In this section of the manual, each section of the synthesiser is discussed in greater detail. The sections are arranged in order of “signal flow” – see the Block Diagram above. Within each section, the surface physical controls are described first, followed by a reference guide to the display menu relating to the section. In general, the menus offer “fine control” parameters to which access is less readily needed. The “initial value” given for each parameter is that for the factory Init Patch: these will differ when another Patch is loaded.
Note
Because of Summit’s bi-timbral architecture, the description of each section’s controls and menu applies equally to both Parts of a Multi Patch. The descriptions can be taken as equally applicable to either Part A or Part B, though the adjustments will be made to only one Part at a time, unless MULTIPART CONTROL is set to Both.
We must emphasise that there is no substitute for experimentation. Adjusting controls and tweaking individual parameters while listening to different patches will tell you more about what each parameter does than this User Guide ever could. In particular, we would encourage you to experiment with the effect that varying a parameter has on different Patches – you will find there can be considerable differences between Patches, depending on how the sound is being generated.
Summit is a bi-timbral, 16-voice, polyphonic instrument. “Polyphonic” basically means you can play multiple notes on the keyboard, and every note you hold down will sound. “Bi-timbral” means Summit’s Patches have two separate Parts, which may be adjusted as if they were one, or completely independently. When you select a Single Patch, Summit becomes a single synth with sixteen voices. With Multi Patches, you still have sixteen voices, but now eight are allocated to generating Part A and eight to Part B.
As you play, each note is assigned one or more ‘voices’, and as Summit supports eight voices per Part, you will often run out of fingers before you run out of voices! But this does depend on how many voices are assigned to each note – see the Unison parameter in the Voice Menu The Voice menu). However, if you are controlling Summit from a MIDI sequencer or DAW, it is possible to run out: sequencers don’t have the human constraint of a finite number of fingers. Although this is likely to happen infrequently, users may occasionally observe this phenomenon, which is termed ‘voice stealing’.
The alternative to polyphonic voicing is mono. With mono voicing, only one note sounds at a time; pressing a second key while holding the first down will cancel the first and play the second – and so on. The last note played is always the only one you hear. All the early synths were mono, and if you are trying to emulate a 1970s analogue synth, you may wish to set the voicing to mono as the mode imposes a certain restriction on playing style that will add to authenticity.
Each of Summit’s two synths may have its own polyphony mode: as you select different factory Multi Patches, you will find some create Part A using one mode and Part B using another. Other Patches use the same mode for both Parts.
Per-Part Selection of Summit’s polyphony mode is made with the Voice Mode button . Further voicing and Glide parameters are available for adjustment in the Voice menu (see opposite), which also includes settings related to some other synth functions.
As the names imply, three of the possible modes are mono and two are polyphonic.
- Mono – this is standard monophonic mode; only one note sounds at a time, and the “last played” rule applies - if you play more than one key, only the last pressed will be heard. The same voice or voices are used for every note: this means each note played will re-trigger the voices even if the previous note is still sounding. When Glide is turned On, a portamento glide with always occur between successive notes.
- Mono 2 – this mode operates in the same way as Mono, except voices are assigned “in rotation” as each note is played. Unlike Mono or MonoLG, this has the effect (depending on playing speed) of allowing each note to complete its individual envelope. The main advantage of the Mono 2 voice mode is when using envelopes with an appreciable attack phase length: the envelope is always reset when a new key is pressed. This is not how analogue envelope generators work, but many digital envelope generators work on this principle.
- MonoLG – LG stands for Legato Glide. This is an alternative mono mode, which differs from Mono in the way Glide and Pre-Glide work. In MonoLG mode, Glide and Pre-Glide only work if the keys are played in a legato style, i.e., with note overlap; playing notes separately produces no glide effect. As with Mono, the same voices are re-used for every note.
- Poly – in polyphonic mode, up to 16 voices of a Single Patch can sound simultaneously: depending on how many voices are assigned in the Patch, this means you can play up to 16 notes simultaneously (you may not have enough fingers for this, but an external MIDI sequencer probably has!). If you play the same note repeatedly, each note will be assigned a different voice, and you will hear the individual envelopes of every note.
- Poly2 – in this alternative polyphonic mode, successively playing the same note(s) uses the same voices, the voices being re-triggered by new notes. This can change the behaviour of voice stealing. For example, in Poly mode, when playing chord shapes with similar notes (e.g., Amin7 to Cmaj) the notes C, E and G will be played twice as well as the A and the B, i.e., a total of eight voices. If playing a melody in the other hand, one voice from the first chord will be stolen, which may be the lowest A. In Poly 2 mode, the C, E and G will only be played once, which will leave three voices free for playing a melody.
The effect of the different polyphony modes can be quite subtle, depending on the Patch in use and playing style, and we recommend you experiment!
Summit’s Glide function makes notes played sequentially glide from one to the next, rather than immediately jumping from one pitch to another. It is enabled with the Glide On button . The synth remembers the last note played per Voice and the glide – up or down - will start from that Voice’s last triggered pitch even after the key has been released. The duration of the glide is set by the Glide Time control
: the maximum glide time available is approximately 5 seconds.
Glide is primarily intended for use in a mono Mode, where it is particularly effective. It can also be used in Poly modes, but its operation can be slightly unpredictable, because the glide will be from the previous note used by the voice now assigned to the note being played. This may be particularly evident with chords. Note the PreGlide parameter (on Page 2 of the Voice Menu) must be set to zero in order for Glide to be operative.
Press Voice to open the Voice menu. This has four pages: Pages 1 and 2 contain voicing parameters, while Pages 3 and 4 contain various other synth parameters (these are described here for logical consistency).
Unison can be used to “thicken” the sound by assigning additional voices (up to eight in total) for each note. Be aware the number of voices is finite and with multiple voices assigned, the polyphonic capability of the active Part may be reduced. With four voices per note, only two notes may be played together fully polyphonically, if further notes are played, “voice stealing” is implemented and the first note played will be cancelled. With Unison set to 8, Summit’s currently selected Part becomes a multi-voice monophonic synth.
Tip
If the limitation on polyphony imposed by Unison Voices is restrictive and the oscillators are set to Sawtooth, a similar effect can be obtained by using the SawDense and DenseDet parameters in the Oscillator Menu. (In fact, some factory patches use this technique.) SawDense and DenseDet have no impact on the polyphony.
Spread gives you a method of controlling how the separate voices are positioned in the stereo image. With Spread set to zero, all voices are centrally panned, effectively providing a mono image. As the value of Spread is increased, multiple voices are panned according to the Voice Panning Mode.
The four voice spread modes are:
- Diverge – The more voices you add to the sound, the further voices diverge from the centre of the stereo field odd voices pan left, even voices pan right. If no notes are held the pattern resets.
- Alternate – As you add more voices Spread pans even-numbered voices left and odd-numbered voices right.
- Diverge 2 – The voices you add run a round-robin to move the stereo position from the centre to the left and the right. The sound gradually gets wider before it resets back to the centre, regardless of held voices
- NoteVal – NoteVal masks each note giving it a unique and repeatable stereo position. This works well on arp sequences.
- Displayed as: PanPosn
- Initial value: +0
- Range of adjustment: -64 to +63
Pan position adjusts how much the voices are panned.
With Spread set to 0, the voices pan where you set the ‘PanPosn’ from hard left to hard right, -64 to +63.
Pan Position is dependent on the Voice Panning Mode and amount.
- Diverge - Pan position of the first voice matches what you select, as you add more voices the further the voices move from the initial pan position.
- Alternate - Even-numbered voices still pan left and odd-numbered voices right, however, as you pan each way, the voices in the opposite direction move more toward the centre. This results in less-extreme differences weighting the voices to one side of the stereo image.
- Diverge 2 - The voices still run in a round-robin but Spread affects how clear the result is. For example, with Spread set to 64 and pan position of 0, the spread is even across the stereo field. Increasing pan position to +63, voices previously panned hard left are now central. However, if Spread is 127 some voices stay panned hard left/right when PanPosn is +63/-64 respectively.
- NoteVal - The voices retain their unique and repeatable stereo position but with a weighting added by the PanPosn value. If the notes C, E and G are panned hard left, centre, and hard right, respectively, when PanPosn is set to -64, the C will remain hard-left, E will become hard-left and G will become centre panned
Tip
Pan position is also available as a Mod Matrix Destination: Pan Posn
If set to a value other than zero, Pre-Glide takes priority over Glide, though it does use the setting of the Glide Time control to determine its duration. Note that Glide On
must be selected for Pre-Glide to work. PreGlide is calibrated in semitones, and each note played will actually begin on a chromatically-related note up to an octave above (value = +12) or below (value = -12) the note corresponding to the key pressed, and glide towards the ‘target’ note, over a time set by the Glide Time control. This differs from Glide in that, e.g., two notes played in sequence will each have their own Pre-Glide, related to the notes played, and there will be no glide ‘between’ the notes.
This parameter controls how much pre-envelope distortion is added to the sound after the filter, but (crucially) before the amplifier. This distortion will thus remain constant when the amplifier is gradually opened and closed by the amplitude envelope, unlike that added by the Effects section DISTORTION Level control [68], which follows the amplifier in the signal chain. Note also this distortion is distinct from the distortion which results from adjusting the Overdrive control [62] in the filter section: it is applied only to the frequencies passed by the filters, whereas Filter Overdrive applies distortion to the sound’s full frequency spectrum before the filter.
This parameter re-creates the subtle effect of poor filter calibration found on early analogue synths. The filter for each voice is deliberately detuned by a different, fixed amount. The effect will be more apparent when the filter is close to resonance.
Stereo audio from external equipment connected to Summit’s external inputs can be inserted into the signal processing paths of each synth, either before (PreFilt) or after (PostFilt) the filter section. Stereo audio sent through the filter will be summed to mono. Audio sent directly to the FXs (in the Global Settings menu) will not be summed and heard in full stereo.
When a Multi Patch is selected, you can independently select how the external signal is routed to either Part A or Part B, or both. Note that an external audio signal will not be heard if the VCA is not being triggered. If no notes are being played, the VCA is not being opened by the keyboard and no audio can pass through.
Tip
When using Summit to process external audio in the same way as you would use an FX processor, you can turn down the mixer inputs (Oscillators, Noise, and Ring Mod) so their sounds is not combined with the external signal. If you then hold a note on and press Key Latch, the VCA will remain open at all times, allowing the external signal to be constantly processed.
Tip
When using Summit to process external audio, it is important to remember that the number of voices held open can affect the external audio’s input level. The more voices held open, the more “instances” there are of the external signal being passed through the synth’s processing. However, if too many voices are used, it can cause unwanted level clipping. You should experiment, but for the best results, one or two notes will often provide enough of a desired signal for processing.
Note that the external audio inputs may also be routed to the FX section. This routing is completely independent of the that enabled by AudioInput, and is enabled in the Settings menu. See Pedal Modes.
As explained in the Filter Section description (see Filter type and slope), Summit offers two separate filters, each of which may be configured as low-pass, band-pass or high-pass by the Filter section’s Shape control . For the three settings LP, BP and HP, the Slope control
inserts either a single filter (12dB) or two identical filters in series (24dB) into the signal path. When Slope is set to Dual, the Voice menu page above is displayed and Slope is fixed at 12dB.
The FltShpMore parameter offers nine further combinations of the two filters. The first three, those including a ‘>’ symbol, place two different filters in series, while the other six, those including a ‘+’ symbol, place two filters in parallel. Note that in the case of parallel configurations, the two filters may be of the same type.
These dual filter options give the filter sections greatly increased flexibility over conventional designs employing a single, configurable filter. While the main Frequency control continues to adjust the cut-off (or centre) frequency of both filters, the second parameter on this page, FltFreqSep, allows the two cut-off (or centre) frequencies to be different, or “separated”.
Series and parallel combinations of two filters result in radically different overall frequency responses. With filters in series, the combined effect is subtractive: the harmonic content of the signal after the first filter will already have been reduced by its action, and will then be further reduced by the second. Therefore, frequencies will be removed by both filters.
Conversely, the combined effect of parallel filters may be considered as additive, because the same signal is applied to both filters, so frequencies removed by one filter may be passed by the other, depending on their relative type and cut-off (or centre) frequencies.
In general, combining filters in parallel is likely to produce a response shape with a peak or dip between the frequencies of the two filters, but a wide range of shapes can be created by combining two filters of different types. The value of the “separation” parameter, FltFreqSep (see below), also has a major effect on the resulting frequency response.
Two filters configured in either series or parallel by selecting one of the dual filter options may have different frequencies. The difference – or separation – of the two filter frequencies is set by the FltFreqSep parameter. When separation is zero, the two filters have the same frequency.
Positive values of FltFreqSep will lower the frequency of the first filter while increasing that of the second, thus “separating” the response curves of the two filter sections. The converse applies with negative values: the frequency of the first filter increase while that of the second decreases, so the frequencies effectively “cross over”.
The audible effect of these options will largely depend on the two filter types selected by FltShpMore. The “first” and “second” filters referred to in the previous paragraph are the two listed in the FltShpMore setting, e.g., with FltShpMore set to HP + BP, the “first” filter will be a high-pass type and the second a band-pass type.
In all dual filter options, the resultant frequency response from the combination will have two turning points if FltFreqSep is set to something other zero, thereby giving the two filters different frequencies. Frequency always adjusts the overall filter combination regardless of the separation, but will maintain the “offset” between the two cut-off (or centre) frequencies – as a constant octave value - as it is varied.
The Oscillator section for each of Summit’s two synths consists of three identical oscillators, each with its own set of controls. Therefore, the following descriptions apply equally to any of the oscillators.
The Wave button selects one of five wave shape options: four are the common fundamental waves,
Sine,
Triangle,
(rising) Sawtooth and
Square/Pulse. The fifth option, more, allows selection from a range of 60 further wavetables, accessed by the WaveMore parameter in the Osc menu. The LEDs confirm the waveform option currently selected. Note that the display immediately changes to the Osc menu, showing the WaveMore parameter for the oscillator being adjusted, as soon as more is selected. The last 10 slots in the WaveMore section are user configurable and can be loaded from the Novation Components software.
The three controls Range, Coarse and Fine set the Oscillator’s fundamental frequency (or Pitch). The Range button selects using traditional “organ-stop” units, where 16’ gives the lowest frequency and 2’ the highest. Each doubling of stop length halves the frequency and thus transposes the pitch of a note played at the same position on a keyboard down one octave. When Range is set to 8’, the keyboard will be at concert pitch with Middle C in the centre. The LEDs confirm the stop length currently selected.
The Coarse and Fine rotary controls adjust the pitch over a range of 1 octave and 1 semitone respectively. The OLED display shows the parameter value for Coarse in semitones (12 semitones = 1 octave) and Fine in cents (100 cents = 1 semitone).
Summit is not limited to traditional “Western” note intervals, nor to the standard equal-tempered scale. You can reprogram the keyboard in almost any way by using Tuning Tables; these are described in detail at More Waveforms.
The frequency of each Oscillator can vary by modulating it with either (or both) LFO 2 or the Mod Env 2 envelope. The two Pitch controls, Mod Env 2 Depth and LFO 2 Depth
control the depth – or intensity – of the modulation sources. (Many other pitch modulation possibilities are available by using the Modulation Matrix – see The Modulation Matrix.)
Each Oscillator has a Depth control for modulation by Modulation Envelope 2. Adding envelope modulation can give some interesting effects, with the oscillator pitch altering over the duration of the note as it is played. A Mod Env 2 parameter value of 30 shifts the pitch of one octave for the maximum level of the modulation envelope (e.g., if sustain is at maximum). Negative values invert the sense of the pitch variation; i.e., the pitch will fall during the attack phase of the envelope if Mod Env 2 has a negative value.
Each Oscillator also has a Depth control for modulation by LFO 2. Adding LFO Modulation can add a pleasing vibrato when a triangle LFO waveform is used, and the LFO speed is set neither too high nor too low. A sawtooth or square LFO waveform will produce rather more dramatic and unusual effects. Oscillator pitch can be varied by up to five octaves, but the LFO 2 depth control is calibrated to give finer resolution at lower parameter values (less than ±12), as these are generally more useful for musical purposes.
Negative values of LFO 2 Depth “invert” the modulating LFO waveform; the effect will be more obvious with non-sinusoidal LFO waveforms, e.g., with positive Depth values a falling sawtooth LFO waveform will cause the oscillator pitch to lower and then rise sharply before lowering again, but if Depth has a negative value, the pitch variation will be the opposite.
Summit lets you modify the shape of the selected waveform; this will alter the harmonic content and thus the timbre of generated sound. The degree of modification – or deviation from the original waveform shape – can be varied both manually and as a modulation. The modulation sources available using the panel controls are Mod Env 1 and LFO 1; any other mod source may be selected using the Modulation Matrix – see The Modulation Matrix
The Source button assigns the Shape Amount control
to adjust the amount of waveform alteration by one of the three sources. Note that all three possible sources – Manual, Mod Env 1 and LFO 1 may be used in any combination, each with a different value of Shape: their effect is additive.
When set to Manual, Shape lets you alter the waveform shape directly; the parameter range is -63 to +63, where 0 results in an unmodified waveform. The sonic effect of Shape will depend on the waveform in use.
When the Sine waveform is selected, a non-zero Shape parameter causes the sine wave to become asymmetric, resulting in the addition of upper harmonics. Varying Shape with Triangle or Sawtooth waveforms also modifies the wave shape and the harmonic content.
When Square/Pulse is selected as the waveform, Shape will vary the pulse width: a value of 0 produces a 1:1 square wave. The timbre of the “edgy” square wave sound can be modified by varying the pulse width, or duty cycle, of the waveform. Extreme clockwise and anticlockwise settings of Shape produce very narrow positive or negative pulses, with the sound becoming thinner and more “reedy” as the control is advanced. When fully anticlockwise (parameter value -64), the square wave assumes a duty cycle of 0% and is thus “off”. When varied to this degree by, e.g., adding LFO modulation, a rhythmic character can be added to the oscillator waveform.
When Wave is set to more, Shape sweeps through the wavetable’s waveform (selected by the WaveMore parameter in the Osc Menu) by interpolating across the five indexes of the selected wavetable to produce a “morphing” of two adjacent indexes: the sonic effect of this will vary greatly depending on the active patch and the wavetable in use. Each wavetable is actually a bank of five waveforms, between which you can interpolate with the Shape control. We recommend you experiment altering Shape with different waveforms to hear the effect. See also the WaveMore menu option described below.
Waveform shape may be modulated further by either (or both) Mod Env 1 or LFO 1, with the amount of waveform modification due to each individually adjustable by Shape, according to the setting of Source. With pulse waveforms, the sonic effect of LFO modulation is dependent on the LFO waveform and speed used, while using envelope modulation can produce some good tonal effects, with the harmonic content of the note changing over its duration.
The following additional Oscillator parameters are available in the Osc menu. Each of the three oscillators has two menu pages; the parameters available for each oscillator are identical. There are also two further pages (OSC COMN pages, 1/8 and 2/8), with parameter controls common to all three oscillators.
The parameters available on the Common menu pages affect all three oscillators.
The default menu display is shown below:
Each Voice is generated by three oscillators within the FPGA, giving a Summit a total of 48 oscillators. Diverge applies small pitch variations independently to each of these 48 oscillators. The effect of applying this is that each voice will have its own tuning characteristic. This adds an interesting colouration to the sound quality and can be used to bring the synth alive. The parameter sets the degree of variation.
Summit has a dedicated low frequency oscillator which can be used to apply a slight meandering detune to the three Oscillators. This is to emulate the oscillator drift of traditional voltage controlled analogue synths: by applying a controlled amount of detuning, the oscillators become slightly out of tune with each other, adding a “fuller” character to the sound. Unlike Diverge, the drift effect changes over time.
Summit normally operates with the tuning of a standard piano keyboard. The data which relates the notes of the keyboard (or other MIDI transmitting device connected to Summit) to the oscillator pitch intervals is called a Tuning Table: the default is Table 0, which cannot be edited. The TuningTable parameter lets you select one of 16 alternative tuning tables, which you can send to Summit via Novation Components, or create yourself. See Tuning Table pages for details of how to create a Tuning Table. Note that all 16 Tuning Tables are initially copies of Tuning Table 0, so their effect will not be apparent until a different table has been created.
With KeySync set Off, Summit’s three oscillators are free-running and, even when set accurately to the same pitch, may not be in phase with each other. This often does not matter, but if the Ring Modulator or FM effects are in use, the out-of-phase effect may not produce the result needed. To overcome this, KeySync may be selected to On, which ensures the oscillators always start generating their waveforms at the start of a cycle when a key is pressed.
In addition to the three Oscillators, Summit also has a noise generator. Noise is a signal comprising a wide range of frequencies, and is a familiar “hissing” sound. This Noise filter is a low-pass type: restricting the bandwidth of the noise alters the characteristic of the “hiss”, and you can adjust the filter cut-off frequency to do this. The parameter’s default value of 127 sets the filter “fully open”. Note that the noise generator has its own input to the mixer, and to hear it in isolation, its input will need to be turned up and the oscillator inputs turned down. (See The Mixer section)
This filter performs the same function as NoiseLPF, except it is a high-pass filter, and therefore as the parameter value is increased, the filter’s higher frequencies are passed and more low-frequency content of the noise signal is rejected. The parameter’s default value of zero sets the filter “fully open”. The effect of applying this is that each voice will have its own tuning characteristic.
The default menu displays for Oscillator 1 are shown below:
- Displayed as: WaveMore
- Initial value: BS sine
- Range of adjustment: See list on List of wavetables for a list of wavetables
Summit includes a set of wavetables, to generate a broader palette of sounds than the simple sine, triangle, sawtooth, and pulse waveforms can provide. Each wavetable is a bank of five custom waveforms, you can interpolate with the Shape control .
The WaveMore parameter selects the oscillator wavetable when Wave is set to more. The name of the wavetable appears on Row 2 of the display and gives a clue to the nature of the sound. As with many other aspects of Summit, you will gain an understanding of wavetables by experimenting, and by adjusting the Shape control. In many cases, this will alter the sonic nature of the selected waveform quite dramatically. The last 10 slots in the more waveforms menu contain waveforms you can generate in the Components software. You can design, store, and manage waveforms you create.
Some sounds dont need to be chromatic pitch-dependent. Examples would be percussion sounds (e.g., bass drums), and sound effects, such as a laser gun. It’s possible to assign a fixed note to a patch, such that playing any key generates the same sound. The pitch the sound is based on may be any semitone note in a range of over eight octaves. With the parameter set Off, the keyboard behaves as normal. With it set to any other value, every key plays the sound at the pitch corresponding to the value.
The keyboard pitch wheel can vary the pitch of each of the oscillators by up to two octaves, up or down: BendRange may have a different value for each oscillator. The units are semitones, with a default value of +12, moving the pitch wheel up will increase the pitch of the notes by one octave, and moving it down takes them down an octave. Setting the parameter to a negative value reverses the operation of the pitch wheel. Many of the factory patches either have this parameter set to +12, giving a pitch wheel range of ±1 octave, or to +2 for a range of 1 tone.
Oscillator Sync is a technique of using one oscillator (the master) to add harmonics to another (the slave). Summit provides Oscillator Sync by using a virtual oscillator for each of the three main oscillators. The virtual oscillators are not heard, but the frequency of each is used to re-trigger that of the main oscillator.
The Vsync parameter controls the frequency offset of the virtual oscillator relative to the (audible) main oscillator. The nature of the resulting sound varies as the parameter value is altered because the virtual oscillator frequency increases in proportion to the main oscillator frequency as the parameter value increases.
When the Vsync value is a multiple of 16, the virtual oscillator frequency is a musical harmonic of the main oscillator frequency. The effect is a transposition of the oscillator that moves up the harmonic series, with values between multiples of 16 producing more discordant effects.
Tip
Vsync may be controlled for any or all oscillators using the Modulation Matrix. See The Modulation Matrix for details of how to use the Matrix.
Sawtooth Density only affects sawtooth waveforms. It adds copies of the oscillator waveform to itself. Two additional virtual oscillators are used for this, producing a “thicker” sound at low to medium values, but if the virtual oscillators are detuned slightly (see Density Detuning below), a more interesting effect can be obtained.
Density Detuning should be used in conjunction with Sawtooth Density. It detunes the virtual density oscillators, and you will notice not only a thicker sound, but a beating as well.
Tip
You can use the Sawtooth Density and Density Detuning parameters to “thicken” the sound, and simulate the effect of additional Voices. You can use the Unison and Unison Detune parameters in the Voice Menu to create a similar effect, but using Density and Density Detune have the advantage of not needing to use additional Voices.
The User Waves page lets you save wavetables from Components when you're using Live Edit mode. When you're live editing a wavetable in Components you can use the Summit's Value control to select a Wave slot on your Summit and press the Save button to save the wavetable from Live Edit, to a user wavetable slot.
The outputs of the various sound sources can be mixed together in any proportion to produce the overall synth sound, using what is essentially a standard 5-into-1 mono mixer.
The three Oscillators, the Noise source and the Ring Modulator output each have level controls, Osc 1 , Osc 2
, Osc 3
, Noise
and Ring 1*2
respectively. There is also a “master” level control, VCA Gain
, which sets the output level of the mixer. As the mixer section precedes the Envelopes section, this control scales the DAHDSR amplitude envelope.
The sum of the sounds from the mixer, plus any external audio inputs, is fed to the analogue Filter Section. The filter is used to modify the harmonic content of this combined sound. In Single mode, the filter affects all voices: in Multi mode, you can apply different filtering characteristics to each of the two Parts. Summit’s filters are of analogue design, and have an extensive set of configuration, modulation and control options.
The Shape button selects one of three filter types: low-pass (LP), band-pass (BP) or high-pass (HP). A fourth option, Dual, gives access to a wide range of further filter configuration options through the Voice menu.
The filter section of each of Summit’s two internal synths is devised around analogue filters with a slope of 12 dB/octave: each voice played includes two such filters.
The Slope button sets the degree of rejection applied to out-of-band frequencies; in the 12 dB setting, only one filter is placed in circuit, but when set to 24 dB, two filter sections are cascaded (placed in series), resulting in a steeper slope. An out-of-band frequency will be attenuated more severely with the 24 dB setting.
The Slope settings only have relevance when a low-pass, band-pass or high-pass filter is selected by the Shape button. The diagrams below illustrate the effect of Slope with Shape set to LP (the same principle applies to BP and HP):
If Shape is set to Dual, page 4 of the Voice menu is displayed on the OLED and Slope is set to 12 dB (Note - the Slope LEDs may still indicate 24 dB if this was the last setting with a single filter configuration selected). This menu page lets you combine the two filter sections in several other ways; specifically, by allowing combinations of two different filter types.
Note
Many additional filter configurations are available via the Voice menu. See Dual Filter Options and Filter Frequency Separation on Dual Filter Options
The large rotary Frequency control sets the cut-off frequency of the filter when Shape is set to HP or LP. With BP selected, Frequency sets the centre frequency of the filter’s pass-band.
Sweeping the filter frequency manually will impose a “hard-to-soft” characteristic on almost any sound.
Frequency is more complex when Shape is set to Dual and you select one of the dual filter combinations. See the section on the Voice menu on for more details
The Resonance control adds gain to the signal in a narrow band of frequencies around the frequency set by the Frequency control. It can accentuate the swept-filter effect considerably. Increasing the resonance parameter is good for enhancing modulation of the cut-off frequency, creating an edgy sound. Increasing Resonance also accentuates the action of the Frequency control, giving it a more pronounced effect.
Setting Resonance to a high value can greatly increase the output signal level – the synth volume – and in some cases can cause unwanted clipping. This can be compensated for by adjusting VCA Gain.
The filter’s Frequency parameter may be modulated - using the physical controls - by the output of LFO 1, the Amplitude Envelope, Modulation Envelope 1, Oscillator 3, or any combination of these.
Modulation by LFO 1 is controlled by the LFO 1 Depth control, and by the Env Depth control for either of the two envelopes. The Env Depth control is assigned to the Amplitude Envelope by selecting Amp Env with the Source button, and to Modulation Envelope 2 by setting Source to Mod Env. Both mod sources may be used simultaneously, with the Env Depth control adjusting only the currently selected envelope.
As with many other control routings between synth sections, a great many more options for modulating the filter may be explored using the Modulation Matrix (see The Modulation Matrix).
Note that only one LFO – LFO 1 - is available for filter modulation using the panel controls. (LFOs 2 -4 may be patched to modulate the filter using the Modulation Matrix.) Filter frequency can be varied by up to eight octaves.
Negative values of LFO 1 Depth “invert” the modulating LFO waveform; the effect of this will be more obvious with non-sinusoidal LFO waveforms and low LFO rates. With positive Depth values a falling sawtooth LFO waveform will cause the filter frequency to drop and then rise sharply before lowering again, but if Depth has a negative value, the filter frequency variation will be the opposite.
Modulating the filter frequency with an LFO can produce some unusual “wah-wah” type effects. Setting LFO 1 to a slow speed can add a gradual hardening and then softening edge to the sound.
When the filter’s action is triggered by an envelope, the filter action changes over the duration of the note. By adjusting the Envelope controls carefully, this can produce some very pleasing sounds, as for example, the spectral content of the sound can be made to differ considerably during the attack phase of the note compared to its “fade-out”. Env Depth lets you control the “depth” and “direction” of the modulation; the higher the value, the greater the range of frequencies over which the filter will sweep. Positive and negative values make the filter sweep in opposite directions, but the audible result of this will be further modified by the filter type in use.
Summit also allows direct modulation of the Filter frequency using Oscillator 3: this is controlled by the Osc 3 Filter Mod control. The intensity of the resulting effect is dependent on the control setting, but also almost all Osc 3 parameters - range, pitch, waveform, pulse width, plus any modulation applied to the Oscillator - can have a profound effect on the filter’s behaviour,.
The pitch of the note played can be made to alter the cut-off frequency of the filter. This relationship is controlled by the setting of the Key Tracking control. At the maximum value (127), the filter cut-off frequency moves in semitone steps with the notes played on the keyboard – i.e., the filter tracks the pitch changes in a 1:1 ratio. This means when playing two notes an octave apart, the filter cut off frequency will also change by one octave. At minimum setting (value 0), the filter frequency remains constant, whatever note(s) are played on the keyboard.
The filter section includes a dedicated drive (or distortion) generator; the Overdrive control adjusts the degree of distortion treatment applied to the signal. The drive is added before the filter.
Note
Two further Filter-related parameters – Filter Post Drive and Filter Divergence - are also available for adjustment in the Voice menu. See Filter Divergence.
Each of Summit’s two internal synths generates three envelopes each time a key is pressed, which can be used to modify the synth sound in many ways.
The envelope controls are based on the familiar ADSR concept, though Summit adds two further envelope phases, Delay and Hold, which are adjusted in the Env menu. In this User Guide we refer to the DAHDSR sequence.
The DAHDSR envelope can be most easily visualised by considering the amplitude (volume) of a note over time. The envelope describing the “lifetime” of a note can be split into six distinct phases:
- Delay – the time from when the key is struck to when the Attack phase of the envelope commences. The note is not audible during this phase. For most regular playing styles, Delay will be set to zero, but it is a useful parameter when setting up special sound effects.
- Attack – the time it takes for the note to increase from zero (i.e., from the end of the Delay phase) to its maximum level. A long attack time produces a “fade-in” effect.
- Hold – the time for which the note stays at the level reached in the Attack phase.
- Decay – the time it takes for the note to drop in level from the maximum value reached at the end of the Attack phase (and maintained throughout the Hold phase) to a new level, defined by the Sustain parameter.
- Sustain – this is an amplitude value, and represents the volume of the note after the Attack, Hold and initial Decay phases – i.e., while holding the key down. Setting a low value of Sustain can give a short, percussive effect (providing the Attack, Hold and Decay times are short).
- Release – This is the time it takes for the note’s volume to drop back to zero after the key is released. A high value of Release will cause the sound to remain audible (though diminishing in volume) after the key is released.
Although the above discusses DAHDSR in terms of volume, note that each of Summit’s two Parts has the facilities of three separate envelope generators, referred to as Amp Envelope, Mod Envelope 1 and Mod Envelope 2. All three envelopes are generated each time a key is struck, though each may have a completely different set of parameters.
- Amp Env controls the amplitude of the synth signal, and is always routed to the VCA in the output stage (see Summit: simplified block diagram). Summit also allows Amp Env to directly modulate the frequency of the Filter section using panel controls.
-
Mod Env 1 & 2 – the two modulation envelopes – are routed to various other sections of Summit, where it can be used to alter other synth parameters over the duration of the note. These are:
- Mod Env 1 can modulate the waveform shape of the three Oscillators, at a degree set by the Shape controls when the associated Source button is set to Mod Env 1.
- Mod Env 1 may also modulate the filter frequency, at a degree set by the Env Depth control when the Source button is set to Mod Env 1.
- Mod Env 2 can modulate the pitch of the three Oscillators, at a degree set by the Mod Env 2 Depth controls.
The above routings are only those available directly using Summit’s top panel controls: more routing options are available in the Modulation Matrix (see The Modulation Matrix).
Summit’s Envelope section has two sets of four slider controls, one set for Amp Env, the other for either Mod Env 1 or Mod Env 2, as selected by the Select button. The sliders are dedicated to four of the DAHDSR parameters (attack, decay, sustain and release); the descriptions below describe the effect of the Amp Envelope controls as amplitude variations are more easily visualised, though the effect of the corresponding Mod Envelope controls is identical. The two remaining envelope phases, Delay and Hold, are adjusted in the Envelopes Menu.
- Attack - sets the note’s attack time. With the slider at its lowest position, the note attains its maximum level immediately the key is pressed; with the slider in its uppermost position, the note takes over 18 seconds to reach its maximum level.
- Decay - sets the time the note takes to decay from the level reached in the Attack phase and maintained throughout the Hold phase, to that defined by the Sustain parameter. Maximum decay time is approx. 22 seconds.
- Sustain - sets the volume of the note after the decay phase. A low Sustain value with a higher Decay phase will have the effect of emphasising the start of the note; with the slider fully down, the note is inaudible when the decay time has elapsed.
- Release - Many sounds acquire some of their character from the notes remaining audible after the key is released; this “hanging” or “fade-out” effect, with the note gently dying away naturally (as with many real instruments) can be very effective. Summit has a maximum release time of over 24 seconds, but shorter times will probably be more useful! The relationship between the parameter value and the Release Time is not linear: this means much finer control is available over shorter release times.
Tip
With a high Sustain setting and zero Attack, Decay and Release, the envelope will act like an On/Off control when the key is pressed and released: the note begins immediately when the key is pressed and stops immediately when it is released. This can be reminiscent of the style of key control found on traditional organs.
The following Envelope parameters are available in the Env menu. Each Envelope has two menu pages; the parameters available for each Envelope are identical, except that the default value of the MonoTrig parameter for the Mod Envelopes is Re-Trig.
The default menu displays for the Amp Envelope are shown below:
Velocity does not modify the shape of the DAHDSR envelope in any way, but adds touch sensitivity to the sound. In the case of the Amplitude Envelope, setting a positive parameter value will mean the harder you play the keys, the louder will be the sound. If set to zero, the volume is the same regardless of how the keys are played. The relationship between the velocity at which a note is played and volume is determined by the value. Note that negative values have the inverse effect.
The sonic effect of the corresponding Velocity parameter for the two Modulation Envelopes will depend on what the Envelopes are used for: for example, if they are used to modulate Filter Frequency (a common application), a positive Velocity parameter will result in a greater degree of filter action when the keys are struck harder.
When this parameter is set to Re-Trig, each note played will trigger its full DAHDSR envelope, even if other keys are held down. In Legato mode, only the first key to be pressed will produce a note with the full envelope, all subsequent notes will omit the Attack and Decay phases, and sound only from the start of the Sustain phase. “Legato” literally means “smoothly”, and this mode aids this style of playing.
It is important to appreciate for the Legato mode to be operative, Mono or MonoLG modes must be selected in the VOICE control area of the panel – it will not work with polyphonic voicing or Mono2 mode. See Voices.
Summit adds two additional phases to the traditional ADSR envelope: the first of these is Delay. When Delay has the default value of 0, the envelopes commence their Attack phase as soon as a key is struck. Delay inserts a variable time lag between striking the key and the start of the remainder of the AHDSR envelope. At its maximum value of 127, the envelope does not begin until 10 seconds after the key is pressed. Delays much shorter than this are likely to be of more interest, and the relationship between the parameter value and the delay time has been deliberately made exponential to allow for this: a value of about 85 introduces a delay of one second.
The Hold parameter is a further additional phase of the envelope: many synthesisers only offer control of an ADSR envelope, but Summit allows further control of the note’s “lifetime”. Once the note has completed the Attack phase, the envelope will remain at its maximum level for a determined set by HoldTime. In terms of the Amplitude Envelope, if HoldTime is not set to zero, the note will stay at its maximum volume for a finite time before reducing in volume over the time set by Decay. If HoldTime is set to zero, the Decay phase commences immediately the maximum level is reached at the end of the Attack phase. The maximum value of 127 corresponds to a hold time of 500ms.
Repeats allows you to set “looping envelopes”: when a note is struck, the Attack, Hold and Decay phases of the envelope can be made to repeat any number of times up to 126 before the sustain and release phases of the envelope are started. This looping function is enabled (and disabled) with the Loop button . With Loops off, the DAHDSR envelope is followed as normal. When Loop is on, the value of Repeats sets the number of times the Attack, Hold and Decay envelope phases are implemented. When set to the default value of On, the Attack, Hold and Decay phases are repeated continuously until the note is released, when the release phase commences.
Each Animate button has its own attack and release stages. Pressing an Animate button triggers the attack stage and releasing the button triggers the release stage.
The Animate Envelope settings are exponential with values of 70ms at 32, 600ms at 64, 3.5 seconds at 96 and 15 seconds at 127.
Summit has four Low Frequency Oscillators (LFOs), denoted LFO 1 to LFO 4. LFO 1 and LFO 2 are per-voice; that is, their modulating effect is applied independently to each of the voices. Their primary parameters are immediately user-adjustable via panel controls: there are numerous further parameters in the LFO menu.
LFO 3 and LFO 4 are “global”, in that their modulating effect is applied to the eight voices after they have been mixed together. This is particularly useful as these LFOs can be used to modulate FX parameters via the FX Modulation Matrix. Waveform and rate controls for LFO 3 and LFO 4 are provided on the panel; again, further parameters are available in the LFO menu.
All four LFOs are also available for routing to other parts of Summit via the Modulation Matrix.
LFO 1 and LFO 2 are identical in terms of features, but their outputs may be directly routed using the panel controls to different parts of the synth and are thus used differently, as outlined below:
LFO 1:
LFO 2:
Either LFO may additionally be patched in the Modulation Matrix to modulate many other synth parameters.
The Type button selects one of four wave shapes –
Triangle,
Sawtooth,
Square or Sample and Hold. The LEDs above the button confirm the waveform selected.
The speed (or rate, or frequency) of each LFO is set by the Range button and the rotary Rate control
. The Range button has three settings: Low, High and Sync. Selecting Sync reassigns the function of the Rate control, allowing the speed of the LFO to be synchronised to an internal or external MIDI clock, based on a sync value selected by the control. When Sync is selected, the OLED displays the LFO’s RateSync parameter when the Rate control is moved: this allows you to choose the tempo division needed. See LFO Sync Rate table on LFO sync rate
LFO effects are often more effective when faded-in, rather than just ‘switched on’; the Fade Time parameter sets how long the LFO output takes to ramp up when a note is played.
The rotary control is used to adjust this time.
See also Fade Mode (Fade Mode), where you can also make the LFO fade out after the Fade Time, or using a Gate setting, start or end abruptly after the Fade Time.
LFO 3 and LFO 4 share a set of panel controls which may be assigned to either LFO, and each has its own page in the LFO menu with further parameters. The LFO outputs are not routable using direct panel controls in the way that LFO 1 and LFO 2 are, but may be routed to any of the Modulation Matrix’s destinations.
The Select button assigns the other controls on the GLOBAL LFO 3 & 4 panel section to LFO 3 or LFO 4 respectively.
The Type button selects one of four wave shapes -
Triangle,
Sawtooth,
Square or Sample and Hold. The LEDs above the button confirm the waveform currently selected. Waveform selection may also be made from the LFO menu.
The speed (or rate, or frequency) of the selected LFO (LFO 3 or LFO 4) is set by the Rate control Selecting Sync
reassigns the function of the Rate control, allowing the speed of the LFO to be synchronised to an internal or external MIDI clock, based on a sync value selected by the control. When Sync is selected, the OLED displays the LFO’s RateSync parameter when the Rate control is moved: this allows you to choose the tempo division needed. See LFO Sync Rate table on LFO sync rate. LFO 3/4 Rate may also be set from the LFO menu.
LFO1 and LFO 2 are ‘per voice’. This is a very powerful feature of Summit (and other Novation synthesisers). For example, when an LFO is assigned to create vibrato, and a chord is played, each note of the chord will be varied at the same rate, but not necessarily in the same phase. There are various settings in the LFO Menu that control how the LFOs respond and lock together.
LFO 1 and LFO 2 each have three menu pages; the parameters available for LFO 1 and LFO 2 are identical.
As LFO 3 and LFO 4 are intended for the creation of additional modulation effects rather than fundamental tone generation, they are ‘global’ as opposed to ‘per-voice’, meaning that they can also be used to modulate FX parameters via the FX Modulation Matrix. They have one menu page each; the parameters available for LFO 3 and LFO 4 are identical.
The default menu displays for LFO 1 and 2 are shown below:
Each LFO runs continuously ‘in the background’. If the Phase is set to Free (the default), there is no way of predicting where the waveform will be when a key is pressed. Consecutive presses of a key will inevitably produce varying results. With all other values of Phase, the LFO will re-start at the same point on the waveform every time a key is pressed, the actual point being determined by the parameter value. A complete waveform has 360º, and the control’s increments are in 3º steps. Thus, a half-way setting (180deg) will cause the modulating waveform to start at half-way through its cycle.
MonoTrig only applies to monophonic Voice modes. Providing LFO Phase is not set to Free, the LFOs are re-triggered each time a new note is pressed. But if you are playing in legato style (literally “smoothly” – playing further keys while one key is still held), the LFOs will only re-trigger if MonoTrig is set to Re-Trig. If set to Legato, you will only hear the effect of re-triggering on the first note.
Slew has the effect of modifying the shape of the LFO waveform. Sharp edges become less sharp as Slew is increased. The effect of this on pitch modulation can be heard by selecting Square as the LFO waveform and setting the rate fairly low so when a key is pressed the output alternates between two tones. Increasing the value of Slew will cause the transition between the two tones to become a “glide” rather than a sharp change. This is caused by the vertical edges of the square LFO waveform being slewed.
Note
Slew has an effect on all LFO waveforms, but the sonic effect differs with waveform rate and type. As Slew is increased, the time taken to reach maximum amplitude is increased, and can ultimately result in it never being achieved at all, though the setting at which this point is reached will vary with the waveform.
The function of the four possible settings of FadeMode are as follows:
- FadeIn – the LFO’s modulation is gradually increased over the time period set by the Fade Time control.
- FadeOut – the LFO’s modulation is gradually decreased over the time period set by the Fade Time control, leaving the note unmodulated.
- GateIn – the onset of the LFO’s modulation is delayed by the time period set by the Fade Time parameter, and then starts immediately at full level.
- GateOut – the controlled parameter is fully modulated by the LFO for the time period set by the Fade Time parameter. At this time, the modulation stops abruptly.
Whichever of the Fade Modes is selected, it is always active; if you do not want to hear its effect, turn the Fade Time control down to zero.
The setting of FadeSync only applies to monophonic voice modes. FadeSync determines whether the time delay set by Fade Time is re-started each time a key is pressed. With FadeSync set to On (the default), the LFO fade time recommences; when set to Off, it is triggered only by the first note. This will only be of relevance when playing in legato style.
Repeats sets how many cycles of LFO waveform will be generated each time the LFO is triggered. So if set to 1, you will only hear the effect of any LFO modulation for a single cycle, and hence for a short duration (depending on the setting of Rate).
Common Sync is only applicable to polyphonic voices. When Common is On, it ensures that the phase of the LFO waveform is synchronised to every note being played. When set Off, there is no such synchronisation, and playing a second note while one is already pressed will result in an unsynchronised sound as the modulations will be out of time. When LFOs are in use for pitch modulation (their most common application), having Common set to Off will give more natural results.
The default menu displays for LFO 3 are shown below:
This parameter is the menu-based equivalent of the panel Type button , and performs the same function: setting the basic waveform for LFO 3 or LFO 4.
The Rate parameter sets the LFO frequency; it has the same function as the top panel Rate control [18] for LFOs 1 and 2, though with an expanded frequency range as the high/low range selection is absent.
- Displayed as: LxRateSync (where x=3 or 4)
- Initial value: 8 beats
- Range of adjustment: See table at LFO sync rate for full details
LFO Rate Sync allows the speed of the LFO to be synchronised to an internal or external MIDI clock: the parameter selects the sync division factor. For LFO Sync Rate to be operational, it must first be enabled with the Sync button .
Each LFO runs continuously ‘in the background’. If the Phase is set to Free (the default), there is no way of predicting where the waveform will be when a key is pressed. Consecutive presses of a key will inevitably produce varying results. With all other values of Phase, the LFO will re-start at the same point on the waveform every time a key is pressed, the actual point being determined by the parameter value. A complete waveform has 360º, and the control’s increments are in 3º steps. Thus, a half-way setting (180deg) will cause the modulating waveform to start at half-way through its cycle.
Slew has the effect of modifying the shape of the LFO waveform. Sharp edges become less sharp as Slew is increased. The effect of this on pitch modulation can be heard by selecting Square as the LFO waveform and setting the rate fairly low so when a key is pressed the output alternates between two tones. Increasing the value of Slew will cause the transition between the two tones to become a “glide” rather than a sharp change. This is caused by the vertical edges of the square LFO waveform being slewed.
Note
Slew has an effect on all LFO waveforms, but the sonic effect differs with waveform rate and type. As Slew is increased, the time taken to reach maximum amplitude is increased, and can ultimately result in it never being achieved at all, though the setting at which this point is reached will vary with the waveform.
Summit has a versatile Arpeggiator (Arp) which allows arpeggios of varying complexity and rhythm to be played and manipulated in real-time. When the Arpeggiator is enabled and a single key is pressed, its note will be retriggered. If you play a chord, the Arpeggiator identifies its notes and plays them individually in sequence (this is termed an arpeggio pattern or ‘arp sequence’); thus if you play a C major triad, the notes making up the pattern will be C, E and G.
The primary controls for the Arpeggiator are on the panel: other, secondary arp parameters – including clock source, swing and sync rate – are set up in the Arp/Clock menu (see below). The Arpeggiator is enabled by pressing the Arp On button .
The Tempo control sets the basic rate of the arp sequence: the range is 40 to 240 BPM. If Summit is being synchronised to an external MIDI clock (see Clock source), it will automatically detect the incoming tempo and disable the internal clock. The tempo of the arp sequence will then be determined by the external MIDI clock.
Note that Tempo sets the clock rate for all Summit’s tempo-synchronised features: e.g., Delay Sync and LFO Rate Sync, as well as the Arpeggiator rate.
Tempo control is also available on Page 1 of the Arp/Clock menu as the ClockRate parameter.
When enabled, the Arpeggiator will play all notes held down in a sequence which is determined by the setting of the Type control . The options available are summarised in the table below. The third column of the table describes the nature of the sequence in each case.
| TYPE | DESCRIPTION | COMMENTS |
|---|---|---|
| ▲ | Up | Sequence begins with lowest note played |
| ▼ | Down | Sequence begins with highest note played |
| ▲▼ |
Up-Down 1 Up-Down 2 |
Sequence alternates |
| ▲▼2 | As ▲▼, but lowest and highest notes are played twice | |
| Play | Played | Sequence comprises notes in the order in which they are played |
| Random | Random | The notes held are played in a continuously-varying random sequence |
| Chord1 | Chord1 |
The notes making up the sequence are played simultaneously, as a chord In Chord 1 mode, ArpChance dictates how likely it is the whole chord plays |
| Chord2 | Chord2 |
The notes making up the sequence are played simultaneously, as a chord Chord2 is accessible from the Arp/Clock menu. In Chord 2 mode ArpChance works per note; only some notes of the chord play creating interesting effects. For example, a triad chord with a 10% ArpChance results in scattered melodies, a more dense, layered chord with higher ArpChance values can result in a moving harmony. |
Type selection is also available on Page 2 of the Arp/Clock menu as the Type parameter.
As well as being able to set the basic timing and mode of the arp sequence (with the Type control and the SyncRate parameter in the Arp/Clock menu), you can also introduce further rhythmic variations by adjusting the Rhythm control . The Arpeggiator comes with 33 pre-defined arp sequences; use the Rhythm control to select one. In general terms, the sequences increase in rhythmic complexity as the numbers increase; Rhythm 1 is a series of consecutive crotchets, and higher-numbered rhythms introduce more complex patterns, shorter duration notes (semiquavers) and syncopation.
Tip
You should spend some time experimenting with different combinations of Rhythm and Type. Some patterns work better with certain choices of Type.
Rhythm pattern may also be selected on Page 2 of the Arp/Clock menu with the Rhythm parameter.
The Octave control allows upper octaves to be added to the arp sequence. Set to 1, the sequence will contain only the notes played. When set to 2, the sequence is played as previously, then immediately played again an octave higher. Higher values extend this process by adding additional higher octaves. Note that settings other than 1 have the effect of doubling, tripling, etc., the length of the sequence. The additional notes added duplicate the complete original sequence, but octave-shifted. Thus a four-note sequence played with Octaves set to 1 will consist of eight notes when Octaves is set to 2. The range available is from one to seven octaves.
Arp octave range may also be selected on Page 2 of the Arp/Clock menu as the Octaves parameter.
The Gate control sets the basic duration of the notes played by the Arpeggiator (though this will be further amended by the Rhythm control and the SyncRate menu setting). Gate length is a percentage of the step length so the time during which the gate is open depends on the master clock speed. The lower the parameter value, the shorter the duration of the note played. At its maximum value (127), one note in the sequence is immediately followed by the next without a gap. At a value of 63, the note duration is exactly half the beat interval (as set by the Tempo control), and each note is followed by a rest of equal length.
The Key Latch button plays the currently selected arp sequence repeatedly without the keys being held. If further key(s) are pressed while the initial keys are being held down, the extra note(s) will be added to the sequence. If further keys are pressed after releasing all the notes, a new sequence consisting only of the new notes will be played.
Summit can transmit MIDI note data from the arpeggiator, and can also force the arpeggiator to play notes according to received MIDI note data. See Arp MIDI mode for more information.
The following Arpeggiator settings are available in the Arp/Clock menu, which has four pages. Note that some of these settings duplicate physical controls in the panel ARP section.
This parameter sets Summit’s internal clock rate in BPM. It provides the clock for Summit’s tempo-synchronised features: Arpeggiator, Delay Sync and LFO Rate Sync.
Summit uses a master MIDI clock to set the tempo of the arpeggiator and to provide a time base for synchronisation to an overall tempo. This clock may be derived internally or provided by an external device able to transmit MIDI clock. The Source setting determines whether Summit’s tempo-synchronised features (including the Arpeggiator) will follow the tempo of an external MIDI clock source or follow the tempo set by the ClockRate parameter. The options are:
- Auto – when no external MIDI clock source is present, Summit will default to the internal MIDI clock. Tempo will be set by the ClockRate parameter. If an external MIDI clock is present, Summit will synchronise to it.
- Internal – Summit will synchronise to the internal MIDI clock irrespective of what external MIDI clock sources may be present.
- Ext-Auto – this is an auto-detect mode whereby Summit will synchronise to any external MIDI clock source (via USB or MIDI connection). Until an external clock is detected, Summit will run at its internal clock rate. When an external clock is detected, Summit automatically synchronises to it. If the external clock is subsequently lost (or stopped), Summit’s tempo then “flywheels” to the last-known clock rate.
- MIDI – synchronisation will be to an external MIDI clock connected to the (DIN) MIDI input socket. If no clock is detected, the tempo “flywheels” to the last-known clock rate.
- USB – synchronisation to an external MIDI clock received via the USB connection. If no clock is detected, the tempo “flywheels” to the last-known clock rate.
When set to either of the external MIDI clock sources, the tempo will be at the MIDI Clock rate received from the external source (e.g., a sequencer). Make sure the external sequencer is set to transmit MIDI Clock. If unsure of the procedure, consult the sequencer manual for details.
The fourth row of Page 1 confirms the current status of the clock source, including the precise BPM. This row is read-only.
Most sequencers do not transmit MIDI Clock while they are stopped. Synchronisation of Summit to MIDI Clock will only be possible while the sequencer is actually recording or playing. In the absence of an external clock, the tempo may fly-wheel and will assume the last known incoming MIDI Clock value. In this situation, the fourth row of the OLED will display FLY. (Note that Summit does NOT revert to the tempo set by the ClockRate parameter unless Auto is selected.)
Row 4 of Page 1 confirms the current clock source and BPM in use. It is not user-selectable for adjustment.
- Status will show INT when Summit is running on its internal tempo clock. The tempo displayed will match that set by the ClockRate parameter in Row 2.
-
Status will show USB when Summit receives a valid clock at the USB port
and Source is set to Auto, Ext-Auto or USB. The tempo displayed will be that of the incoming external clock.
-
Status will show MDI when Summit receives a valid clock at the MIDI IN (DIN) connector
and Source is set to Auto, Ext-Auto or MIDI. The tempo displayed will be that of the incoming external clock.
- Displayed as: Type
- Initial value: Up
- Range of adjustment: See table in Arp mode
If Swing is set to something other than its default value of 50, some further interesting rhythmic effects can be obtained. Higher values lengthen the interval between odd and even notes, while the even-to-odd intervals are correspondingly shortened. Lower values have the opposite effect. This is an effect which is easier to experiment with than describe! Adding Swing is a great way to introduce a groove, or rhythmically swung musical feeling to your arp sequences.
Range of adjustment: See table at Arp/clock sync rate for full details
This parameter effectively determines the beat of the arp sequence, based on the tempo rate set by the ClockRate parameter.
KeySync only applies when Key Latch is On. It determines how the sequence behaves when a new set of notes is played. With KeySync off, the notes are changed but the constant rhythm dictated by the arp pattern is maintained. If KeySync is On, the arp pattern will be interrupted and immediately restarted as the keys are struck.
Arp Velocity Mode sets the relative volume of the notes comprising the arp pattern. With the default setting of Rhythm, the pattern will be played with a predetermined volume for each note, regardless of how the keys making up the pattern were struck. For most of the patterns, this will mean all the notes will have the same volume. However, some of the more complex patterns already have velocity information associated with each step, so the notes making up the pattern may differ slightly in volume, as this is what was intended when the pattern was created.
If ArpVelMode is set to Played, the way each key is struck is taken into account and the velocity value of each is applied to the step. This results in an arp pattern that more closely replicates how the notes defining the pattern’s content were played. In order for the Played mode to operate correctly, it is necessary to first assign a non-zero value to the Velocity parameter on Page 1 of the Env menu (see Velocity). Alternatively, assign Velocity as a source in the Mod Matrix to control another synth parameter, such as Filter Frequency.
Summit comes equipped with two sound effects (FX) sections – one per Part. FX can be applied to the sound the synth is generating to add colour and character. When Multi Patches are in use, FX may be added to Parts A and B independently. All FX parameters are saved with the Patch.
The FX tools comprise analogue distortion and three digital “time-domain” effects: Reverb, Chorus and Delay. Each effect has its own set of controls and you can use any or all FX without restriction.
In addition, the FX Menu provides extensive control of additional parameters for the digital FX. These may be used in parallel configuration, or arranged in series in any order: the configurations are set up in the FX Menu.
A second menu – FX Mod – gives access to a 4-slot modulation matrix dedicated to the FX section. This is entirely independent of the main modulation Matrix (accessed through its own Mod menu), and allows you to apply modulation control to most primary FX parameters. See The FX modulation matrix for full details.
The FX processing section is active by default: the Bypass button switches the digital FX processing out of circuit: it does not bypass the Distortion processor.
Distortion may be added with the single Level control . A controlled amount of distortion is added after the VCA, in the analogue domain, and affects the sum of all sixteen voices and any external audio inputs applied. (See the block diagram at Summit: simplified block diagram.) This means the distortion characteristic will change as the amplitude of the signal changes over time as a result of the Amplitude Envelope, and with the number of active voices.
The output from the Distortion processor is then routed to the other FX.
Note that “per-voice” distortion may be added either post-filter by adjusting Post Filter Drive on Page 3 of the Voice menu, or pre-filter by adjusting the Overdrive control in the Filter section .
Chorus is an effect produced by mixing a continuously delayed version of the signal with the original. The characteristic swirling effect is produced by the Chorus processor’s own LFO making small changes in the delays. The changing delay also produces the effect of multiple voices, some of which are pitch-shifted; this adds to the effect.
Summit has three stereo Chorus programs, named 2 Tap, 4 Tap and Ensemble, selected by the Type button . The names reflect the nature of traditional chorus generation, which was to mix together several versions of the same signal, each with a different and varying delay, derived from a multi-tap delay line. The amount of Chorus effect added to the “dry” signal is adjusted by the Level control
. The Rate control
sets the frequency of the Chorus processor’s dedicated LFO. Lower values give a lower frequency, and hence a sound whose characteristic changes more gradually. A slow rate is often more effective.
There are further Chorus parameters available for adjustment in the FX Menu.
The Delay FX processor produces one or more repetitions of the note played. Although the two are intimately related in an acoustic sense, delay should not be confused with reverb in terms of an effect. Think of delay simply as “Echo”.
The Time control sets the basic delay: the note played will be repeated after a fixed time. Higher values correspond to a longer delay. If Time is varied while a note is being played, pitch shifting will result.
It is often desirable to synchronise echoes to tempo: on Summit this can be done by selecting Sync. The Time control then invokes Page 4 of the FX menu, and varies the DelaySync parameter, which is displayed on the OLED while the control is adjusted. The sync value is limited by the maximum delay time of 1.4 seconds, consequently some combinations of ClockRate (set on Page 1 of the Arp/Clock menu) and DelaySync result in truncating the delay time to the maximum calculated sync rate permissible, i.e., the delay time will reduce, but it will remain in sync.
The output of the delay processor is connected back to the input, at a reduced level; The Feedback control sets the level. This results in multiple echoes, as the delayed signal is further repeated. With Feedback set to zero, no delayed signal at all is fed back, so only a single echo results. As you increase the value, you will hear more echoes for each note, though they still die away in volume. Setting the control in the centre of its range (64) results in about 5 or 6 audible echoes; at the maximum setting the decay in volume is almost imperceptible and the repetitions will still be audible after a minute or more.
The Level control adjusts the level of the echoes: at the maximum setting (127), the first echo is approximately the same volume as the initial, dry note.
There are further Delay parameters available for adjustment in the FX Menu.
Reverberation (reverb) adds the effect of an acoustic space to a sound. Unlike delay, reverb is created by generating a dense set of delayed signals, typically with different phase relationships and equalisations applied to re-create what happens to sound in a real acoustic space.
Summit provides three reverb presets, selected by the Size button. The presets are simply numbered 1, 2 and 3, and set the RevSize parameter (see Size) to values of 0, 64 or 127 respectively, thus simulating spaces of different sizes.
The Time control sets the basic reverb time of the selected space and sets how long it takes the reverb to die away to inaudibility. The Level control adjusts the volume of the reverb.
The following additional parameters for the three time-domain effects are available in the FX menu. Two menu pages are dedicated to Chorus (Pages 2 and 3) and two to Delay (Pages 4 and 5); Reverb has three pages (Pages 6 to 8). There is one further page (Page 1) with “global” parameters affecting all three effects.
The default menu display is shown below:
The parameters available on the Global FX page affect all three time-domain FX processors (Chorus, Delay and Reverb).
The inclusion of the “Wet” and “Dry” parameters are used here to assist with importing patches from our Summit synthesiser. They have no effect on the engine of Summit.
If you wish to have a different level for the effects compared to the dry level, you can send the FX to a separate output to the Synth engine by adjusting the setting on page 13 of the Settings menu.
When using more than one of the three time-domain effects (Chorus = C, Delay = D and Reverb = R) simultaneously, the overall effect will differ depending on the order of processing. For example, if Delay precedes Reverb, each echo added to notes by the Delay processor will initiate its own reverberation. If Delay follows Reverb, the Delay processor will attempt to generate a multiplicity of fresh reverberations as repeats. Routing allows you to arrange the three time-domain processors in series in any order, or to configure them to process sounds in parallel, i.e., simultaneously, with the outputs being blended together. In parallel (the default configuration), the overall result is subtly different from any of the series configurations.
The Depth parameter determines the amount of LFO modulation applied to the Chorus delay time, and thus the overall depth of the effect. A value of zero results in no chorus effect being added.
The Chorus processor has its own feedback path between output and input, and a degree of feedback can be applied to get a more effective sound. Negative values of the Feedback parameter mean the signal being fed back is phase-reversed: High values – positive or negative – can add a dramatic “swooping” effect. Adding feedback and keeping the value of Depth low will turn the Chorus FX into a flanger.
- Displayed as: Mode
- Initial value: Chorus
- Range of adjustment: Chorus, Flanger, Phlanger
The Mode setting changes how the chorus effect works:
- Chorus – The basic Chorus mode.
- Flanger – The Flanger is like the Chorus but uses more detuning and feedback to produce a more pronounced swirling sensation emphasising the harmonics in the sound as it sweeps through them.
- Phlanger – Phlanger follows the same approach as Flanger. It is an even further reduced Chorus configured for a Phaser-like effect. Phlanger works well with slow rates and high feedback values
We’ve produced each effect using the same approach with varying intensities– Altering the number of notches and number of cancellations present to change the effect.
Chorus uses the highest number of notches and ‘Phlanger’ uses the lowest.
In the Chorus and Flanger modes, changing between 2-Tap and 4-Tap offsets the phase of the modulation source. This results in an increase in cancellation. With both 2-pole and 4-pole, the modulation source synchronises, resulting in repeating modulation.
Set to Ensemble, the modulation source’s phase isn’t synchronised, this results in ‘movement’ in the peaks and troughs across the frequency spectrum.
When using Phlanger, switching between 2-pole and 4-pole doesn’t change the modulation source’s phase, however, switching to Ensemble results in the modulation source no longer being synced. All three effects share the range of rate, depth, and feedback parameters.
Tip
For more information on 2-Tap, 4-Tap and Ensemble, see Chorus.
- Displayed as: DelaySync
- Initial value: 4th T
- Range of adjustment: See table at Delay Sync for full details
Delay time may be synchronised to the internal or external MIDI clock, using a wide variety of tempo dividers/multipliers to produce delays from about 5 ms to 1 second.
The value of DelaySync is also displayed while the front panel Time control is being adjusted, when Sync is set On.
Echoes produced acoustically by reflections in physical spaces decay at different rates at different frequencies, depending on the type of surface producing the reflection. The two Damping parameters LP Damp and HP Damp allow a simulation of this effect. LP Damp (Lo-pass Damping) is a filter which can be used to reduce the brightness of later echoes: with the parameter set to its maximum value of 127, the filter is fully open.
Note that the varying damping only applies to the delayed notes, not to the initial one. See also the Damping parameters in the Reverb processor.
This has a similar effect to LP Damp, but is a hi-pass filter. When the parameter is set to zero, the filter is fully open: as the value is increased, later echoes will be progressively reduced in LF content.
As with LP Damp, the varying damping only applies to the delayed notes, not to the initial one. See also the Damping parameters in the Reverb processor.
The value of this parameter is a ratio, and determines how each delayed note is distributed between the left and right outputs. Setting LR Ratio to the default 1/1 value places all echoes centrally in the stereo image. With other values, echoes are alternated rhythmically between left and right at simple ratios of the delay time: settings of 1/2 or 2/1 produces the familiar “ping-pong” effect of equally spaced echoes alternating between left and right.
The value of SlewRate affects the nature of the sound while the Delay Time is being varied. Varying delay time produces pitch-shifting. With Slew Rate set to the maximum value (127), almost no pitch-shift effects will be heard as the Time control is adjusted. With lower values, the pitch-shift effects become more evident. As the purpose of varying delay time in performance is generally to produce pitch shift artefacts, a medium value is usually desirable.
The Width parameter is only relevant to settings of LR Ratio which result in the echoes being split across the stereo image. With its default value of 127, any stereo placement of delayed signals will be fully left and fully right. Decreasing the value of Width reduces the width of the stereo image and panned echoes tend towards the centre position.
- Displayed as: TimeMode
- Initial value: Normal
- Range of adjustment: Normal, Double, Treble, QuadLoFi, HexVLoFi
Delay Time Mode adjusts the delay’s sample rate, creating longer delays. As the delay’s sound quality reduces as the delay gets longer– resulting in a lo-fi effect.
TimeMode settings:
- Normal – A clean delay at the rate and time you specify.
- Double – A clean delay at half of the rate and time you specify.
- Treble - A clean delay at a third of the rate and time you specify.
- QuadLoFi – A Lo-Fi delay at a quarter of the rate and time you specify.
- HexVLoFi - A very Lo-Fi delay at a sixth of the rate and time you specify.
- Displayed as: Type
- Initial value: Original
- Range of adjustment: Original, CrossFed, Dual
Original gives you one delay time with a left tap time and a right tap time. In CrossFed the left input feeds the right delay and the right input feeds the left delay, similar to ping pong delay but incorporates left, right & central panning. In Dual mode, each side of the delay has its own delay time equal to the tap time. This effect starts to distinguish itself from Orginal when Feedback is introduced.
- Displayed as: Output
- Initial value: PreDamp
- Range of adjustment: PreDamp, PostDamp
Output is a switch to choose where the delay output is picked from. Either from the delay output (PreDamp), or from the delay filter output (PostDamp).
For the Original delay style, PostDamp monos the delay and only gives the longest delay tap time. For the CrossFed and Dual delay styles PostDamp gives you the ability to hear thefirst delay and filter in stereo.
In a very large space, the first reflections making up the reverberation are not heard immediately. PreDelay controls how soon after the start of the initial note the reverberation begins, and thus allows a more accurate simulation of a real space to be created. With PreDelay set to its maximum value (127), the first reflections are delayed by approximately half a second.
This parameter performs the same function for the reverb processor as the corresponding one in the Delay processor, in that it simulates the effect of high-frequency absorption by different surfaces. The low-pass filter used to create this effect is fully open when LP Damp is set to its maximum value of 127.
This parameter performs the same function for the reverb processor as the corresponding one in the Delay processor, in that it simulates the effect of low-frequency absorption by different surfaces. The high-pass filter used to create this effect is fully open when HP Damp has a value of zero.
The RevSize parameter alters the reverberation character: larger values introduce additional and more prominent reflections, simulating the effect of a larger physical space. Note that the Size button sets RevSize to 0, 64 or 127, so the menu option allows finer adjustment between these values.
The reverb processor includes a dedicated modulation source, which can be used to alter the reverb time (set with the Time control). Two parameters are provided: ModDepth, which controls the degree of modulation and ModRate, which controls the modulation rate.
This parameter controls a simple low-pass filter, constituting an HF EQ section affecting the reverberation itself. The effect differs the LoPass Damping parameter: LoPass is a simple filter for the overall reverberation (not the initial note) while LP Damp is a coefficient defining how the reverb algorithm itself operates on high frequencies. The filter is fully open when the parameter has its maximum value of 127.
The power of a versatile synthesiser lies in its ability to interconnect the various controllers, sound generators and processing blocks such that one block is controlling – or “modulating” - another, in as many ways as possible. Summit provides considerable flexibility of control routing, and there is a dedicated menu for this, the Mod Menu.
As with every other aspect of Summit, the Modulation Matrix routings for each of the two synths generating Parts A and B may be configured independently by selecting A or B in MULTIPART CONTROL when using a Multi Patch.
The available modulating sources and destinations to be modulated can be thought of as the inputs and outputs of a large matrix:
The example here shows how any two sources, in this case Velocity and LFO 2, can simultaneously modulate the same parameter, in this case Osc 2 Shape. Many mod matrix assignments will only use a single source. Note that the two modulation sources are effectively multiplied together, and the Depth parameter controls the overall degree of modulation. The diagram depicts a single matrix “slot”: each of the two Summit synths has 16 such slots, allowing an enormous range of modulation possibilities.
Press the Mod button to open the Modulation Menu, which comprises 16 pages, one for each slot. Select a slot with the Page ◀ and Page ► buttons. The page lets you define which (one or two) modulation sources are to control – i.e., modulate - a ‘destination’ parameter. The routing possibilities available in each slot are identical, and hence the control description below is applicable to all 16 slots.
The default menu display for Slot 1 is shown below:
Tip
The Modulation Matrix is both variable and additive. What do we mean by ‘variable’ and ‘additive’ as applied to a matrix?
By ‘variable’, we mean that it is not just the routing of a controlling source to a controlled parameter which is defined in each slot, but also the “magnitude” of the control. Thus the ‘amount’ of control – or Depth – used is up to you.
By ‘additive’ we mean a parameter may be varied by more than one source. Each slot allows for two sources to be routed to a parameter, and their effects are multiplied together. This means if either of them is at zero, there will be no modulation. However, there is no reason why you can’t have further slots routing these or other sources to the same parameter. In this case, the control signals from different slots “add” to produce the overall effect.
Tip
You need to be careful when setting up patches like this to ensure that the combined effect of all the controllers acting simultaneously still creates the sound that you want.
In addition, the Modulation Menu lets you assign the two ANIMATE buttons as sources (see The Animate buttons).
The FX modulation matrix menu
In addition to the sources and destinations available in the main Modulation Matrix, four additional matrix routing slots specifically dedicated to the FX section are available in the FX Mod Menu. These allow most Modulation Matrix sources to directly modulate FX parameters. See The FX modulation matrix for full details.
Each slot has two inputs, A and B, which allows each destination parameter to be modulated by two different sources. The three buttons to the left of the OLED display select Rows 2, 3 or 4 for adjustment, but note that the Row 2 button toggles source selection between slot inputs A and B. Source A is displayed on the left of Row 2 and Source B on the right: in the default display shown above, both are set to Direct (no modulation selected).
Use the Page ◀ and Page ► buttons to select one of 16 slots. All the slots have the same selection of sources and destinations and any or all can be used. The same source can control multiple destinations in different slots, and similarly, one destination can be controlled by multiple sources by using several slots.
- Displayed as: :sA [Slot n] sB: (where n= slot number; the two sources are displayed on Row 2)
- Initial value: Direct (both A and B sources)
- Range of adjustment: see table at Modulation matrix – sources for list of available sources
This lets you select a control source (modulator), which will be routed to the synth element selected by Destin (see below). Setting both sA and sB to Direct means when the Depth for the Slot is set to a non-zero value, a fixed change will be applied to the value of the selected destination parameter (i.e., there is no time-varying modulation).
Note that the list of sources includes Expression pedals. If you connect an Expression pedal to either of the rear panel pedal connectors, they can be selected to control any destination you wish in the normal way. If you wish an Expression pedal to control overall synth volume in a natural way, choose VcaLevel as the routing destination for sA and AmpEnv for sB.
The CV input is also available as a source for the Mod Matrix. The CV input can be routed to any of the available mod destinations. The CV input has been designed to respond to control inputs without aliasing up to just over 1 kHz (which roughly corresponds to two octaves above middle C).
Tip
The Modulation Matrix AftTouch source will accept channel aftertouch, either from Summit’s own keyboard or as external MIDI data. This is the most common type of aftertouch. Summit will also accept polyphonic aftertouch, which is generated by some controllers such as the Novation Summit. When polyphonic aftertouch is received, the pressure applied during a note event is interpreted as a modulation event for this one note only. This provides a level of expressivity in playing that is uncommon with hardware synths.
- Displayed as: Destin
- Initial value: O123Ptch
- Range of adjustment: see table on Modulation matrix – destinations for available destinations list
This sets the parameter to be controlled by the selected source (or sources) in the currently selected slot. The range of possibilities includes:
parameters that directly affect the sound:
parameters that can also act as modulating sources (thus permitting recursive modulation):
Tip
The mixer output (VCA level) is an unusual matrix destination! The VCA is the main output stage for the synth and this is normally under the sole control of the Amplitude Envelope, but Summit lets you assign the VCA as a destination in the Mod Matrix. If either Source A or Source B is not set to an Envelope, the VCA can be controlled independently of any notes being played.
The Depth parameter sets “how much” control is being applied to the Destination – i.e., the parameter being modulated by the selected source(s). If both Source A and Source B are active in the slot in question, Depth controls their combined effect.
Tip
Depth effectively defines the “amount” by which the controlled parameter varies when under modulation control. Think of it as the “range” of control. It also determines the “sense” or polarity of the control – positive values of Depth will increase the value of the controlled parameter and negative values will decrease it, for the same control input. Note that having defined source and destination in a patch, no modulation will occur until the Depth control is set to something other than zero.
Negative values of Depth do not work on certain parameters, unless modulation is already being applied to that parameter by some other routing, in which case the negative sense “cancels” the modulation already present. Examples are:
- Oscillator Vsync – needs to be applied via the Oscillator Menu before it can be reduced by a Mod Matrix routing.
- FM of one oscillator by another – another mod slot must already be applying the FM before it can be cancelled.
Pressing FX Mod opens the FX Mod Matrix menu.
The FX Modulation Matrix is effectively an extension of Summits’ main Modulation Matrix, but is devoted solely to using various internal Summit sources to modulate FX parameters. It has four “slots” each with two inputs, so you can simultaneously modulate up to four different FX parameters from up to eight separate sources. It is set up in the same manner as the main Modulation Matrix. The four pages are identical, and each allows one slot to be configured.
The default menu display for Slot 1 is shown below:
As with the main Modulation Matrix, each slot has two inputs, A and B, which allows each destination FX parameter to be modulated by two different sources. The three buttons to the left of the OLED display select Rows 2, 3 or 4 for adjustment, but note that the Row 2 button toggles source selection between slot inputs A and B. Source A is displayed on the left of Row 2 and Source B on the right: in the default display shown above, both are set to Direct (no modulation selected).
- Displayed as: :sA and :sB
- Initial value: Direct
- Range of adjustment: see table at FX modulation matrix – sources for list of available sources
- Displayed as: FX Destin
- Initial value: Dist Lev
- Range of adjustment: see table at FX modulation matrix – destinations for list of available destinations
The Depth parameter sets “how much” control is being applied to the Destination – i.e., the parameter being modulated by the selected source(s). If both Source A and Source B are active in the slot in question, Depth controls their combined effect. If no sources selected, the Depth control can be used to adjust the “amount” of the destination parameter. Setting a negative value of Depth has the effect of reducing the effect of the destination parameter as set by its own control or menu option.
Press the Settings button to open the Settings Menu. This menu has 31 pages, numbered from 1 to 9, then from A to V. It contains a set of synth and system functions which, once set up, will not need to be accessed on a regular basis. The Settings Menu includes global synth settings, Patch backup routines, MIDI and pedal settings, I/O routings and the 16 user-definable Oscillator Tuning Tables, among other functions.
The Settings Menu defines settings which are global for the synth, and are not saved with individual Patches. However, it is possible to keep the current contents of the Settings menu by opening Settings and pressing Save . This ensures the settings (such as Tuning Tables, VelShape and Patch Memory Protection) are kept after power-cycling.
Tip
Saving Settings as described above will also save the current Patch, with all its current parameter values as a default, and this Patch will be re-loaded at the next power-cycle.
Setting Protect to On disables Summit’s Patch Save function: subsequently, pressing Save will generate the display message below:
This is a useful function if you need to be sure Patches already saved (including factory Patches) cannot be overwritten.
If Protect is Off, pressing Save will store all the current synth settings, including those of the Settings menu. The message below will be displayed:
The setting of Pickup allows the current physical position of Summit’s rotary controls to be taken into account. When Pickup is Off, adjusting any of Summit’s rotary controls will produce parameter change and a potentially immediately audible effect (a small difference between the parameter value corresponding to the control’s physical position and the value currently in force for the Patch may result in the effect being inaudible). When set to On, the control needs to be moved to the physical position corresponding to the value of the parameter saved for the currently loaded Patch, and will only alter the parameter value once that position is reached. For parameters with a range of 0 to 255, this means the 12 o’clock position will correspond to a value of 127; for parameters with a range of -64 to +63, the 12 o’clock position will correspond to a value of zero.
Msg Time sets the time for which parameter values (and the saved value for the current Patch) are displayed when a rotary control is adjusted. The maximum time (value of 127) is equivalent to approx. 3 seconds.
This is read-only data, and reports Summit’s OS (Operating System) version. This lets you ensure you have the most up-to-date OS installed.
Pressing the Row 4 button initiates a calibration routine which sets up the filters, VCAs and distortion circuitry accurately. This will have been done at the factory and should not need to be run again, but the routine has been included for good measure. The procedure takes several minutes, and the synth should not be touched while in progress. Note that the routine overrides the master volume control and sets it to maximum.
Warning
WARNING: The test generates various tones which will be present at the synth’s outputs; we recommend you mute or turn off any external amplifier or loudspeakers connected as these tones will be at full volume.
When the calibration routine is complete, the display shows:
This parameter modifies the synth’s response to the velocity curve set on the keyboard. The default value of 64 results in a linear relationship between the velocity curve and the synth’s response. Reducing the value will result in lighter key touches producing a greater volume; a higher value results in the opposite. You can set the VelShape parameter to suit your normal playing style.
This control adjusts the frequencies of all the Oscillators by the same small amount, allowing you to fine-tune the whole synth to another instrument if necessary. The increments are cents (1/100 of a semitone), and thus setting the value to 50 tunes the synth to a quarter-tone midway between two semitones. A setting of zero tunes keyboard with the A above middle C at 440 Hz – i.e., standard Concert Pitch.
Transpose is a useful global setting which “shifts” Summit’s keyboard up or down one semitone at a time. It also applies the same “shift” to received MIDI Note data, so if you are playing Summit from a master MIDI keyboard or controlling it from a sequencer, you can still use transposition. Transpose differs from oscillator tuning in that it modifies the control data from the keyboard rather than the actual oscillators. Thus setting Transpose to +4 means you can play with other instruments in the actual key of E major, but only need to play white notes, as if you were playing in C major.
Note Transpose does not affect Note data generated by the arpeggiator.
Summit’s bi-timbral architecture effectively means it comprises two independent synthesisers, one for each Part. When working with Multi Patches, you can configure it to receive and transmit MIDI data for each of the two Parts on separate channels, for the greatest flexibility of interfacing with external equipment.
PartA Chan lets you select which MIDI channel is to be used for MIDI data relating to Part A.
No data is transmitted or received on the Single MIDI channels when Summit is in Multi Patch mode. How Summit handles MIDI data in and out in Multi Patch mode is further modified by the MULTI MODE in use. See MIDI operation in single and multi patch modes for more details.
PartB Chan lets you select which MIDI channel is to be used for MIDI data relating to Part B. In all other respects, it operates described for as PartA Chan above.
The Global MIDI channel should be used in Single Patch mode. No data is transmitted on the Global MIDI channel when Summit is in Multi Patch mode.
In normal operation (with Local set to On), all Summit’s physical controls are active, and transmit their settings as MIDI data, provided CC/NRPN (in another Settings Page) is set to either Transmit or Rec+Tran (see MIDI Control data setting below).
With Local set to Off, the physical controls no longer vary any internal Summit parameters, but still output their values as MIDI data in the same way.
Seq local mode means you can use Summit with an external sequencer, looping MIDI back into Summit, without causing any MIDI feedback issues. With Local set to Seq the keys, mod and pitch wheels, and aftertouch send MIDI data but don’t affect Summit’s synth engine. All other front panel controls affect the engine but don’t send out MIDI data.
This setting determines how the arpeggiator handles MIDI data.
- Off: the arp responds to incoming MIDI note data, either via the MIDI IN DIN port or the USB port. Control data is transmitted from both the MIDI OUT and USB ports. If the note data is received at the MIDI IN port, it is also retransmitted to MIDI THRU.
- On: In this setting, the arp responds to received MIDI note data in the same manner, but additionally transmits arpeggiator note data via both the MIDI OUT and USB ports, along with control data.
With the default CC/NRPN setting of Rec+Trans, Summit’s physical controls transmit their settings as MIDI CC or NRPN data (see table at MIDI parameters list). Summit also responds to received MIDI CC/NRPN data with this setting. You can choose to only transmit MIDI data and not receive it (Transmit), or to receive it but not transmit (Receive). The fourth option, Disabled, effectively isolates Summit from any other MIDI equipment to which it is connected. See also Local Control On/Off above. Note CC/NRPN messages do not include Patch data, which is handled separately as Program Change messages – see Bank/Patch below.
This setting controls how Summit handles MIDI Program Change and Bank Change messages. With the default setting of Rec+Trans, Summit sends a Program/Bank Change message whenever a new Patch is loaded, and will also load a Patch when told to by an external MIDI controller, such as the Novation Summit. As with MIDI control data (above), you can choose to set Receive or Disabled, so Summit does not transmit Program/Bank Change messages when you change Patches, or to set Transmit or Disabled, so Summit does not respond to Program/Bank Change messages from external equipment.
These two menu pages are concerned only with pedals of the switch (on/off) type. [If you are using one or more Expression pedals, these may be connected to either or both of the two PEDAL sockets on the rear of the unit. There are no Settings Menu options for Expression pedals: they are assigned in the Mod Matrix on a per-Patch basis.]
Summit supports two foot switch pedals of various types. A sustain pedal or footswitch can be connected to Summit via the PEDAL 1 or PEDAL 2 sockets . Ascertain whether your sustain pedal is of the normally-open or normally-closed type, and set the Ped1Sense or Ped2Sense parameter to suit. If you are unsure which it is, connect the footswitch with Summit unpowered, and then power it on (without your foot on the pedal!) Provided the default value of Auto is still set, the polarity will be correctly sensed.
The Pedal Mode settings determine what you want the switch pedals to do. The two pedals can act as foot switches for Summit’s Animate functions: in this case, pressing a pedal triggers the Animate effect that has been defined within the Patch. You can alternatively assign either pedal to be a Sustain or a Sostenuto pedal (like the middle pedal on a three-pedal piano). When set to Sostenuto, notes played while the pedal is being pressed will be sustained. Once the pedal has been depressed, any further notes will not be sustained. This is useful for playing melodies over a held chord.
This global parameter is effectively a 3 or 6 dB pad (or level reduction) in the main audio outputs. It is useful when the equipment Summit’s outputs are connected to have a restricted range of input level and you need to limit the maximum level Summit can output.
This parameter is an input level adjustment for Summit’s external line level inputs . These audio inputs can be routed to two areas of Summit: they may be added to the main signal processing chain either before or after the Filter section; this routing is enabled with the AudioInput function on Page 3 of the Voice menu (see External Audio Input Routing). The second use for them is to route them to the FX section, so Summit’s FX processing may be applied. This routing is enabled on Page C of the Settings menu (see ???).
With the default setting of IniPatch, pressing the Initialise button will load an Initial Patch, complete with all its default parameter values, giving you a useful starting point for creating new sounds. In Single Patch mode, this will be Init Patch; in Multi Patch mode, only the Part currently selected by MULTIPART CONTROL will be Init Patch.
By setting the Initialise parameter to Live, Summit will retain all current control panel settings when loading the Initial Patch, so any sound modification you have been working on will now be applied to a copy of the Initial Patch when Initialise is pressed. Note that this applies only to the physical controls; any adjustments made to additional menu settings will be overridden and replaced by those pertaining to the Initial Patch.
Page 10 of the Settings menu allows you to calibrate the pots with a centre detent. Set all bipolar pot controls to their centre positions and press 'Go'.
Pots with centre detents include:
- All Oscillator controls
- LFO 1 Depth
- Filter Envelope Depth
- Displayed as: TuningMode
- Initial value: Note
- Range of Adjustment: Note, Octave
TuningMode affects how notes are tuned in when you're using a custom Tuning Table.
- When set to Note, the tuning table is non-repeating across octaves. Each note in each Octave can have its own tuning value. For example, if you tuned the Note E3 up by 20 cents, only E3 would be affected. You could also tune E2 by 30 cents, and it would remain independent of E3. This allows for tuning systems where octaves are divided into a different number of steps, such as 31EDO (31 Equal Divisions of an Octave), where an octave spans 31 notes instead of the standard 12.
- When set to Octave, the tuning table becomes repeating. Any tuning adjustment to a note is applied consistently across all octaves. For example, if you tune E3 up by 20 cents, every E in all octaves (E2, E4, E5, etc.) will also be tuned up by 20 cents.
Note
If you’ve previously used Note mode to set different tuning values for the same note across various octaves (e.g., E2, E3, and E4 each with unique detuning), switching to Octave mode won’t override those individual settings immediately. The change only takes effect once you modify a tuning value in Octave mode.
Patch Cue allows you to ‘cue’ a new patch by separating the patch selection into two steps. With PatchCue off the encoder or patch +/- allows you to switch immediately to a new patch. With PatchCue on you can navigate to a new patch with the encoder or Patch +/- buttons. The patch won’t change but the Single/Multi button flashes to let you know you’ve cued a patch. Press the flashing button to execute the patch change.
Summit lets you get the maximum advantage from its bi-timbral architecture by giving you the option of routing each of the two Parts to different stereo outputs. The default settings route both Parts to the MAIN OUTPUTS , but you can route either to the AUX OUTPUTS
instead if you wish. This lets you send the two Parts out of Summit independently to a mixer for separate level control, or to record them on separate tracks of a DAW or external multitrack recorder. It also gives you the option of sending one Part to an external effects unit.
PartA Out lets you choose which of Summit’s two stereo outputs Part A is routed to.
PhonesOut selects the signal available at the HEADPHONES output . The headphones will “follow” one or other of the two stereo outputs, Main or AUX. In either of these settings you will hear whatever is currently routed to the Main or AUX Output, in stereo. With the default settings, both Parts A and B are routed to the Main Output, so if PhonesOut is set to Main, you will hear both Parts in full stereo.
The third option, Split, routes a mono (L+R) sum of the signal assigned to the Main Output to the left earpiece, and a mono sum of the signal assigned to the AUX Output to the right. This is a useful setting to use if you are sending the two Parts to different outputs.
The Settings menu has three pages related to Summit’s FX sections.
Summit lets you route the “wet” outputs of the two FX processors (for Parts A and B) – the processed signal - independently of the “dry”, or unprocessed signal. The default setting is for the output of both processors to be routed to the Main Output, but you can route either or both of them to the AUX Output instead if you wish.
FxA Out lets you choose which stereo output the Part A processor is routed to.
The default setting – Synth – routes the final output of Summit’s Part A synth signal chain to the input of the Part A FX processor, in order that effects can be added to the synth sound.
You can also use the Part A FX processor to add effects to external signals connected to the rear panel INPUTS sockets . This alternative routing is made by setting FxA Source to Extern. In this case, the FX section will only process incoming external audio and will no longer be available to process Part A of the synth sound.
The default setting – Synth – routes the final output of Summit’s Part B synth signal chain to the input of the Part B FX processor, in order that effects can be added to the synth sound.
You can also use the Part B FX processor to add effects to external signals connected to the rear panel INPUTS sockets . This alternative routing is made by setting FxB Source to Extern. In this case, the FX section will only process incoming external audio and will no longer be available to process Part B of the synth sound.
This control determines the level of the external input signal to be mixed with the output of the Part A FX processor. With the default setting of 127 (maximum), the input (or “dry”) signal will be heard at full level. At a setting of zero, the input signal will not be present at the output and only the processed (or “wet”) signal will be heard.
This setting may be relevant if you are using the FX section in a send-and-return loop from an external mixer: in this situation it is normal to mix the processed return signal with the dry input signal within the mixer.
Novation recommends the use of Novation Components online Librarian to fully manage your Patches – see System updates using Components. However, you may also import and export Patch data via MIDI SysEx messages, using applications such as SysEx Librarian (Mac) or MIDI-OX (Windows).
Select lets you choose which Patches to back up as SysEx data. You can choose either the currently active Patch (Current), or any or all the four Banks in full (128 Patches per Bank) of either Single Patches (prefix P) or Multi Patches (prefix M). The two options P ABCD and M ABCD select all four Banks of Single or Multi Patches respectively.
You can also choose to back up all the current synth settings (choose Settings), or the current synth settings plus every Single and Multi Patch (choose All).
The VelCurve parameter operates in conjunction with the Velocity parameter, which is set on Page 1 of the Env menu.
The response to velocity information from the keyboard may be set using this function. A setting of HIGH indicates smaller changes in velocity (a lighter playing style) will create a large change in response to velocity, be it volume or any other modulation destination velocity is routed to. A setting of LOW indicates larger changes of velocity - a much harder playing style, will create larger changes in response to velocity. NORMAL is obviously a compromise between these two, and NORMHI and NORMLO further intermediate values.
Summit gives you the capability to alter the intervals between notes on your keyboard, letting you create alternative keyboard scales to the standard twelve-tone “Western” tuning we are all familiar with.
This is achieved by the use of Tuning Tables, which are effectively “lookup tables” for the oscillators, which tell them what frequency to generate when any particular key is struck. There are 17 Tuning Tables in all, and selection of the Table to be used is made on Page 1 of the Oscillator Menu.
By default, the oscillators use Tuning Table 0, which generates standard Equal Temperament tuning. The remaining 16 tables have the same default data (thus selecting them without any prior modification will also produce standard Equal Temperament tuning), but they may be altered to create any keyboard scale or layout you wish to use. This allows you to create new chords and harmonies not achievable with standard tuning.
Each of the 16 definable Tuning Tables has its own page: these are Pages G to V of the Settings menu. The pages are identical: the default page for Tuning Table 1 is shown below as an example.
Bear in mind you won’t hear the effect of changing any Tuning Table parameters unless the Tuning Table being set up is selected in Page 1 of the Oscillator Menu.
This parameter sets the keyboard note whose pitch is to be redefined. Kbd Note will follow the last key struck: if you hit middle C without any octave shift or other transposition being applied by the keyboard itself, Kbd Note will assume the value C 3. If octave shift or transposition is active on the keyboard, the MIDI data sent will be changed and the parameter will accordingly display the shifted note value.
Once you define the keyboard note to be redefined with Kbd Note, you can set Retune Note to any note, above or below Kbd Note. Then when you play the note defined by Kbd Note, you will hear the note defined by Retune Note.
Retune Note will always display the note actually being generated, and will by default be the same value as Kbd Note before any retuning is applied. Once a key has been redefined, Kbd Note will confirm which key is being pressed, while Retune Note will display the actual note being generated by that key.
Using Tuning Tables does not restrict you only to standard note intervals. Summit supports “microtuning”, whereby any key can be made to generate an “in-between” note, to a resolution of 1/256th of a semitone (0.4 cents). With Retune Frac set to 0, the note being defined (Kbd Note) will adopt the pitch value set by Retune Note. As Retune Frac is increased, the note’s pitch sharpens by one micro interval at a time. When Retune Frac reaches a value of 255, one further step will generate the next standard note in the scale, and the value will reset to zero. By the same principle, the parameter may also be decreased in micro intervals to flatten the note.
Tip
Quarter tones – as found in many eastern music scales – can be created by setting Retune Frac to 127.
Summit also supports Scala tuning files, which provide a range of interesting and unusual scales. Scala files are added via Novation Components. You can find out more at huygens-fokker.org/scala/. MIDI Tuning Standard (MTS) Messages are also supported allowing tuning files to be modified or exchanged between devices.