch LFOs amount using BLADE-2’s modulation sources. Control is

MODULATION SLOTS
BLADE-2 has 16 free modulation slots, which can be used to modulate any of the controls.
Eight modulation paths are visible at any one time in the modulation matrix screen. Use the
scroll bar on the right-hand side to show all modulation paths.
Bypass 1 – 16
This bypasses the modulation source
Source 1 – 16
Select one of BLADE-2’s modulation sources.
Destination 1 – 16
Select one of BLADE-2’s modulation destinations.
Destination amount 1 – 16
This is where you select the amount of the modulation. This can be a positive or a negative
modulation depending on the selected parameter.
Amount control 1 - 16 and source

This is where you select the controller for controlling the destination amount parameter. With the
amount control you can set to what extent this control modifies the destination amount value.
This can be either a positive or a negative amount: you can increase the modulation or
decrease the modulation.
Lower / Upper threshold 1 – 16

Sets the range in which the modulation path operates. Below the lower threshold the modulation
is turned off. Between the lower and upper thresholds, the modulation amount goes from the
minimum to maximum amounts. Above the upper threshold, the modulation amount is capped
at the maximum value.
Offset / Amount 1 – 16
This is where you select the offset and amounts for the modulation. Offset controls the minimum
amount and amount controls the maximum amount. This can be a positive or a negative
modulation depending on the selected parameter.
Double click on a value sets it to its default value. Holding the Shift-key enables you to fine-tune
a value. Right clicking on the modulation matrix opens the command menu. It includes
commands to clear, copy, paste and bypass the modulation matrix, save it to disk and reload it,
and to clear, copy, move and bypass individual modulation slots and to enter values
numerically.

USER WAVE
In BLADE-2, you can load in your own small waves (typically single cycle ones), which get
analysed and partials determined. The result can be used as a User Wave. You can select the
User Wave Analysis Screen by clicking on the Wave button.
The loaded sample is displayed in the top-half of the screen. To load a sample (in .wav format)
click on Load Sample. A dialogue box will appear prompting you to select a sample to load.

The name of the sample and the selection start / end points are listed in the top-line of the
sample screen. Select a region to be analysed for the User Wave by clicking on the sample
screen. Right clicking previews the selection
Note: If you enable the Preview button then playing a note on your keyboard will preview this
as well.
The Extract button starts the analysis and extraction process for the partials. The resulting
waveform is displayed in the User Wave screen at the bottom of the window. With Auto-Extract,
enabled, every time you select a different section of the sample, the partials for that section will
be generated automatically.
Other commands are
Zoom In / Out / Reset Zooms in or out of the sample (or resets the zoom). Moving the
scroll bar in the bottom of the sample screen allows you to move
around this zoomed sample.
Wave Start Position Move the start position left or right in coarse steps (< or >) or fine
steps (<< or >>).
Wave Length Change the length of the selection by increasing or decreasing it in
large steps (< or >) or smaller steps (<< or >>).
Lock Locks the selected length, so moving the start position will move the
end position and the length is preserved.
Select All Selects the complete sample.
Note Sets the length of the selection via MIDI note (i.e. at 44.1kHz an A
note at 110hz will select 44100 / 110 = 400 samples). You can either
use the MIDI Note menu or click Key Entry and play a note. Set to
Note then adjusts the length of the selection accordingly.
User Waves The bottom display shows the current User Wave. This can be a
freshly extracted sample or one a previously saved in the Preset and
loaded from disk.
Save User Wave Saves the current user wave to disk.
Load User Wave Loads a User Wave from disk.
Clear User Wave Clears the User Wave.

PLAY MODE
In the Play Mode section, you control how BLADE-2 responds to notes played, either polyphonic
or monophonic or set them to be triggered by the internal arpeggiator.
You can select the Play Screen by clicking on the Play Mode button.

Play modes
Poly BLADE-2 operates in polyphonic mode and has 16 voices.
Mono BLADE-2 operates in monophonic mode and uses 1 voice. Only a

single note can be played at a time. If a second note is played, while
the first one is held, the envelope is retriggered for the second note.
If this new note is released, the previous note is retriggered.
Legato BLADE-2 operates in monophonic mode and uses 1 voice. Only a

single note can be played at a time. If a second note is played, while
the first one is held, the envelope is not retriggered (i.e. the
envelopes don’t restart), and if you release this second key the pitch
returns to the original note without retriggering.
Arp Arp mode enables the Arpeggiator. See the Arpeggiator chapter for
the details.
Poly MPE BLADE-2 operates in polyphonic mode according to the MPE

specification. Each of the 16 voices operates on its own MIDI
channel. This allows you to apply Pitch Bend and Aftertouch to
individual notes/voices, rather than to all voices simultaneously.
MPE
MPE is a relatively new addition to the MIDI specification, the universal protocol for electronic
music. MPE is short for MIDI Polyphonic Expression. MPE is a method of using MIDI that
enables multidimensional controllers to control multiple parameters of every individual note
within MPE-compatible software
MPE allows digital instruments to behave more like acoustic instruments in terms of
spontaneous, polyphonic sound control. Musicians express parameters like pitch, timbre (Filter)
and so on for individual notes at the same time.
To use MPE in BLADE-2 requires the use of an MPE controller. Examples are the Roli
Seaboard or Seaboard Blocks and the Linnstrument.
In BLADE-2 you need to select the MPE mode in the Play Mode section via the Play Mode
menu. In MPE mode each MIDI channel triggers a note on a set voice. MIDI Channel 1 triggers
a note using Voice 1, MIDI Channel 2 plays Voice 2 and so on.
Before using the Poly MPE mode you also need to make the correct setting in your music host
program. The DAW (host) Track needs to respond to all MIDI Channels (All or Omni) so that it
can pass all MIDI Channel information on to BLADE-2.
BLADE-2 must also be set to OMNI in its MIDI Channel setting. This setting is available in
BLADE-2’s Back Panel. To access the Back Panel, click on the logo of BLADE-2.

Portamento
The Portamento knob sets the portamento speed. It determines the time it takes to change pitch
between subsequent notes. The portamento menu controls the portamento modes, which are:
Off No portamento. Pitch transitions happen instantaneously.
Constant Rate The pitch changes with a fixed speed. Larger note intervals ranges
take a longer time.
Constant Time The pitch change takes a fixed time, regardless of the note interval.
Held Rate Same as Constant Rate but the portamento effect only occurs when
you hold a note while playing the next.
Held Time Same as Constant Time but the portamento effect only occurs when
you hold a note while playing the next.
Pitch Bend Up / Down

The maximum range for the Pitch Bend wheel is defined through separate Up and Down
settings. The unit used is semitones.
CHORD/ STRUM
The Chord Note menu defines chords of up to 8 notes. These are triggered when you play a
single note. The Chord definition is saved as part of the Preset. Please note that the limit of 16
voice polyphony still applies (e.g. you can only play 4 4-note chords at any time)
The strum speed controls the timing between the chord’s individual notes. This is what creates
the strumming effect, like playing chords on a guitar. Strum Sync allows you to sync the strum
speed to the tempo.
In the Chord Display you set the tuning of each chord voice in semi-tones
(-36 to +36 semitones), its velocity and panning. You cannot change Chord Note 1 tuning. It is
the chord’s root note, but you can still change its velocity and panning. Double clicking resets
the values. Right clicking opens a menu with entries to clear, reset and enter values.
GLOBAL SETTINGS
Tuning
The Tuning control sets the global reference tuning of all voices in the Preset in Hz

Warmth
This sets the amount of Analog drifting, as in an old Analog synthesizer. The higher this amount,
the more the BLADE-2’s oscillators will drift in pitch over time. The setting is part of the Preset.
Velocity Shape
Velocity shape defines BLADE-2’s response curve to the keyboard input velocity or host input.
The response ranges from Exponential (negative values) to Linear (0) to Logarithmic (positive
values). The default is Linear (0).
Note: Many keyboards already have a built-in velocity curvature response setting. The
default of 0 is probably the best to start with. The setting is part of the Preset.
Filter Envelope Attack / Decay / Release Curve
The response curve for the Filter Envelope Attack / Decay and Release stages has a range
from Exponential (negative values) to Logarithmic (positive values), with Linear segments in the
mid position.
Amplifier Envelope Attack / Decay / Release Curve
The response curve for the Amplifier Envelope Attack / Decay and Release stages has a range
from Exponential (negative values) to Logarithmic (positive values), with Linear segments in the
mid position.

PRE-FILTER DISTORTION
After the Harmolator / Additive / Analog /
Noise Oscillators the audio passes
through the distortion unit. It has a variety
distortion types and is operated by two
amount controls. In most cases, these
control the distortion intensity (amount) (Distort 1) and the dry/wet mix (Distort 2). Clicking on
the Distortion label bypasses the Distortion unit. The Distortion uses a built-in normalization
circuit to manage overly loud signals.
The table below lists the distortion types.
Bits Bit reduction effect, Distort 1 controls the bit rate.

Clipper Hard clipper, Distort 1 controls the top clipping amount, Distort 2 the
bottom clipping amount.
Cos Cos distortion effect.
Cross 1 Cross Distortion Type 1.
Cross 2 Cross Distortion Type 2, Distort 1 controls the top crossing amount,
Distort 2 the bottom crossing amount.
Foldover Fold-over distortion. This amplifies and then folds-over the signal.
Fuzz Fuzz-box distortion. Distort 2 controls the frequency.
Gapper Gapper distortion, Distort 1 controls the gapping frequency
Hard Limiter Hard Limiter, Distort 1 controls the limit.
OverDrive Overdrive effect.
Octave Octave effect type 2, shifting the sound up an octave. Distort 1
controls the upper mixing, Distort 2 controls the lower mixing.
Octave 2 Octave effect type 2, Distort 1 controls the frequency of the shift.
Power Power wave-shaping effect.
Rectify Rectifies the negative signal.
Ring Mod Ring modulates the signal, Distort 1 controls the frequency of the Ring
Modulation, Distort 2 controls the amount of Ring Modulation.
S&H Sample and holds the sign, Distort 1 is the sample rate
Saturate Saturation effect
SoftLimit Soft limiter. Distort 1 controls the mixing between normal and soft-
limited signal

Square Forces the signal into a square wave. Distort 1 controls the upper
mixing, Distort 2 controls the lower mixing.
Transient Distorts the transients, i.e. the initial attack of a sound. Distort 1 and
Distort 2 are the amount controls.

FILTER
Depending on the selected Filter Type
and parameter settings, the Filters
change the harmonic content of the
sound.
The source sound comes directly from

the Harmolator/Additive, Oscillator, Filter,
or the Distortion module.
The Filter can be turned On and Off by

clicking on the Filter label.
For the Filter Type, you can select Low-

pass (LP), High-pass (HP), Band-pass
(BP) and Notch Filter with different
slopes (from 6dB to 36dB), plus vocal /
formation, Comb Filter and Ring
Modulation.
Low Pass Filter (LP) Low frequencies pass through this Filter; those above the Cutoff
frequency are reduced by slope (i.e. 6, 12, 18, 24 or 36dB) per
octave.
High Pass Filter (HP) High frequencies pass through this Filter; those below the Cutoff
frequency are reduced by slope (i.e. 6, 12, 18, 24 or 36dB) per
octave.
Band Pass Filter (BP) This Filter mode is a combination of a Low-pass and a High-pass
Filter. Only those frequencies near the Filter Cutoff frequency pass
through (a band of frequencies), The resonance (Q), controls the
width of this band. Frequencies below and above the Cutoff
frequency are removed. The slope controls (12 / 24dB per octave)
how much these frequencies are removed.
Notch Filter The band of frequencies around the Filter Cutoff frequency is
reduced in volume (12 / 24dB per octave). The resonance controls
the width of the band.
For the 12 and 24dB there are 3 types of Filters (1/2/ZD). Each has a unique tonal character.
The ZD Filters are Zero Delay Analog modelled Filters.

Additional filter types include:
Vocal Filter Vocal Filter, which adds a voice-like character to the sound. In
Vocal Filter mode, the Vowel knob controls the vowel of the Filter.
Formant 1 Vocal Filter, which creates a vocal character based on 2 bands.
The Vowel knob changes the difference in frequency between
these 2 bands.
Formant 2 Vocal Filter, which creates a vocal character based on 4 bands.
The Vowel knob changes the difference in frequency between
these 4 bands.
Comb Filter A Comb Filter is a very short delay which either enhances or
reduces frequency depending on the Comb Filters frequency. In
the + Comb Filter the feedback of the Comb Filter is positive, and
in the – Comb Filter, the feedback of the Comb Filter is negative.
Ring Modulation The Ring Modulation Filter multiplies the incoming signal with a
sine oscillator with its frequency set by the Filter frequency. The Q
dial controls the amount of Ring Modulation.
FILTER CONTROLS
Frequency
The Cutoff Frequency sets the frequency above or below which the Filter begins to Filter
frequencies. For instance, if you set the Cutoff to 2000Hz and use a 12dB Low-pass Filter it
reduces any frequencies above 2000Hz. Any frequencies at 4000Hz will be reduced by 12dB.
The Cutoff frequency can be static at a single set frequency, but for more dynamic sounds, try
modulating the Cutoff Frequency with the Filter Envelope, Keyboard tracking or Modulation
Wheel.
Separation
Slightly changes the Filter frequency of the left and right channels. The left channel Filter will
have a different Filter frequency than the right channel Filter.
Smooth
When enabled, the Filter tracks the input volume into the Filter and adjusts the output volume of
the Filter to an identical level.
Q (Resonance)
Q is the resonance level of the Filter. Resonance emphasizes frequencies around the Cutoff
frequency and creates a peak in the frequency spectrum. As you increase the Resonance, the
effect becomes more pronounced until the Filter self-oscillates. In the Comb Filter the
Resonance controls the amount of feedback, and in Ring Modulation the amount of Ring
Modulation.

Vowel
Controls the vowel used in the Vowel Filter or the spread of the Filters in the Formant Filters.
CUTOFF FREQUENCY MODULATION

Velocity (Vel)
Velocity modulation changes the Main Filter Frequency based on how hard you strike the keys
(its velocity). If BLADE-2 is in Arpeggiator mode, the Arpeggiator velocity settings change the
Main Filter Frequency.
Key Track
Key tracking applies Cutoff Frequency modulation based on note position. Typically, the Cutoff
frequency increases, i.e. the Filter opens, with notes played higher on the keyboard. When you
use negative modulation values, the Main Filter Frequency decreases with increased pitch.
Modulation Wheel
This control sets the level Cutoff modulation by the Modulation Wheel. It represents a hard-
wired modulation routing
Envelope (Env)
The Filter Envelope Amount controls how much the Filter Envelope alters the Main Filter
Frequency. When Filter Envelope Invert is turned off, the Main Filter Frequency increases as
the envelope level rises. When Filter Envelope Invert is turned on as the envelope level rises
the Main Filter Frequency is lowered.
The Filter Envelope Invert button is shown in the Filter Envelope section.
FILTER ENVELOPE
The Filter Envelope is wired to control the Main Filter Frequency. The level is set by the Env
Amount control in the Filter section. The Filter Envelope Invert button determines its polarity (i.e.
if it increases or decreases the Main Filter Frequency).
An Envelope is a time-based modulation section in a synthesizer. When you play a key, the
envelope moves from 0% to 100% and back to 0% when you release the key. The envelope is
made up of five segments. The first part is known as the Attack. The Attack control represents
the time it takes to reach 100%. The second part is known as the Decay
and controls the time it takes to reach the Sustain level. The Sustain level is the level
maintained while the key is being held. Finally, when you release the key, the Release segment
sets the time for the Envelope level to return to 0%.
An additional envelope feature of BLADE-2 is Fade. Fade operates as a second Attack or

Decay stage and starts as soon as the Decay reaches the Sustain level. Positive values take
the envelope from the Sustain level up to 100%. Negative values take the envelope from the
Sustain level down to 0%.

To hear the full effect of the Filter Envelope you should open the Env amount, which you can
find in the Filter section.
GRAPHIC ENVELOPE CONTROLS.

By default, the graphic Filter Envelope appears. If you prefer knob-style controls, you can
disable the graphic envelope default in the Control Menu. Access the Control Menu via the
three-line icon in the upper right corner of the BLADE-2 user interface.
Curve control
By pressing the control key and the mouse, it is possible to change the Attack curve and the
Decay/Release curve of the Filter Envelope. These curve controls also appear in the Play-mode
section, which can be selected in the middle section of BLADE-2.
the Decay/Release parameter.
ENVELOPE CONTROLS
Attack
100%. An Attack time of 0 start the Envelope instantly at full level (100%). The Attack Shape
knob controls the shape of the Attack, from logarithmic to exponential.
Decay
Sustain level is reached immediately after the Attack stage. The Decay / Release Shape knob
controls the shape of the Decay, from logarithmic to exponential.
Sustain

Sustain Fade
control.
Release
there is no release stage, when you release a key the envelope stays at its current value. The
Decay / Release Shape knob controls the shape of the Release, from logarithmic to
exponential.
Key-Track
At 0% the envelope plays the same speed independent of which key is pressed, at positive
amounts higher notes generate faster envelopes than lower notes, at negative amounts lower
notes generate faster envelopes than higher notes.
Sync
This allows you to sync the envelopes stages period to the current tempo

AMPLIFIER
Whilst the Oscillator section controls the
sound initial color and pitch, and the
Filter section changes the timbre, the
amplifier section is responsible for the
volume. It amplifies the signal and
controls the Volume and its contour by
using an Envelope.
Note that since BLADE-2 is a virtual

synthesizer, the amplification of the
Filter signal is not really happening, but
for understanding the signal flow and the general naming of parts in subtractive synthesis, we
have kept its name as the Amplifier Section.
A notable feature is the distortion control in the AMP section. The distortion operates on a voice
level. This means that each voice (BLADE-2 plays up to 16 voices simultaneously) uses its own
distortion. Playing polyphonically does not impact the way the distortion sounds.
The primary controller for the Volume is the Volume Envelope. This controls the volume contour
over time.
Also, in the Amp section you can find Velocity Control. This controls how BLADE-2 responds to
the Velocity of the keyboard or the Arpeggiator.
Distortion
The Amplifier incorporates a Distortion section. In practice, it increases the volume of the signal
and adds distortion (additional overtones) to the signal. The Amount control sets the level of
distortion.
It is important to note that the distortion configuration gives each BLADE-2 voice its own
distortion! When you play multiple notes, each note has its own Distortion effect. This results in
a different type of sound compared to having all voices going through a single distortion unit.
Volume
The Volume sets the overall volume of the Preset.
Velocity (Vel > Vol)

The Velocity control determines how the sounds volume responds to changes in note velocity. It
applies to notes played on a keyboard and those triggered by BLADE-2’s Arpeggiator.
AMP Volume Envelope

An Envelope generates a time-based modulation signal. 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.

GRAPHIC ENVELOPE CONTROLS.
By default, the graphic Filter Envelope appears. If you prefer knob-style controls, you can
disable the graphic envelope default in the Control Menu. Access the Control Menu via the
three-line icon in the upper right corner of the BLADE-2 user interface.
Curve control
By pressing the control key and the mouse, it is possible to change the Attack curve and the
Decay/Release curve of the Amplifier Envelope. These curve controls also appear in the Play-
mode section, which can be selected in the center section of BLADE-2.
the Decay/Release parameter.
Right clicking open the envelope menu, which allows you to latch (and unlatch) the envelope’s
parameters to MIDI cc values, reset the envelopes parameters, set the values numerically, save
the envelopes to disk and load previously saved envelopes.
ENVELOPE CONTROLS
Attack
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%. An Attack value
of 0 means that the Envelope starts at full level (100%). The Attack Shape knob controls the
shape of the Attack, from logarithmic to exponential.
Decay
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 5 %, 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 longer 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 Decay / Release Shape knob controls the shape of
the Decay, from logarithmic to exponential.
Sustain
The Sustain stage is characterized 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 the main control for the
perceived volume of a sound.

Sustain Fade
If the Fade is set to 0 (Off), the Sustain works as a classic Sustain. If you turn the Fade control
level, the Envelope level starts to rise to 100% in the time set by the Fade control. If you turn the
reaches the Sustain level, the Envelope level starts to fall to 0% in the time set by the Fade
control.
Release
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. The Decay / Release Shape knob
controls the shape of the Release, from logarithmic to exponential.
Key-Track
The Key-Track knob controls how much the envelope Attack, Decay and Release times change
depending on the note played. At 0% the envelope plays the same speed independent of which
key is pressed, at positive amounts higher notes generate faster envelopes than lower notes, at
negative amounts lower notes generate faster envelopes than higher notes.

FX SECTION
The FX Section gives you access to the
3 effects for BLADE-2. One of
BLADE-2’s specialities is the ability to
control all effect parameters by MIDI or
use BLADE-2’s internal control signals in
the modulation matrix.
Click on the FX 1 / 2 / 3 blade-icon

select an effect for editing. Clicking on
an FX label turns the effect On and Off.
Bypass All disables the three effects for
a completely dry sound.
Path
Path represents the way in which the three effects are connected, they are:
Parallel The effects are arranged in parallel and all receive the same input signal.
The outputs of the three effects are summed and passed on to the output.
Serial The effects follow one another. The output of FX1 becomes the input for
FX2 and the output of FX2 becomes the input for FX3.
[1,2] > 3 The outputs of FX1 and FX2 are summed and passed on to FX3. The
output of FX3 then flows into FX 4
Commands
The Commands button opens the FX Command Menu and allows you to clear, reset copy,
paste and swap the effect settings.
Type
Type selects one of the 30 effects for one of the three effect units.
Mix
The Mix control sets how much the effects output is mixed with the original signal. When fully
counter clockwise, only the original signal is output. As you turn the control clockwise, more
effect signal will be mixed in.
Pan
Pan places the effect output in a stereo soundstage.

EFFECT TYPES
Mono Delay
Mono Delay is a tempo-based delay, great for making rhythmic grooves. It includes delay
modulation to enhance the delay effect.
Length Sets the delay time.
Feedback Feedback determines how much of the delayed signal is fed back to
its input. It is useful for creating dense delay patterns.
LP Filter The LP Filter applies a low-pass filter to the delayed signal. The
control sets the filter frequency. Use it in combination with the
feedback control
HP Filter The HP Filter reduces the low frequency content in the delayed signal.
The control sets the filter frequency. Use it to take out some of the
woolliness of the delayed signal.
Widen Widen creates a pseudo stereo image
Mod Amount Sets the level of delay time modulation
Mod Speed Sets the speed of delay time modulation

Stereo Delay / Tape Delay
The stereo delay is made up of two tempo-based delays. Each of the audio channels (Left and
Right) uses its own delay line. This effect type is useful for making deep pad sounds if you use
different delay times for left and right, e.g. 1/8* (Left) and 1/4 (right).
The Tape Delay type emulates the characteristics of a tape delay. It has the same controls as
the stereo delay.
Left Delay Left Delay sets the delay time for the left channel.
Right Delay Right Delay sets the delay time for the right channel.
its input. It is useful for creating dense delay patterns.
Cross Feed Cross Feed sets the feedback level between the left and right
channels and vice versa
Feed Equal When On, Feed Equal ensures that the left and right channels fade
out equally, regardless of the delay times
LP Filter The LP Filter applies a low-pass filter to the delayed signal. The
control sets the filter frequency. Use it in combination with the
feedback control
HP Filter The HP Filter reduces the low frequency content in the delayed signal.
The control sets the filter frequency. Use it to take out some of the
woolliness of the delayed signal.
Mod Amount Sets the level of delay time modulation
Sync When Sync is turned On, the length of the delays (in quarter beats) is
synced to the tempo of the host. When it is Off the delay time is set in
milliseconds.

Comb Filter
The Comb Filter effect uses two joined comb filters where the output of one is fed back into
the other one. Comb filters use a very short delay and have resonant frequency, based on the
length of the delay and the feedback amount.
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 1and2 Speed Feedback tempo-based modulation speed.

Reverb
The Reverb effect simulates room acoustics using different sizes and reflections.
Pre-Delay Pre-delay determines the time it takes for the first reverb reflections to
appear
Size The Size control represents the size of the reverberation room.
Damp The Damping control sets the amount of low-pass filtering applied to
the early reflections of the reverb signal
LP Filter The Low Pass filter is used to filter long trailing higher frequencies
from the reverb signal
HP Filter The high pass filter is applied to the overall reverb signal. The HP
Filter control sets the HP Filter Frequency. Use it when the input
signal contains many low frequencies and the reverb signal becomes
boomy.
Spread Stereo spread amount.
Length Sets the duration of the reverberation signal
Chorus / Tape Chorus

The chorus effect combines the original signal with one or more copies of the input. All copies
are slightly delayed. The effect simulates multiple players playing the same music. In practice, it
creates a richer sound. An LFO is used to modulate the delay time(s). The tape chorus uses the
tape delay model for the chorusing.
Length Length sets the delay time used to create the Chorus effect
Width Width sets the maximum modulation amount of the delay time (length)
Speed Speed sets the frequency of the LFO that drives the delay time
modulation.
Spread Difference in speed between the left and right channels.
LP Filter Low pass filter frequency.
HP Filter High pass filter frequency
Widen Stereo widening amount.

Chorus/Delay
This effect is a combination of chorus and delay. It is included to give additional flexibility in
combining several effect types.
Length Sets the delay length used to create the chorus in milliseconds.
modulation.
Spread Sets chorus length difference between left and right channels
Delay Length of the delay. The Delay effect follows the chorus in series.
Feedback Sets the delay feedback level
Delay Vol Volume of the delay.
Ensemble
Ensemble uses 6 chorus units. Every chorus uses unique settings. It creates the effect of
several copies of the sound playing simultaneously.
Length Sets the delay length used to create the chorus effects.
modulation.
Feedback Feedback of the choruses.
Ensemble Sets the amount of variation between the individual chorus units.
Spread Spread controls the panning of the chorus units from left to right.

Flanger / Tape Flanger.
The Flanger effect is created by creating two copies of the sound source with one of these
subject to a very short modulated delay. In contrast with the chorus effect, the delay time is
even shorter. The result is an enriched signal with comb filter characteristics. It is sometimes
described as a whooshing sound.
Length Length sets the delay time used to create the flanger effect
modulation.
its input. In the context of the Flanger effect, increased feedback
creates a more pronounced effect with a high level of resonant peaks.
Pan Mod Pan sets the amount of panning modulation
HP Filter High pass filter frequency.
Phaser
A phaser uses several comb filters that create moving peaks and troughs in the frequency
spectrum. It gives the effect of continuous movement in the sound.
Stages Number of stages in the phaser. This represents the number of filters.
Pitch Pitch sets the initial frequency of the comb filters
Feedback Feedback determines how much of the phased signal is fed back to its
input
Width Width sets the maximum amount of modulation of the filters
Speed Speed determines how fast the filters move through the frequency
spectrum
Spread Amount the phaser stages are spread from the central pitch.
Pan Mode Pan sets the amount of panning modulation

Analog Phaser
The analog phaser uses a different filter model based on analog electronics to create a
phaser effect.
Stages Number of stages in the phaser. This represents the number of filters.
Pitch Pitch sets the initial frequency of the comb filters
Feedback Feedback determines how much of the phased signal is fed back to its
input
Width Width sets the maximum amount of modulation of the filters
Speed Speed determines how fast the filters move through the frequency
spectrum
Spread Amount the phaser stages are spread from the central pitch.
Pan Mode Pan sets the amount of panning modulation
Q Sets the resonance amount of the Tape Phaser Filters
Wah Wah/Delay
Wah Wah/Delay produces a Wah Wah effect by running the signal through a lowpass-filter
with frequency modulation. There is a built-in delay which adds echoes to the sound.
Low Range Lowest Frequency of the filter. Sets the lower limit of the filter frequency
modulation range.
High Range Highest Frequency of the filter. Sets the higher limit of the filter
frequency modulation range.
Speed The rate at which the filter frequency changes. Tempo based.
Resonance Controls the resonance of the low-pass filter.
Delay Sets the delay time. The delay is placed after the Wah-Wah effect.
Feedback Feedback amount
Delay Vol Volume of the delay.

AutoWah
Autowah uses a low/bandpass filter to filter the signal. It uses the volume of signal to derive a
control signal top change the filter frequency.
Type Selects the auto-wah filter type: lowpass or bandpass

Low Frequency Lowest frequency of auto-wah filter
High Frequency Highest frequency of auto-wah filter
Amount Sets the modulation strength
Q Resonance / Bandwidth of the autowah filter
Smooth Smooth eliminates sudden changes in the filter frequency modulation.
Distortion
The audio signal is distorted 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 Gain of the band pass filter.
Post-Boost Amount of amplification post-distortion.
M-Wheel>Tone Amount the band pass filter frequency is changed by the modulation
wheel.

Multi Distort
Multi Distort offers a variety of distortion types
Type Different types of distortion are available. Select from: None, Atan, Cos,
Cross, Foldover, Fuzz, Limiter, Overdrive, Power, Rectifier, Saturator,
Square. None means that no distortion is used
Pre-Boost Sets the amount of amplification before going into the distortion
Amount 1 Sets the distortion level
Amount 2 Additional distortion parameter for Fuzz
Normalize 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 Amount of amplification post-distortion.
Clipper
Clipper distorts the audio by chopping off the peaks in the input signal waveform.
Drive Drive sets the amount of amplification to drive the distortion unit
Tone Tone operates a high pass filter to set the tonal character of the
distortion.
Limit Limit sets the threshold above which the clipping comes into effect.
Symmetry Sets the balance between the clipping of the negative and positive
peaks of the waveform signal
LP Filter LP Filter sets the low pass filter frequency applied post-distortion
HP Filter HP Filter sets the high pass filter frequency applied post-distortion
Post Post lets you adjust the post-clipping volume
Low-Fi
This effect reduces the digital audio quality of the sound, which can be used to create 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.
M-Wheel>Filter Amount the low pass filter frequency is changed by the modulation
wheel.

Amp Sim
Amp Sim simulates a variety of amplifier types. It is great for creating edgy sounds.
Type Select the amplifier type: None, 4x10 guitar speakers, 4x12 guitar
speakers, Bass speaker, Combo speaker and Radio speaker. The none
speaker setting is useful if you want to use the distortion section of the
effect only.
Distort Sets the distortion amount. 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.
When using the amp simulator, it is recommended that you use a fully wet signal path.
Cabinet
Cabinet simulates a variety of cabinets. It is excellent to add a bit of crunch to your sound.
Type Select the cabinet type from: None, Fender, Marshall and Off Axis. The
none cabinet setting is useful if you want to only use the distortion in
the FX effect.
Distort Sets the distortion amount. Also works if the none cabinet setting is
selected
Bass Bass EQ Volume. Adds or removes low end from the cabinet simulator.
Treble Treble EQ Volume. Adds or removes high frequencies from the cabinet
simulator.
Volume Volume boost. Adjusts the volume of the processed sound.
When using the cab simulator, it is recommended that you use a fully wet signal path.

WaveShaper
The waveshaper effect shapes the audio signal by manipulating its waveform. It is then
passed through a low pass filter which has frequency modulation applied by a tempo -synced
LFO.
Top Amt Waveshaping amount for the positive part of the waveform.
Bottom Amt Waveshaping amount for the negative part of the waveform.
Rect Sets the amount of rectification applied to the waveform. At -100% the
sound passes through unaffected. At 0% no negative waveform parts
are output. At 100% any negative waveform segments are flipped to
become positive.
Filter Low pass filter frequency.
LFO Amount Modulation amount to the filter
LFO Speed Rate of filter modulation.
Stereo Widener
The Stereo Widener effect creates an expanded stereo image.
Widen Stereo widening amount.

Width Modulation amount of the stereo widening.
Speed Speed of the stereo widening modulation.
HP Filter High pass filter frequency.
AutoPan
Autopan pans the sound between the left and right channel.
Amount Sets the maximum left and right position of the sound in the stereo
field.
Speed Sets the rate at which the AutoPan moves the sound between left and
right. This is Tempo based so for example 1/1 does mean that the pan
moves from left to right within 1bar.
When using AutoPan, it is recommended that you use a fully wet signal path.

Tremolo
The Tremolo effect applies a periodic volume variation (with an LFO) to the signal.
Wave Waveform used by the Tremolo’s LFO - Sine, Triangle, Saw Up, Saw
Down and Square
Amount Sets the maximum amount of Volume variation
Speed Speed sets the frequency of the Tremolo’s LFO. This is Tempo synced.
For example, 1/1 indicates that the volume runs exactly one wave cycle
within 1bar
Shape Shape changes the symmetry of the LFO’s waveshape
Smooth Smooth eliminates sudden changes in volume
When using Tremolo, it is recommended that you use a fully wet signal path.
Vibrato
The Vibrato effect applies a periodic pitch variation (with an LFO) to the signal.
Amount Sets the maximum amount of Pitch variation
Speed Speed sets the frequency of the Tremolo’s LFO. This is Tempo synced.
For example, 1/1 indicates that the pitch variation runs exactly one
wave cycle within 1bar
Shape Shape changes the symmetry of the LFO’s waveshape
When using Vibrato, it is recommended that you use a fully wet signal path.

Gator
The gator uses a 16-step sequencer to control the volume of the sound. It delivers a
trance-gate type effect. Essentially 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 Sets the extent to which the volume changes are smoothed out. This
helps to avoid clicks.
Mode Selects whether the gator affects the left and right channels, the left
channel only or the right channel only or both.
Sync Turns host syncing On and Off. For example, if you do not hear the
gator FX in a standalone host, then switch to Off. Inside a host
sequencer program, the best setting is auto or sync. The default
setting in most Presets is auto. If you experience problems with these
settings, try Off.
Left Left channel sequencer. Clicking on the rectangles turns a step On
and Off. 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 on the rectangles turns a step On
and Off. 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.
When using the Gator, it is recommended that you use a fully wet signal path.
Compressor
The Compressor is an audio effect that changes the dynamic range and response of a signal.
Threshold Threshold sets the signal level above which the compressor starts to
work.
Ratio Ratio sets the amount of dB reduction. For example, with a ratio setting
of 1:2, and the signal exceeds the threshold by 4dB then it is reduced
by 4db/2 = 2db.
Attack Attack sets how quickly after crossing the threshold, the compressor
kicks in.
Release Release sets how long the compressor continues to work after falling
below the threshold level.
Volume The Volume control lets you to adjust the volume after the signal has
been compressed.
When using the Compressor, it is recommended that you use a fully wet signal path.

FX Filter
FX Filter is an analog modelled stereo Multimode Filter, which has all the properties of
BLADE-2’s main filter.
Type Sets the type of filter. All filters types of the main Filter are available.
Distort Sets the pre-filter distortion amount.
Frequency Sets the Cutoff frequency of the filter.
Q Sets the Resonance level of the filter.
Smooth Adjusts the pre-filter distortion character from smooth to edgy
LFO Speed Sets the speed of the filter LFO.
Equalizer
The equalizer uses 5 bands at the following frequencies: 60Hz, 200Hz, 600Hz, 2000Hz and
8000Hz. The control knob for each band controls the band’s gain, from -20db to +20db
When using the equalizer, it is recommended that you use a fully wet signal path.

EASY SCREEN
The Easy screen combines all major controls in a simplified screen. To access the Easy screen,
click on the Easy button. To return to the regular screen, click on Easy screen once more.
All the controls work identically to the ones in the regular screen except for the following.
Harmolator Group 1 to 3
The three Group controls adjust the partials in three global groups
Harmolator / Additive Oscillator Controls
Unison Detune / Spread, Sub-Oscillator and Additive Volume control both the Harmolator and
Additive Oscillator.
Analog Oscillator Controls
The Analog Oscillator controls set the Analog Oscillator Waveform, the Tuning, the Volume and
Envelope Speed.
Noise Oscillator Controls
The Noise Oscillator controls set the Noise Oscillator Volume, Tuning (Frequency and On / Off
switch) and the Envelope Amount and Speed.

Global X/Y, Velocity, LFO and Envelope Amount
Sets the modulation amount across all enabled Harmolator / Additive / Filter controls. These
controls only affect those Harmolator / Additive / Filter controls with a modulation amount other
than 0..
Global Free LFO and Envelope Speed
Adjusts the speed of the Free LFO and envelope.
Play Mode
Selects the Play Mode.
Pre-Distort / Filter
Adjust the Pre-distort / Filter and Filter Envelope controls.
Amp
Adjust the Amp / Amp Envelope controls.
Effect 1 to 3
Adjusts effect 1 to 3 Mix / Bypass / FX Type controls.

BANK and PRESET MANAGEMENT
In the Manager Section, you find and organize your Presets and Banks. Clicking on the
Manager button displays the Preset Manager page, clicking on it again returns you to the Main
page.
There are four main sections: Presets, Find, Search Category and Set Category. For each
section, the Banks are visible on the right-hand side.
PRESET MANAGER
Clicking on the Preset button shows the Preset screen. The Presets in the current Bank are
listed. Presets in BLADE-2 are single .fxp files stored in Folders (Banks), you can have up-to
256 Presets in a single Folder.
In the Preset screen, the current Preset is shown in light blue, and clicking on a Preset will load
it. Shift + clicking allows you to select a range of Presets and Ctrl + clicking allows you to select
non-consecutive Presets.
Right Clicking on a Preset previews it.

Star Presets
While in the Preset screen in the Bank Manager you can mark any Preset with a Star if you like
the Preset. The Star appears after each Preset name and can be checked and unchecked by a
mouse click. With so many Presets available in BLADE-2, the Star system helps you to recall
favourite Presets that you encountered in previous BLADE-2 sessions.
To Filter on Star-marked Presets, click on the Star symbol adjacent to the Preset button.
BLADE-2 will only display Star Presets.
Behind the scenes, BLADE-2 builds a file that contains all Star Presets. This can be found in
your Documents folder (see below). Use this file to back up your Star settings or to use your
Preset selection on a 2nd computer system.
The file that holds the Star info is called Star.txt. It can be found here in the following locations:
• PC: Documents\Rob Papen\BLADE-2\Bank Folder\Star.txt
• Mac: Applications\Rob Papen\BLADE-2\Bank Folder\Star.txt
We recommend to backup this file regularly and copy it over to a 2 nd system if you have
BLADE-2 installed there too.
Preset Commands
Select All Selects all Presets.
Unselect All Deselects all Presets.
Load Loads a Preset using a file dialog screen. BLADE-2 will attempt to
move to the current Folder for this Preset. If it can’t then it will put it
in the 98 Unsaved Preset Folder.
Save Overwrites the current Preset with any changes you have made to it.
Save As Saves the current Preset with a different name, the original Preset
still exists.
Copy Copies the current or selected Presets.
Cut Copies the current or selected Presets, but when you paste them the
original Preset(s) are deleted.
Paste Pastes the last copied Presets. This is primarily used for copying
Presets from one Folder to another.
New Creates a new Preset with default settings.
Delete Deletes the current or selected Presets. When a Preset is deleted,
the extension of its name is changed to [ namepreset.~fx ] from [
namepreset.fxp ] , so you can recover it manually.

Rename Renames the current Preset. This means that the original version is
deleted (its extension is changed from to [ namepreset.~fx ], and the
Preset is saved with the new name.
If in doing any of the above you create too many Presets for that Folder (I.e. over 256), then the
Preset is moved to the 98 Overflow Preset Folder.
FIND
Clicking on the Find button display the Find Preset screen. This allows you to search through all
Banks for Presets that match the name typed in the search for text box.
To search for the text Seq, for instance you enter Seq in the Search For box, and then press
Find, and all Presets will be shown that contain the string Seq.
Presets are listed in the format B [ Bank no ], [ Preset no ] Name of Presets, and Presets in the
current bank have a highlighted background. The current Preset is also highlighted.
Clicking on a found Preset will load it. Unless you have saved the current Preset, any changes
will be lost. Right Clicking on a found Preset will preview it. Clicking on Clear will clear the
search.

SEARCH CATEGORY
Clicking on the Search Category button will display the category search screen. In BLADE-2,
Presets can have tags in the categories Type, Tempo/Feel and Timbre. Clicking on a tag in a
category will toggle that tag The Preset part will show all Presets with the same tag.
As with Find, Presets are shown with the format B [ bank no] [Preset no] Name of Presets, and
Presets in the current bank are shown against a highlighted background. The current Preset is
highlighted. Clicking on a found Preset will load it. Unless you have saved the current Preset,
any changes will be lost. Right Clicking on a found Preset will preview it.
Clicking on Clear clears the current search tags.

SET CATEGORY
Clicking on the Set Category button displays the Set Category screen. Here you can set the
tags for the Presets in the current bank, clicking on a tag will toggle it on / off. You can select
Presets and set their tags. These tags will be saved with this Preset when you click on Apply
and Save.
You can select ranges of Presets with shift + left click (for continuous ranges) or ctrl + left click
for disconnected Presets. Select All will select all Presets in the current Folder, and Unselect will
deselect all Presets in the current Folder. In such ranges all tags are shown. If all selected
Presets share a tag, the background is highlighted. If not all Presets share the tag, the tag is
shown against a darker background.
Clicking on Clear will clear all tags for the selected Presets.
Clicking on Set to Current, will set the tags for all selected Presets to the tags for the current
Preset.
Clicking on Combine Selected will set the tags for all selected Presets to be the combination of
each individual Presets tags. For example, if you have two Presets selected and one Presets
has the tag Bass, and other the tag Dark, after pressing Combine Selected, both Presets will
have both tags i.e. Bass and Dark

BANK MANAGER
The Banks are always visible on the right side of the Manager screen. In BLADE-2 banks are
really Folders on your hard drive in which Presets are stored. In the Bank Screen, the current
bank is highlighted. A click on a bank loads it and moving the scroll bar on the right will scroll
through available banks.
Commands
Copy Copies the current Folder; all Presets in that Folder are copied to
this new Folder.
New Creates a new Folder.
Delete Deletes the current Folder, by renaming it to ~[original name of
Folder]. For example, deleting the Bass Folder will cause it to be
renamed as ~Bass, so you can recover it later if you need to.
Rename Renames the current Folder, deleting the original Folder (by
renaming it with a ~ as explained above).
Refresh Rebuilds BLADE-2’s Folder and Preset structure. You can use this if
you have changed BLADE-2 Presets or Folders outside of BLADE-2.

BACK PANEL
A click on the BLADE-2 logo reveals the back panel. The back panel contains several global
controls that affect all instances of BLADE-2. 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.
MIDI Channel
The MIDI Channel setting selects the MIDI channel to which BLADE-2 will respond. The Omni-
setting means that BLADE-2 responds to messages on any MIDI-channel.
MIDI Program / Bank Change

These switches enable BLADE-2 to respond to MIDI Bank Select and MIDI Program Change
commands to select Banks and Presets. If set to Off, BLADE-2 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 BLADE-2 control, until the value of the MIDI controller matches that of the value of
the BLADE-2 control. It prevents sudden jumps in parameter values that otherwise may occur
as soon as you touch a latched external MIDI controller.

Computer Keyboard Up /Down
When enabled, you can step 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 BLADE-2 Bank
Page Down Next BLADE-2 Bank
Graphic Envelopes
This switch enables graphical display and editing of envelopes. The alternative is to have the
envelopes represented by a set of control knobs.
Dial Modulation Animation

Enable this switch to see control dials move (animated) when their values are changed through
a modulation assignment.
Screen Options
The BLADE-2 plugin can work in various screen size options. Choose between 100%, 125%,
150% and 200% size. Depending on the host (DAW), you may need to close and re-open
BLADE-2, or close and re-open the project for the changes to take effect. You can also select
the size options in the Preset menu.
A4
A4 sets the reference tuning for BLADE-2. The default frequency is A4 440 Hz.
Tuning
It is possible to work with alternative tuning scales. BLADE-2 comes with several tuning
definition tables upon installation. These are accessible through a drop-down menu. Click on the
current tuning name to display all available tuning scales. Simply select the required scale from
the menu. Be aware that this setting affects all instances and sounds of BLADE-2. Click on the
Reset label to revert to Standard Tuning.

APPENDIX 1 – MODULATION SOURCES
MIDI Modulation Sources CC21

Mod Wheel CC84
Mod/After - Modulation-wheel or CC85
aftertouch
CC86
Channel After – Channel Aftertouch
CC87
Poly After – Poly Aftertouch
CC88
Note – Modulation value from 0% (MIDI
Note 0) to 100% (MIDI Note 127) CC89
Centre Note – Modulation value centred CC90

at MIDI Note 57, going up an Octave CC113
increases it by 100%, down by 100%.
CC114
Note Random 1 – Random value
generated when a note is played. Range
from -100 to +100% Internal Modulation Sources
Note Random 2 Oscillator Envelope
UniPolar Note Random 1 – Random Noise envelope
value generated when note a note is
played. Range from 0 to +100% Filter Envelope
UniPolar Note Random 2 Mod Envelope
Velocity Pitch Envelope
Pitch Bend Free Envelope 1
Breath Free Envelope 2
Foot Mod LFO
Expression UniPolar Mod LFO
Brightness Pitch LFO
CC16 UniPolar Pitch LFO
CC17 Free LFO 1
CC18 UniPolar Free LFO 1
CC19 Free LFO 2
CC20 UniPolar Free LFO 2

X Pos

Y Pos Offset – constant modulation source.
UniPolar X Pos Noise - White Noise
UniPolar Y Pos UniPolar Noise – Unipolar White Noise.
XY Distance
Arpeggiator Velocity Notes
Arpeggiator Free Unipolar LFO / Noise modulation sources
Arpeggiator X range from 0 to 100%. The regular (bipolar)
LFO / Noise modulation sources range from
Arpeggiator Y -100% to 100%
Input – Input into BLADE-2, for use with
hosts that allow sound input into
BLADE-2.
Output – Output of BLADE-2.

APPENDIX 2 – MODULATION DESTINATIONS
Global Harmolator Harmolator Freq / Shift
Global Semi Harmolator Harmonic Volume
Global Fine Harmolator Easy Group 1
Pan Harmolator Easy Group 2
Portamento Amount Harmolator Easy Group 3
Strum Speed Partial X
Arpeggiator Speed Partial Y
Arpeggiator Step Length Sub-Osc Volume
Arpeggiator Swing Sub-Osc Symmetry
Arpeggiator Slide Sub-Osc Tune
Arpeggiator Velocity/Key
Analog Oscillator
Additive Oscillator Volume
Additive Volume Oscillator Pan
Additive Semi Oscillator Semi
Additive Fine Oscillator Fine
Additive Pan Oscillator Phase
Additive Unison Detune Oscillator Unison Detune
Additive Unison Spread Down Oscillator Unison Spread Down
Additive Unison Spread Up Oscillator Unison Spread Up
Additive Unison Stereo Oscillator Unison Stereo
Harmolator Base Oscillator Symmetry
Harmolator Range Oscillator SMA Amount
Harmolator Symmetry Oscillator SMA Speed
Harmolator Timbre Oscillator HP Frequency
Harmolator Even/Odd Oscillator HP Q
Harmolator Ripple Width Amount Oscillator LP Frequency
Harmolator Ripple Width Oscillator LP Q
Harmolator Ripple Off Oscillator Envelope Speed

Oscillator Envelope Attack Noise Envelope Release
Oscillator Envelope Decay Noise Envelope Attack Curve
Oscillator Envelope Sustain Noise Envelope Decay Curve
Oscillator Envelope Fade Noise Envelope Key-Track
Oscillator Envelope Release
Oscillator Envelope Attack Curve Distort / Filter
Oscillator Envelope Decay Curve Pre-Filter Distortion Amount 1
Oscillator Envelope Key-Track Pre-Filter Distortion Amount 2
Filter Frequency
Noise Oscillator Filter Q
Noise Color Filter Separation
Noise Volume Filter Vowel
Noise Envelope To Volume Filter Key-Track
Noise Pan Filter Mod Wheel
Noise BW Filter Envelope Amount
Noise Frequency Filter Envelope Speed
Noise Envelope To Frequency Filter Envelope Attack
Noise Stereo Filter Envelope Decay
Noise HP Frequency Filter Envelope Sustain
Noise HP Q Filter Envelope Fade
Noise envelope To HP Frequency Filter Envelope Release
Noise LP Frequency Filter Envelope Attack Curve
Noise LP Q Filter Envelope Decay Curve
Noise Envelope To LP Frequency Filter Envelope Key-Track
Noise Envelope Speed
Noise Envelope Amount Amp
Noise Envelope Attack Main Volume
Noise Envelope Decay Velocity > Main Volume
Noise Envelope Sustain Distort Amount
Noise Envelope Fade Amp Envelope Speed

Amp Envelope Attack Y Amount
Amp Envelope Decay X > 01 Amount
Amp Envelope Sustain X > 02 Amount
Amp Envelope Fade X > 03 Amount
Amp Envelope Release X > 04 Amount
Amp Envelope Attack Curve X > 05 Amount
Amp Envelope Decay Curve X > 06 Amount
Amp Envelope Key-Track X > 07 Amount
X > 08 Amount
Pitch Envelope / LFO X > 09 Amount
Pitch Envelope Speed X > 10 Amount
Pitch Envelope Amount X > 11 Amount
Pitch Envelope Pre-Delay X > 12 Amount
Pitch Envelope Attack Y > 01 Amount
Pitch Envelope Decay Y > 02 Amount
Pitch Envelope Sustain Y > 03 Amount
Pitch Envelope Fade Y > 04 Amount
Pitch Envelope Release Y > 05 Amount
Pitch Envelope Attack Curve Y > 06 Amount
Pitch Envelope Decay Curve Y > 07 Amount
Pitch Envelope Key-Track Y > 08 Amount
Pitch LFO Amount Y > 09 Amount
Pitch LFO Speed Y > 10 Amount

Y > 11 Amount
Y > 12 Amount
XY
XY Speed
XY Speed Control Velocity->Harmolator
XY Smooth Mod Velocity Amount
XY Multiply Mod Velocity > Base
X Amount Mod Velocity > Range

Mod Velocity > Sym Mod Envelope > Harmolator Shift
Mod Velocity > Timbre Mod Envelope > Harmolator Volume
Mod Velocity > Even/Odd Mod Envelope > Partial X
Mod Velocity > Ripple Amount Mod Envelope > Partial Y
Mod Velocity > Ripple Width Mod Envelope > Filter Frequency
Mod Velocity > Harmolator Shift
Mod Velocity > Harmolator Volume LFO->Harmolator
Mod Velocity > Partial X Mod LFO Speed
Mod Velocity > Partial Y Mod LFO Amount
Mod Velocity > Filter Frequency Mod LFO > Harmolator Base
Mod LFO > Harmolator Range
Envelope->Harmolator Mod LFO > Harmolator Symmetry
Mod Envelope Speed Mod LFO > Harmolator Timbre
Mod Envelope Amount Mod LFO > Harmolator Even/Odd
Mod Envelope Pre-Delay Mod LFO > Harmolator Ripple Amount
Mod Envelope Attack Mod LFO > Harmolator Ripple Width
Mod Envelope Decay Mod LFO > Harmolator Shift
Mod Envelope Sustain Mod LFO > Harmolator Volume
Mod Envelope Fade Mod LFO > Partial X
Mod Envelope Release Mod LFO > Partial Y
Mod Envelope Attack Curve Mod LFO > Filter Freq
Mod Envelope Decay Curve
Mod Envelope Key-Track Mod->Harmolator
Mod Envelope > Harmolator Base Harm Mod 1 Amount
Mod Envelope > Harmolator Range Harm Mod 1 > Harm Base
Mod Envelope > Harmolator Symmetry Harm Mod 1 > Harm Range
Mod Envelope > Harmolator Timbre Harm Mod 1 > Harm Symmetry
Mod Envelope > Harmolator Even/Odd Harm Mod 1 > Harm Timbre
Mod Envelope > Harmolator Ripple Harm Mod 1 > Harm Even/Odd
Mod Envelope > Harmolator Width Harm Mod 1 > Harm Ripple Amount

Harm Mod 1 > Harm Ripple Width Free Envelope 1 Key-Track
Harm Mod 1 > Harm Shift Free Envelope 2 Speed
Harm Mod 1 > Harm Volume Free Envelope 2 Pre-Delay
Harm Mod 1 > Partial X Free Envelope 2 Attack
Harm Mod 1 > Partial Y Free Envelope 2 Decay
Harm Mod 1 > Filter Frequency Free Envelope 2 Sustain
Harm Mod 2 Amount Free Envelope 2 Fade
Harm Mod 2 > Harm Base Free Envelope 2 Release
Harm Mod 2 > Harm Range Free Envelope 2 Attack Curve
Harm Mod 2 > Harm Symmetry Free Envelope 2 Decay Curve
Harm Mod 2 > Harm Timbre Free Envelope 2 Key-Track
Harm Mod 2 > Harm Even/Odd Free LFO 1 Speed
Harm Mod 2 > Harm Ripple Amount Free LFO 1 Symmetry
Harm Mod 2 > Harm Ripple Width Free LFO 1 Humanization
Harm Mod 2 > Harm Shift Free LFO 1 Phase
Harm Mod 2 > Harm Volume Free LFO 1 Smooth
Harm Mod 2 > Partial X Free LFO 2 Speed
Harm Mod 2 > Partial Y Free LFO 2 Symmetry
Harm Mod 2 > Filter Frequency Free LFO 2 Humanization
Free LFO 2 Phase
Free Envelope and LFO Free LFO 2 Smooth
Free Envelope 1 Speed

Free Envelope 1 Pre-Delay FX 1 to 3
Free Envelope 1 Attack FX 1 Mix
Free Envelope 1 Decay FX 1 Pan
Free Envelope 1 Sustain FX 1A
Free Envelope 1 Fade FX 1B
Free Envelope 1 Release FX 1C
Free Envelope 1 Attack Curve FX 1D
Free Envelope 1 Decay Curve FX 1E

FX 1F FX 3 Mix
FX 1G FX 3 Pan
FX 1H FX 3A
FX 2 Mix FX 3B
FX 2 Pan FX 3C
FX 2A FX 3D
FX 2B FX 3E
FX 2C FX 3F
FX 2D FX 3G
FX 2E FX 3H
FX 2F
FX 2G
FX 2H

RP Blade2 Manual

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Manual

Enjoy the cutting edge of BLADE-2!

Rob Papen and Team

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There are three kinds of buttons:

• Set control values

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Set to default Sets the control to its default value

MIDI Control through Latching

1. Right click on the Volume Knob

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Modulated by Displays the modulation source that controls this parameter.

Drag and Drop Controls

Up Arrow key Previous Preset.

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Save Current Preset in Favorites

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Save Preset in Folder

New Preset creates a new Preset with default settings.

Revert to Original Preset / Revert to Edit Preset

Convert Blade 1 Bank / Preset

100/125/150/200 Screen Size

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Create New Folder

• PC: Documents\Rob Papen\BLADE-2\Bank Folder\

External Controller Setup (ECS) – External MIDI Control

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Manager Click to open the Bank Manager

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An example additive spectrum is shown below

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The Timbre type is set in the Timbre Type Menus.

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Timbre 1 Octaves + Fifths

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Select from the 4 Wave-sets

The Wave sets are blended

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Select All Select all the partials in the current Wave-set.

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Set Amp Value Set the value manually

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The corresponding Blade icon

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ANALOG OSCILLATOR ENVELOPE

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