Vital User Manual

==================
Author: Zachary Hill | Hookline | [email protected] | h ps://www.djhookline.com/music

Table of Contents
0.0 Disclaimer..........................................................................................................................................................2
1.0 General Info.......................................................................................................................................................3
1.1 Sizing.............................................................................................................................................................3
1.2 General Navigation.......................................................................................................................................3
1.3 Presets...........................................................................................................................................................3
1.4 Parameter Adjustments..................................................................................................................................4
2.0 Voice...................................................................................................................................................................5
2.1 Oscillators.....................................................................................................................................................5
2.1.a Pitch Settings.........................................................................................................................................6
2.1.b Routing Options.....................................................................................................................................7
2.1.c Wavetable View.....................................................................................................................................7
2.1.c.i Wavetable Editor.............................................................................................................................7
2.1.d Unison and Phase Settings.....................................................................................................................8
2.1.e Oscillator Modulation Knobs................................................................................................................8
2.2 Sampler.......................................................................................................................................................10
2.2.a Pitch Settings.......................................................................................................................................10
2.2.b Routing Options...................................................................................................................................11
2.2.c Sample View........................................................................................................................................11
2.2.d Sample Playback Options....................................................................................................................12
2.3 Filters...........................................................................................................................................................12
3.0 Modulation and Macros...................................................................................................................................16
3.1 Envelopes....................................................................................................................................................17
3.2 LFOs............................................................................................................................................................18
3.3 Random.......................................................................................................................................................20
3.4 Other Modulation Sources..........................................................................................................................22
3.5 Macros.........................................................................................................................................................23
3.6 Keyboard.....................................................................................................................................................23
4.0 Matrix...............................................................................................................................................................24
4.1 Modulation List...........................................................................................................................................24
4.2 Modulation Remap Curve...........................................................................................................................25
5.0 Effects..............................................................................................................................................................27
5.1 Chorus.........................................................................................................................................................27
5.2 Compressor.................................................................................................................................................28
5.3 Delay...........................................................................................................................................................30
5.4 Distortion.....................................................................................................................................................31
5.5 EQ...............................................................................................................................................................33
5.6 Filter............................................................................................................................................................34
5.7 Flanger.........................................................................................................................................................35
5.8 Phaser..........................................................................................................................................................36
5.9 Reverb.........................................................................................................................................................37
6.0 Global Settings.................................................................................................................................................39
7.0 Advanced Settings............................................................................................................................................40
7.1 Oscillator Advanced Settings......................................................................................................................40
7.2 Global Advanced Settings...........................................................................................................................42
0.0 Disclaimer
I am not employed by or associated with Vital Audio.
I was not there when this synthesizer was being developed.
I have developed this user manual by using my background of producing music for over 10 years, my ears,
oscilloscopes, and frequency spectrum analyzers.

There are certain things in this user manual where I theorized what the synthesizer is doing.
For example, some of the oscillator morph algorithm descrip ons may not be 100% accurate.

With that being said this manual should be sufficiently accurate to learn the ins and outs of Vital.

If someone from Vital Audio is reading this.

I have a bachelors degree in mathema cs.
I have work experience coding in R, Python, and C.
Feel free to reach out to me.
1.0 General Info
Vital is a versa le wavetable synthesizer that can be used for both addi ve and subtrac ve synthesis.
Combining the voices, filters, effects and modula on in Vital can create almost any sound imaginable.

1.1 Sizing
Click on the Vital symbol in the upper le hand side of the synth to adjust the viewing size of Vital.
In the sizing menu is an op on which allows Vital to automa cally search for updates.
This can be toggled on or off.

1.2 General Navigation

At the top of the synth are op ons to navigate to different parts of the synth.

Below is a brief descrip on of each sec on.

Voice: Oscillators, Sampler, and Filters
Effects: Effects Rack containing 9 poten al effects
Matrix: Modula on matrix. Contains a list of all parameter modula on, and fine tuning for modula on curves.
Advanced: Advanced oscillator and global op ons

1.3 Presets
At the top of the synth are preset op ons
The components are labeled below

1. Preset Selector
2. Save Preset
3. Preset Op ons

Preset Selector
Clicking on the preset selector will bring up the preset browser.
The le hand side of the browser contains a descrip on of the currently selected preset as well as preset
folders and style tags.
The right hand side of the browser shows the specific presets in a list. The presets can be sorted by name,
author, style tag, or date created.
Click the star icon next to a specific preset to add the preset to the favorites folder. Once the preset has been
added to the favorites folder the start next to the preset will be shown in purple.

Save Preset
Saves the current se ngs in Vital as a preset in the user presets folder.
When saving a preset, provide the preset name, author, style tags, and a brief descrip on of the preset in the
comments sec on.
Preset Op ons
Browse Presets: Opens preset browser
Save Preset: Saves the current se ngs in Vital as a preset in the user presets folder
Open External Preset: Opens a Vital preset from anywhere your computer has access to
Export Preset: Exports preset so it can be shared with others
Import Bank: Imports many presets as preset folder(bank)
Export Bank: Exports many presets as a preset folder(bank)
Ini alize Preset: Loads default se ngs for Vital
Load Tuning File: A tuning file can be loaded here. Read advanced se ngs for more info.
Log Out: Log out of Vital Audio account

1.4 Parameter Adjustments

Vital’s parameters can be adjusted with the use of knobs, sliders, or numeric, text, and percentage fields.
Examples of these types of parameter adjustments are shown below.

1. Knob
2. Slider
3. Numeric field
4. Percentage field
5. Text Field

Parameters can be adjusted by clicking and dragging with the mouse.

Holding CTRL while clicking and dragging allows for fine tuning.
Holding ALT while clicking a knob will pull up the value of that parameter.
Type over this value to manually enter a new specific value for the parameter.
To cancel the value change a er the text box opens, delete all of the characters in the text box.
Alterna vely, right click the parameter and select "Enter Value"

Double clicking a parameter will return the knob to it's default value.
Alterna vely, rick click the parameter and select "Set to Default value"
2.0 Voice
The voice sec on of Vital comes equipped with 3 wavetable oscillators, 1 sampler, and 2 filters.
The oscillators and sampler are run in parallel.
However, each oscillator can receive frequency or ring modula on from other oscillators or the sampler.
The filters can be applied to any of the oscillators, the sampler, or the other filter.
2.1 Oscillators
Below is the Vital Oscillator with its components labeled.

1. Ac vator
2. Level Knob
3. Pan Knob
4. Pitch Se ngs
5. Rou ng Op ons
6. Wavetable View
7. Unison Se ngs
8. Phase Se ngs
9. Le Modula on Knob
10. Right Modula on Knob

Each oscillator can be turned on or off using the ac vator the upper le corner of the oscillator.
When turned on the oscillator will light up, and when off the oscillator will be dim and gray.

The oscillator's volume can be adjusted with the level knob.

The oscillator's output can be panned from le to right with the pan knob.

2.1.a Pitch Settings

The pitch adjustment on the le will adjust the incoming midi note by that number of semitones.
This is set to 0 by default so that the oscillator will play the incoming midi note as is.
The pitch adjustment on the right will adjust the incoming midi note by that number of cents. With 100 cents
being 1 semitone.
This is set to 0 by default so that the oscillator will play the incoming midi note as is.

The keyboard under the word "pitch" will open the transpose snap se ngs.

Once open, select specific semitones that you would like to limit the le pitch
adjustment knob to.
When a semitone is selected it will lite up in purple.
If no semitones are selected, then all semitones are allowed.

To understand this be er, here is an illustra ve example.

If I want to only be able to adjust my oscillator by 0, or 7 semitones (a perfect 5th) I would light up the C and G
keys.
Now when I drag the pitch adjustment on the le the numbers 4 through 9 will adjust my midi note by 7
semitones, and all other numbers will leave the pitch of the oscillator unchanged (In other words a 0 semitone
change).
Now if we modulate the pitch adjustment on the le with an LFO we can create an arpeggiated sound.

Global snap is set up similar to transpose snap, but will limit the possible midi output notes. This can be used
to force midi notes played to be in a specific scale or key.

2.1.b Routing Options

Below the pitch level and pan controls is a rou ng control.

Each oscillator can be routed to either filter 1, filter 2, filter 1 & 2, effects, or direct out.

If any of the filter choices are selected, the signal will flow into the effects rack a er the filter.

If a filter choice is selected and the filter is not turned on, then the signal will simply flow into the effects rack
with no filter applied.

If direct out is chosen then the oscillator's output will come out of the synth with no filters or effects applied.

2.1.c Wavetable View

In the middle of each oscillator is the wavetable view.
Below is the wavetable view with each of its components labeled

1: Wavetable Visual
2: Wavetable Selector
3: Wavetable Visual selector
4: Wavetable Slider
5: Wavetable Editor

The wavetable can be chosen by clicking on the wavetable selector, selec ng a folder on the le and then
selec ng a specific wavetable on the right.
Click the star icon next to a specific wavetable, and the star will turn purple. The wavetable will be added to
the favorites folder.

Change the Wavetable Visual by clicking on the wavetable visual selector.

2D shows a 2 dimensional view of the current frame of the wavetable.
3D shows a birds eye 3 dimensional view of all of the frames of the wavetable with the current frame
highlighted.
SP. Spectral. Shows the Harmonics of the wavetable.

The wavetable slider slides between wavetable frames.

2.1.c.i Wavetable Editor

Clicking on the wavetable editor opens a wavetable edi ng window.
This allows for edi ng the wave shape or the individual harmonics of any frame in a wavetable.
This sec on is inherently based on visuals, so it is best described through video.
Check out the following tutorials to learn more on Vital’s wavetable editor.
h ps://www.youtube.com/watch?v=kco25cSiXBQ&t=908s&ab_channel=MarulaMusic
https://www.youtube.com/watch?v=ycNhgG0IBos&ab_channel=QB%21K
https://www.youtube.com/watch?v=1Bwk1B-LmXU&ab_channel=DataBroth

2.1.d Unison and Phase Settings

On the le side of the unison se ngs, the number of unison voices can be set to any integer between 1 and
16.
Note that using many unison voices will increase CPU usage.
On the right side of the unison se ngs, is the % of detune applied to the unison voices.
A value of 0% will apply no detune. (However unison may s ll have an impact on the sound due to the phase
of different voices.)
A value of 100% will apply the full amount of detune as set in the advanced oscillator se ngs.
The default detune range is 2 semitones. Meaning 2 semitones up and 2 semitones down.

On the le side of the phase se ngs, the star ng posi on of the waveform can be selected.
A phase of 180 degrees will start in the middle of the waveform.
A phase of 0 degrees will start at the le most side of the waveform.
A phase of 360 degrees will start at the rightmost side of the waveform. Since the waveform repeats, we have
come full circle and this is iden cal to 0 degrees.

On the right side of the phase se ngs is a phase randomiza on se ng.

The oscillator will start the wave form at a random phase within a range of x% around the phase star ng
degree.
For example if the phase star ng degree is set to 180 degrees, and phase randomiza on is set to 50%.
Then the waveform will randomly start anywhere from degree 90 to 270.
If the phase randomiza on is set to 100% like it is by default, the phase star ng posi on selector becomes
irrelevant.
If the phase randomiza on is set to 0%, the phase will always start at the exact degree of the waveform that is
selected.
2.1.e Oscillator Modulation Knobs

The le modula on knob morphs the shape of the waveform using different algorithms.
The right modula on knob has some addi on algorithms to morph the shape of the waveform,
but also includes the op on to perform frequency modula on or ring modula on on the oscillator by using
another oscillator or the sampler as input.

Le Knob Morphing Algorithms

Vocode: Vocoder formant shi ing (Less extreme than formant scale)

Formant Scale: Formant shi ing (more extreme than vocoder)

Harmonic Stretch: Keeps fundamental harmonic in place while shi ing all other harmonics up and down the
harmonic series. (Does not allow harmonics to go below fundamental harmonic)

Inharmonic: Keeps fundamental harmonic in place while shi ing all other harmonics up or down not in line
with the harmonic series. (Does not allow harmonics to go below fundamental harmonic)

Smear: Removes low ordered harmonics by morphing wave shape.

Random Amplitudes: Randomizes the amplitude of each part of the waveform while holding onto some
con nuity. Not pure randomness.

Low Pass: Applies a low-pass filter to the waveform. This effec vely removes the higher order harmonics un l
the knob is turned all the way to le when only the fundamental harmonic remains, which results in a sine
wave.

High Pass: Applies a high-pass filter to the waveform. The effec vely removes all the lower order harmonics
un l all of the harmonics in the human hearing range have been removed which results in silence when the
knob is turned all the way to the right.

Phase Disperse: Disperses phase of the waveform. Think about it as randomly spreading out the waveform
horizontally.

Shepard Tone: A shepherd’s tone is a sound that appears to be con nuously increasing in pitch forever.
This auditory illusion occurs when a sound is increasing in pitch and slowly fades out as another pitch an
octave below it slowly fades in. The knob when dragged slowly from the le to the right will perform this
auditory illusion.

Spectral Time Skew: Morphs harmonics between wavetable posi ons.

Right Knob Morphing Algorithms
Sync: Repeats the waveform and squishes the waveform. This results in the pitch increasing in octaves
rela vely smoothly with out playing other notes.

Formant: Repeats the waveform and squishes the waveform but also makes the amplitudes of the waveform
approach 0 the closer they get to 0 degrees or 360 degrees.
This is similar to sync, but it avoids introducing dc offset

Quan ze: Quan zes the waveform to a grid. The grid gets less refined the more the knob is turned to the right.
This is essen ally bit/sample reduc on.

Bend: Pinches waveform at 180 degrees and morphs the rest of the wave form to the right or the le
respec vely depending on which way the knob is turned.

Squeeze: Pinches waveform at 0, 180, and 360 degrees and morphs the rest of the wave form to the right or
the le respec vely depending on which way the knob is turned.

Pulse: Pulse width modula on. Pinches waveform 0 degrees. Squishes waveform into this point. Added area of
waveform is flat.

Frequency Modula on: Plays the current oscillator at the frequency of another oscillator or sampler. This
results in complex sounds with dis nct harmonic characters and is widely used in modern sound design.
To learn more watch the following videos
h ps://www.youtube.com/watch?v=r3EQQ-XF3jA&ab_channel=FloydSteinberg
h ps://www.youtube.com/watch?v=LnoqZ45ooB8&t=385s&ab_channel=ZenWorld

Ring Modula on: Plays the current oscillator with the amplitude modulated from another oscillator or
sampler.
To learn more watch the following videos
h ps://www.youtube.com/watch?v=rYdBHWF1_2k&t=230s&ab_channel=Runningonair
h ps://www.youtube.com/watch?v=DCPxe6P1KWo&ab_channel=Sweetwater

2.2 Sampler
Below is the Vital Sampler with its components labeled.

1. Ac vator
2. Level Knob
3. Pan Knob
4. Pitch Se ngs
5. Rou ng Op ons
6. Sample View
7. Sample Playback Op ons

The sampler can be turned on or off using the ac vator the upper le corner of the sampler.
When turned on the sampler will light up, and when off the sampler will be dim and gray.

The sampler's volume can be adjusted with the level knob.

The sampler's output can be panned from le to right with the pan knob.

2.2.a Pitch Settings

The pitch adjustment on the le will adjust the incoming sample by that number of semitones.
This is set to 0 by default so that the sampler will play the incoming sample as is.
The pitch adjustment on the right will adjust the incoming sample by that number of cents. With 100 cents
being 1 semitone.
This is set to 0 by default so that the sampler will play the incoming sample as is.

Note that samples will be sped up or slowed down to increase or decrease pitch.
There are no granuliza on op ons available.

The keyboard under the word "pitch" will open the transpose snap se ngs.

Once open, select specific semitones that you would like to limit the le pitch
adjustment knob to.
When a semitone is selected it will lite up in purple.
If no semitones are selected, then all semitones are allowed.

To understand this be er, here is an illustra ve example.

If I want to only be able to adjust my sample by 0, or 7 semitones (a perfect 5th) I would light up the C and G
keys.
Now when I drag the pitch adjustment on the le the numbers 4 through 9 will adjust my sample note by 7
semitones, and all other numbers will leave the pitch of the oscillator unchanged (In other words a 0 semitone
change).
Now if we modulate the pitch adjustment on the le with an LFO we can create an arpeggiated sound.

Global snap is set up similar to transpose snap, but will limit the possible midi output notes. This can be used
to force midi notes played to be in a specific scale or key.

2.2.b Routing Options

Below the pitch controls is a rou ng control.

The sampler can be routed to either filter 1, filter 2, filter 1 & 2, effects, or direct out.
If any of the filter choices are selected, the signal will flow into the effects rack a er the filter.

If a filter choice is selected and the filter is not turned on, then the signal will simply flow into the effects rack
with no filter applied.

If direct out is chosen then the oscillator's output will come out of the synth with no filters or effects applied.

2.2.c Sample View

The sample view contains a sample chooser as well as an image of the chosen sample's waveform.

When the sample is played the amount of the waveform that has been played will be highlighted.

The sample can be chosen by clicking on the tle of the sample, selec ng a folder on the le and then
selec ng a specific sample on the right.
Click the star icon next to a specific sample, and the star will turn purple. The sample will be added to your
favorites folder.

2.2.d Sample Playback Options

On the right hand side of the sampler are sample playback op ons.

Keytracking is the keyboard in the upper le corner.

Ac va ng this will make the sample be played back at a pitch according the midi note played.
Note that samples will be sped up or slowed down to increase or decrease pitch.
There are no granuliza on op ons available.
If keytracking is deac vated like it is by default the sample will play at it's original pitch and speed.

Shuffle is the crossing arrows in the upper right corner.

Ac va ng shuffle will start the sample from a random spot within the sample each me a midi note is played.

Loop is the circular arrow in the lower le corner.

Ac va ng the loop will loop the sample endlessly

Bounce Back is the double sided arrow in the bo om le corner.

Ac va ng Bounce Back will play the sample in reverse a er the sample finishes playing forward.
2.3 Filters
Below is a Vital filter with its components labeled.

1. Ac vator
2. Filter Type Chooser
3. Filtered Frequency Response Curve
4. Cutoff Frequency
5. Resonance
6. Filter Type Blend
7. Filter Input Rou ng
8. Drive Knob, Mix Knob, and Keytracking Knob

Each filter can be turned on or off using the ac vator in the upper le corner of the filter.
When turned on the filter will light up, and when off the filter will be dim and gray.

In the middle of each filter is a visual of the filter's frequency response curve.

Surrounding the filter frequency response curve are 3 sliders which control the filter's cut off frequency,
resonance, and filter type blend.
Note that Formant, Comb, and Phase filters may have different sliders.

The cut off frequency sets the frequency where filtering will begin to be applied.

The resonance adjusts the level of a peak at the cutoff frequency.

The resonance can be set high enough that the filter begins self oscilla ng and the pitch of the cutoff
frequency becomes audible.

Cutoff frequency and resonance can be adjusted simultaneously by clicking and dragging inside the filter
frequency response curve box.

Filter type blend will smoothly transi on from one type of filter to another.
Typically each specific filter will have 2 or 3 types of filters for different posi ons on the slider.
For example, the default filter "Analog : 12dB", smoothly transi ons from low-pass, to band-pass, to high-pass
filter when dragging the slider.

In the bo om le of the filter are filter input rou ng op ons.

Any oscillator, the sampler, or the other filter can be routed into the filter using these op ons.
If something is routed into the filter the text will light up in orange, and the rou ng op ons in the oscillator or
sampler will be updated.
If an oscillator or the sampler is unrouted from a filter, it will automa cally be routed to the effects rack.

The drive knob will add a small amount of satura on a er the filter is applied.

The mix knob adjusted the dry/wet signal of the filter and the drive knob.
Note that there may be some strange shapes on the frequency response curve when adjus ng the mix knob.
This is normal, and has to do with the way filters work regarding phase.
The keytracking knob will adjust the filter cutoff frequency according to the incoming midi note.
If set to 100%, the cutoff frequency will perfectly correlate to the incoming midi note.

To demonstrate this, here is an illustra ve example.

Set the cutoff frequency to 1046.4hz (note this is 4 mes the default value of 261.6hz which is middle C), and
set keytracking to 100%.
Now play a note and slowly turn the resonance to 100%.
You will hear the self oscilla on of the filter playing 2 octaves up perfectly in tune with any note you play.
For self oscilla on one octave set the cutoff frequency to 523.2hz.
For self oscilla on in unison leave the cutoff frequency at it's default value.
For self oscilla on a perfect 5th up set the cutoff frequency to 392.4hz.
*Note this wont work for very high midi notes due to rounding error.

Nega ve values for keytracking will set the cutoff frequency lower for higher pitches and higher for lower
pitches.

Filter types
The different filter types achieve the same goal but do so with different algorithms.
The differences in the filter types become significantly more apparent when using self oscilla on, turning up
the filter drive, or applying post processing distor on.

Analog | Dirty | Ladder | Digital

Ladder is supposed to mimic the transistor ladder filters from Moog.

12db: Frequencies are 12 decibels quieter for each octave distance from the cutoff frequency.
Note that an octave is either half or double a frequency value.
Blend, blends between a low-pass, band-pass, and high-pass filter.

24dB: Frequencies are 24 decibels quieter for each octave distance from the cutoff frequency.
A 24 db filter has twice the slope of a 12 db filter.
Blend, blends between a low-pass, band-pass, and high-pass filter.

Notch Blend: Blend, blends between a low-pass, notch, and high-pass 24 dB filter.

Notch Spread: Blend, blends between a band-pass, and notch 24 dB filter.

Note that in the middle of this blend is an interes ng double notch filter.

B/P/N: Band Peak Notch. Blend, blends between a band-pass, peak and notch filter.

Diode
Diode is supposed to mimic the diode ladder filter from Roland.
Think of an Acid House Bass sound.

Lowshelf: Blend, blends between a low-pass, and a band-pass filter.

Lowcut: Blend, blends between a low-pass, and a band-pass filter.

If Cutoff frequency is set high enough, sub frequencies will be cut with a slight bump at the cutoff frequency.
Formant
A formant filter is supposed to mimic how the human voice produces vowel sounds.
This is typically achieved with high peaks and low valleys which approach each other.

Many of the filter controls are different for the formant filter compared to the previous filter types.

The blend slider is replaced with a formant transpose slider.

This will shi all of the peaks and valley's simultaneously in an exponen al fashion.

The resonance and frequency cutoff sliders, are replaced with formant X and Y sliders.
These will alter the rela onship of the peaks and valleys which can be used to produce different vowels.

The drive knob is replaced with a peak knob.

This is essen ally a resonance knob for the peaks and valleys.

The key track knob is replaced with a spread knob.

When turned to the le , this will spread out all of the peaks and valleys.
When turned to the right, the peaks and valleys will converge to a band-pass filter.

Comb
Comb filters are a series of notch filers.
Typically placed exponen ally apart or as part of the harmonic series.
Comb filtering can achieve the same sound of a flanger due to the way a flanger works with phase cancella on.
However, you should not think of a comb filter as the same as a flanger, because they do two different things.
They are two separate tools and approaches that can be used to achieve the same result.

Note that the drive knob is replaced with a cut knob.

The cut knob will act differently depending on the specific comb filter algorithm chosen.
This knob can be used to control a low pass, band-pass or high pass filter a er the comb-filter.
Or this knob can be used to control a dry wet parameter for the comb filter star ng at a specific cutoff
frequency.

Nega ve comb filters mimic a flanger where the delayed sound is inverted from the original sound.
Posi ve comb filters mimic a flanger where the delayed sound is not inverted from the original sound.
Posi ve results in more even order harmonics, while nega ve results in more odd order harmonics.

Phaser
A comb filter with a less notches.
Comb filtering can achieve the same sound of a phaser due to the way a phaser works with phase cancella on.
However, you should not think of a comb filter as the same as a phaser, because they do two different things.
They are two separate tools and approaches that can be used to achieve the same result.

Blend blends between the amount of notches in the filter (goes hand in hand with poles in a phaser).
Nega ve mimics a phaser where the delayed sound is inverted from the original sound.
Posi ve mimics a phaser where the delayed sound is not inverted from the original sound.
Posi ve results in more even order harmonics, while nega ve results in more odd order harmonics.
3.0 Modulation and Macros
Parameters in Vital can be modulated in a number of different ways including but not limited to envelopes,
LFOs, randomness, and macros.

A modulator can be added to almost any parameter in Vital.

Modula on squares are the empty boxes in vital.
A few examples of modula on squares are shown below.

To add modula on to a parameter hover over a modula on square,

then click and drag the modula on on top of any parameter.
Note that the modula on will be audi oned on any parameter while dragging the modula on over it, but will
not actually be applied un l the mouse click is released.

Once modula on is applied to a parameter a few things will happen.

A modula on circle will appear in the modula on square.
The same modula on circle will appear when the mouse hovers over the modulated parameter.
The second corresponding modula on circle will also appear when the modula on circle in the modula on
square is clicked.

While a midi note is played, a cyan line or curve is shown on the parameter to create a visual of how much
modula on is being applied to the parameter.

If the mouse hovers over a modulated parameter with mul ple modula on sources,
a modula on circle for each modula on source will appear with a descrip ve label.

Clicking and dragging a modula on circle will increase or decrease the modula on amount.
The pie in the modula on circle is a visual of the modula on amount.
Addi onally a cyan line or curve on the parameter will be shown to visualize the modula on amount.

Holding CTRL while clicking and dragging a modula on circle will allow for fine tuning.
Holding ALT while clicking and dragging a modula on circle will allow for modula on amount to be typed in as
a specific value.

Right clicking on a modulated parameter

will allow the op on of disconnec ng individual modula on sources,
or disconnec ng all modula on sources at once.
Right clicking on a modula on square
will allow the op on of disconnec ng individual modula on des na ons,
or disconnec ng all modula on des na ons at once.

Right clicking a modula on circle will allow the following op ons

Remove: Removes modula on permanently

Bypass: Modula on is bypassed temporarily un l unbypass is applied

Make Bipolar: The parameter moves symmetrically above and below the original parameter value

Make Unipolar: The parameter moves in one direc on away from the original parameter value and back.

Make Stereo: Modulate the le and right parameters in opposite direc ons for the le and right channels

3.1 Envelopes

Envelope 1 is mapped to oscillator and sampler volume by default.

This can only be unmapped by applying a different modula on source to an oscillator or sampler volume.

In the upper right hand corner of the envelope view is a magnifying glass.
Click and drag on this magnifying glass to zoom in and out of the envelope.
Dragging up will zoom in, and dragging down will zoom out.
Note that me is labeled in seconds or milliseconds on the x axis and has ver cal grid lines.

Each envelope has 6 parameters at the bo om of the envelope view.

Delay, a ack, hold, decay, sustain, release.
These parameters can be adjusted by clicking and dragging their knobs
Alterna vely, these parameters can be adjusted by clicking and dragging the dots in the display.

Closed dots adjust the endpoints of the line segments.

Open dots adjust the curves.

Delay is the amount of me in seconds a er the midi note plays un l the envelope begins.
A ack is the amount of me in seconds that it takes for the envelope to get from it's star ng value to its
maximum value.

Hold is the amount of me in seconds that the envelope will stay at its maximum value if the midi note is s ll
being played.

Decay is the amount of me in seconds that it takes for the envelope to get from its maximum value to its
sustain level a er the amount of hold me if the midi note is s ll being played.

Sustain is the % envelope value between the minimum and maximum.

The sustain level will be reached and held a er the delay, a ack, hold and decay me if the midi note is s ll
being played.
The level will quickly move to the sustain level if the midi note is released early.

Release is the amount of me in seconds a er the midi note is released that it takes for the envelope to move
from the sustain level to the minimum level.

3.2 LFOs
LFO stands for low frequency oscillator.
At its core, an LFO is a modula on parameter that repeats at a specific frequency.

Vital's LFO can modulate parameters in an essen ally infinite amount of different shapes by using built in LFO
shapes or crea ng new ones.

Below is the Vital LFO with its components labeled.

1. LFO Modula on Squares

2. LFO Shape Chooser
3. LFO Shape Visual
4. Brush Tool
5. Grid Op ons
6. LFO Phase Slider
7. LFO Mode Chooser
8. Frequency Se ngs
9. Smooth Knob, Delay Knob, and Stereo Knob

LFO Shape Chooser

A specific LFO shape can be chosen by clicking in the upper right hand corner on the LFO Shape Chooser.
Select a folder on the le and then select a specific LFO shape on the right.
Click the star icon next to a specific LFO shape, the star will turn purple. The LFO shape will be added to your
favorites folder.

LFO Shape Visual

The LFO Shape Visual shows how a parameter will be modulated by the LFO.
The minimum value is at the bo om of the display and the maximum value is at the top.
As a note is played, the LFO Shape Visual will highlight the part where the LFO is at in it's cycle.
Click and drag on open dots to control points in the LFO shape.
Note that open dots will snap to the grid when dragged close to the grid.
Click and drag on closed dots to control the curve between two open dots.
Hold shi while clicking and dragging on any closed dot to control all curves at once.
Double click an empty space to add a new closed dot.
Double click an exis ng closed dot to delete it.

Click the squiggly line to the le of the LFO Shape Chooser to smooth out all angles in the LFO shape.

Grid Op ons
The grid number on the le will determine the amount of horizontal grid lines.
The grid number on the right will determine the amount of ver cal grid lines.

Brush Tool
Click on the brush icon to ac vate the brush tool.
Note that the brush icon will become highlighted when ac vated.
Click on the shape to the right of the brush icon to choose a brush shape to draw with.
While the brush tool is ac vated, clicking in the LFO Shape Visual will draw the brush shape in between each
horizontal grid with the level at the height of the mouse.
Note that clicking and dragging across the LFO visual will draw across the en re visual with ease.
Holding CTRL while the mouse is hovering over the LFO display will toggle the brush tool on and off.

LFO Phase Slider

Directly below the LFO visual is the LFO phase slider.
By default the LFO phase slider will determine where the LFO shape begins.
However this depends on the LFO mode.

LFO Mode Chooser

In the bo om le of the LFO display is the LFO Mode chooser.
The following LFO modes are available in Vital.

Trigger: Starts LFO at LFO phase slider posi on each me midi note is played. When the LFO reaches the end of
the shape, the LFO starts from the beginning of the shape.

Sync: Starts LFO at LFO phase slider posi on according to the BPM in the project. When the LFO reaches the
end of the shape, the LFO starts from the beginning of the shape.
Envelope: Starts LFO at LFO phase slider posi on each me midi note is played. When the LFO reaches the end
of the shape, the modula on stops.

Sustain Envelope: Starts LFO at beginning of LFO each me midi note is played. When the LFO reaches the LFO
phase slider, the modula on stops.

Loop Point: Starts LFO shape at beginning of LFO each me midi note is played. When the LFO reaches the end
of the shape, the LFO starts from the LFO phase slider posi on.

Loop Hold: Starts LFO shape at beginning of LFO each me midi note is played. When the LFO reaches the LFO
phase slider posi on, the LFO starts from the beginning of the shape.

LFO Frequency Se ngs

To the right of the LFO mode chooser are the LFO frequency se ngs.
Drag the le side of these se ngs to adjust the frequency rate.
Click the right side of these se ng to adjust the frequency rate style.

Below are descrip ons of the frequency rate styles.

Seconds: Self explanatory. Repeats are in seconds.

Tempo: Repeats are in frac onal intervals of project BPM. For example eighth notes (1/8)

Tempo Do ed: Repeats are in frac onal intervals of project BPM. For example do ed eighth notes (1/8)

Tempo Triplets: Repeats are in frac onal intervals of project BPM. For example eighth note triplets (1/8)

Key track: Frequency is set to the frequency of the incoming midi note. The frequency can be offset from the
incoming midi note by semitones or cents on the le side of the LFO frequency se ngs for this style.

LFO Knobs
On the bo om of the LFO display are three knobs.

The smooth knob will cross-fade the beginning and end of the LFO together over the course of a specified me
in seconds.

Right clicking the word "SMOOTH" allows for replacing the smooth knob with a fade in knob.
The fade in knob determines the amount of me in seconds for the LFO to be faded from a dry unaltered signal
to a fully wet modulated signal.

The delay knob determines the amount of me in seconds a er the midi note is played before the LFO will be
applied.

The stereo know allows for an offset in the LFO phase slide between the le and right channels.
3.3 Random
Random allows for random modula on to be applied to parameters.
True randomness is non con nuous.
Modula ng a parameter in a non con nuous way will most likely introduce digital ar facts and clicks.
For things to sound musical we would prefer to use specific randomness algorithms that allow for con nuity.
In general these algorithms will move a small amount from their current posi on to their next posi on to allow
for a more con nuous type of randomness.

To be clear consider the following example.

The goal is to generate 10 values between -10 and 10
True randomness would generate something like the following vector.
[5, -8, -2, 9, 10, 4, 8, -6, 8, 0]
Note the numbers jump around a lot.
The biggest jump is the jump from -6 to 8 which is a jump of 14.
No consider another algorithm to generate random numbers where each number is the previous number plus
a random number between -2 and 2.
This algorithm would generate something like the following vector.
[5, 6, 5, 3, 2, 3, 3, 2, 4, 6]
Note that now the numbers move in a smoother more con nuous fashion.
Think about a speaker trying to play different amplitudes.
The speaker has a built in digital signal processor that allows for small jumps to be played smoothly.
However, large jumps can start to cause issues that will result in digital ar facts or clicks.
This is why the second type of algorithm would be preferred if we would like con nuous musical results free of
ar facts and clicks.

Below is the Vital Ranom Modula on Generator with its components labeled

1. Randomness Modula on Squares

2. Randomness Style Chooser
3. Randomness Frequency Se ngs
4. Randomness Visual
5. Randomness Sync Op on
6. Randomness Stereo Op on

Randomness Style Chooser

The Randomness Style Chooser is located in the bo om le .
Clicking on this will allow for the following randomness algorithms.

Perlin: Perlin Noise. Developed by Ken Perlin to create natural forms of randomness in textures for graphics in
the movie Tron. Perlin received an Academy Award for Technical Achievement for crea ng this algorithm.

Sample and Hold: Holds at an amount then randomly jumps to another held amount, then randomly jumps to
another held amount, and so on and so forth. Between randomly held amounts the modula on has a quick
(but not completely ver cal) slope to allow for smooth transi ons free of digital ar facts and clicks.

Sine Interpolate: Randomness based around a sine wave oscilla on

Lorenz At tractor: Non repea ng randomness shaped like a bu erfly's open wings. At first there may appear to
be repea ng a pa ern, but there is actually not. Created by Edward Norton Lorenz. Originally used to try and
describe the atmosphere and weather. Resulted in the bu erfly effect theory.
h ps://www.youtube.com/watch?v=aAJkLh76QnM&ab_channel=It%27ssoblatant

Randomness Visual
The randomness visual shows the amount of modula on applied as midi notes are played.

Randomness Frequency Se ngs

In the bo om right of the randomness view are the randomness frequency se ngs.
Note that frequency se ngs will make the most sense for the sample and hold randomness style.
Other randomness style frequencies will be rela ve to each other.

Drag the le side of these se ngs to adjust the frequency rate.

Click the right side of these se ng to adjust the frequency rate style.
Below are descrip ons of the frequency rate styles.
Seconds: Frequency is in seconds.

Tempo: Frequency is in frac onal intervals of project BPM. For example eighth notes (1/8)

Tempo Do ed: Frequency is in frac onal intervals of project BPM. For example do ed eighth notes (1/8)

Tempo Triplets: Frequency is in frac onal intervals of project BPM. For example eighth note triplets (1/8)

Key track: Frequency is set to the frequency of the incoming midi note. The frequency can be offset from the
incoming midi note by semitones or cents on the le side of the LFO frequency se ngs for this style.

Randomness Sync Op on
In the top of the randomness view is a Sync op on.
Clicking on the word Sync will highlight the word and enable the op on.
If the sync op on is on, then randomness starts with the value it previously le off on at the end of the
previous midi note.
If the sync op on is off, then randomness starts from the beginning of the randomness algorithm each me a
midi note is played.

Randomness Stereo Op on
In the top of the randomness view is a Stereo op on.
Clicking on the word Stereo will highlight the word and enable the op on.
If the stereo op on is on, then a randomness algorithm will be generated for the le and right channels
separately.

3.4 Other Modulation Sources

On the bo om right of the LFO menu is a 4x2 grid of addi onal modula on sources.
Note: Modulates parameter by an amount depending on the midi note played at the beginning of the midi
note played.

Velocity: Modulates parameter by an amount depending on the velocity of the midi note played at the
beginning of the midi note played.

Li : Modulates parameter by an amount depending on the li of the midi note played at the end of the midi
note played.

Oct Note: Similar to note, but modula on amounts for each note repeat every octave.

Pressure: Responds to MPE presure

Slide: Responds to MPE slide

Stereo: Modulates sets different parameter values for le and right channels.

Random: Modulates parameter by a random amount at the beginning of each midi note played.

3.5 Macros
Macros can be used to control mul ple parameters at once.
Vital comes equipped with 4 macros on the le hand side of the synth.

Each macro has a macro knob, and associated modula on square beneath it.

The only difference between macros and other modula on sources is that the macro knob needs to be turned
to modulate the associated parameters.

The macro knob can be turned manually by clicking and dragging, using another Vital modula on source such
as LFO, using DAW automa on, or midi controller mapping.

3.6 Keyboard
On the bo om of Vital is a keyboard with a pitch wheel and a modula on wheel.
When a midi note is played it will be highlighted in purple on the keyboard.
The keys can also be clicked with the mouse and will play.

The pitch wheel will allow bending the midi note up to a maximum amount determined by the bend
amount in the global se ngs off to the right.

The pitch wheel and modula on wheel can be used to modulate parameters using the pitch wheel,
and mod wheel modula on squares located above the controls on the keyboard.
4.0 Matrix
The matrix menu shows a list of all ac ve parameter modula ons, and a modula on remap curve for the
selected modula on

4.1 Modulation List

The list view has the following columns

#: Row number. Clicking on the row number will change the number to an X and will bypass this modula on
mapping un l the X is clicked again.

Source: Modula on source (LFO, Envelope, Macro, Velocity, Pitch Bend, etc…)

Bipolar: Contains a switch that decide if the modula on is bipolar or unipolar.

Bipolar will move the modula on equally in both direc ons away from the original value.
Unipolar will move the modula on in one direc on away from the original value.

Stereo: Contains a switch that decides if the modula on is stereo or mono. Stereo will move the modula on in
opposite direc ons from the original value for the le and right channel.

Morph: Contains a curve control for how the modula on will be applied to the parameter. Note that this curve
and the curve the modula on remap curve are different curves and will both be applied for the final result.
This curve can be used for quick simple curves, while the modula on remap curve can be used for finer tuning,
or they can be used in combina on.

Amount: Modula on amount. Nega ve values will move the modula on in the opposite direc on of posi ve
values.

Des na on: Modula on des na on. Can be any parameter in vital. While the modula on is being applied a
cyan line visual appears in this cell.

4.2 Modulation Remap Curve

Click on any modula on in the list to view the modula on remap curve in the bo om of the modula on view.
This view can be used to create unique modula on curves with interes ng results including arpegiated, and
percussive sounds.

Below is the modula on Remap Curve with its components labeled.

1. Modula on Remap Curve Chooser

2. Modula on Remap Curve Visual
3. Brush Tool
4. Grid Op ons

Modula on Remap Curve Chooser

A specific modula on remap curve can be chosen by clicking in the upper right hand corner of the modula on
curve display on the tle of the modula on curve.
Select a folder on the le and then select a specific modula on curve shape on the right.
Click the star icon next to a specific modula on curve, the star will turn purple and the modula on curve will
be added to the favorites folder.
Modula on Remap Curve Visual
The minimum value is at the bo om of the display and the maximum value is at the top.
As a note is played, the modula on curve will highlight the part where the modula on is at.
Click and drag on open dots to control points in the modula on curve.
Note that open dots will snap to the grid when dragged close to the grid.
Click and drag on closed dots to control the curve between two open dots.
Hold shi while clicking and dragging on any closed dot to control all curves at once.
Double click an empty space to add a new closed dot.
Double click an exis ng closed dot to delete it.

Click the squigly line to the right of the grid op ons to smooth out all angles in the modula on curve.

Grid Op ons
The grid number on the le will determine the amount of horizontal grid lines.
The grid number on the right will determine the amount of ver cal grid lines.

Brush Tool
Click on the brush icon to ac vate the brush tool.
Note that the brush tool will become highlighted when ac vated.
Click on the shape to the right of the brush icon to choose a brush shape to draw with.
While the brush tool is ac vated, clicking in the modula on curve visual will draw the brush shape in between
each horizontal grid with the level at the height of the mouse.
Note that clicking and dragging across the modula on curve visual will draw across the en re visual with ease.
Holding CTRL while the mouse is hovering over the modula on curve display will toggle the brush tool on and
off.
5.0 Effects
Vital has a total of 9 effects which can be added to the effects rack.

These are some of the most common effects used in sound design and can be used to create very complex,
rich sounds.

The effects rack signal flows from top to bo om with the output of each effect flowing into the input of the
next.

The effects rack is setup in alphabe cal order by default.

All effects are disabled by default.
To use effects simply click the ac vator bu on in the top le .
To reorder the effects rack simply click and drag the effect up or down in the chain.

5.1 Chorus
Chorus is used to make a single instrument sound like a group of the same instrument playing at once.
This is why it is called a chorus. Because it turns a singer into a group of singers (AKA a chorus).

Chorus duplicates the original sound at different modula ng delay mes with slightly modula ng pitches.
This is to mimic a group of instruments playing the same sound at slightly different mes and pitches.

Below is Vital’s Chorus with its components labeled.

1. Ac vator
2. Delay Visual
3. Delay Voices Parameter
4. Delay Modula on Frequency
5. Delay Timing Knobs
6. Feedback Knob
7. Filter Frequency Response curve
8. Filter Knobs
9. Dry/Wet Mix Knob

Delay Visual
Shows a visual of the spacing of the delayed voices for the chorus.

Voices
Chooses the amount of pitch modulated delays for the chorus.
Can be set to 4, 8, 12, or 16.
Think about this as how many instruments will be playing in the group.
Note that this se ng is visualized in the delay visual.
Delay Modula on Frequency.
Determines the amount of me before delay me modula on repeats itself.
Can be set as a me in seconds, or a frac on of the songs BPM.
Can be set to freeze to remove delay me modula on.
Note that this se ng is visualized in the delay visual.

Delay Timing Knobs

Delay 1: Rela ve control for delay me for half of the chorus voices.
Delay 2: Rela ve control for delay me for the other half of the chorus voices.
Depth: Mul plies each delayed voice by a different frac onal amount as the knob is turned to the le .
Adds a different increasing amount of delay me to each delayed voice as the knob is turned to the right.
Note that these se ngs are visualized in the delay visual.

Feedback Knob
Feeds a percentage of the chorus output back into the chorus input.
Nega ve percentages will feed a phase inverted version of the chorus output back into the chorus input.
Nega ve feedback can be useful for solving phase cancella on issues especially for short delays with a lot of
feedback.

Filter Knobs
A filter can be applied to the chorus output.
Spread: mixes between a band-pass filter and no filter.
Cutoff: Sets a cutoff frequency for the band-pass filter.
Note that these se ngs are reflected in the filter frequency response curve

Mix Knob
Mixes the dry unaltered sound with the chorus output.

5.2 Compressor
The compressor in vital allows for mul -band or single band downward or upward compression.
This allows for gentle compression, all out OTT squashing, or anything in between.

Downward compression turns a signal down by a specific ra o once the signal is above a certain threshold.
For example if a signal is 4db above its threshold and has a 4:1 ra o, then the signal will be turned down 3db
so the output is only 1 db above the threshold.

Upward compression turns a signal up by a specific ra o once the signal is below a certain threshold.
For example if a signal is 4db below its threshold and has a 4:1 ra o, then the signal will be turned up 3db so
the output is only 1 db below the threshold.

Both downward and upward compression reduce the dynamic range of the original signal, which can be used
to make an instrument sound he y and large.
Below is the Vital compressor with its components labeled.

1. Ac vator
2. Compressor Banding Op ons
3. Compressor Visual
4. A ack and Release Knobs
5. Post Compressor EQ
6. Compressor Mix Knob

Compressor Banding Op ons

Input signal can be separated into different frequency bands such that each frequency band can have its own
threshold and ra o se ngs for downward and upward compression.

The low frequency band cuts off at approximately 150 Hz.

The high frequency band cuts off at approximately 3000 Hz.
The frequency band cutoffs can not be changed.

Compressor Visual
The opaque bright green meters in the forefront of the visual represent the output levels of the compressor.
The small horizontal white lines hovering around the peak of the meters represents the input level of the
compressor.
The distance between the meter peak and the horizontal white lines is the amount of compression a enua on
being applied.

The transparent green rectangles in the background control the compressor threshold and ra o.
Note that upwards compressors are slightly more transparent than downwards compressors.
Click and drag on the upper/bo om edge of these rectangles to adjust the threshold for a given compressor.
Hold shi while clicking and dragging to adjust the threshold for all compressors at once.
Click and drag within a rectangle to adjust the ra o a given compressor.
Note that ra os are not shown numerically. The ra o is determined by the amount of grid lines in the rectangle
compared to the amount of grid lines on the background.
When the grid lines for a downward compressor match the grid lines in the background, the ra o is 1:1 and
the compressor is effec vely bypassed.
When the grid lines for one of the compressors on the bo om half of the display become larger than the grid
lines in the background the compressor becomes more opaque. This is because having a ra o of less than 1:1
on an upward compressor results in downward compression.

A ack and Release Knobs

A ack adjusts the amount of me that it takes a er the signal hits its threshold to fully a enuate the sounds.
Turning the knob all the way to the le will immediately a enuate the sound.
Turning the knob to the right allows some me for transients to pass through unaltered while fading in the
a enua on.
Release adjusts the amount of me that it takes a er the signal returns below the threshold to stop
a enua ng the sound.
Turning the knob all the way to the le will immediately stop a enua ng the sound.
Turning the knob to the right allows some me to pass while a enua on is faded out.

Note that a ack and release very important controls on a compressor. Adjus ng them can allow for a sound to
be fla ened, bring out the transients, or even crea ng pumping sounds.

Post Compressor EQ
Allows for post compression signal to be EQed using a Low Shelf, Mid Shelf, and High Shelf.
The low frequency shelf cuts off at approximately 150 Hz.
The high frequency shelf cuts off at approximately 3000 Hz.
The frequency band cutoffs can not be changed.

Mix Knob
Mixes the dry unaltered sound with the post compressor post eq output.

5.3 Delay
Delay repeats the original signal at a specific frequency.
Op onally a filter can be applied to each repeat.
This can be a great tool for adding depth to a sound.

Below is Vital’s Delay with its components labeled

1. Ac vator
2. Delay Visual
3. Delay Time Frequency
4. Delay Mode Op ons
5. Feedback Knob
6. Filter Frequency Response curve
7. Filter Knobs
8. Dry/Wet Mix Knob

Delay Visual
Shows visual of the delayed repeats of the original signal for the le and right channels.
Le is on top. Right is on bo om.

Delay Time Frequency

Determines the amount of me before the signal repeats itself.
Can be set as a me in seconds, or a frac on of the song’s BPM.
Note that this se ng is visualized in the delay visual.
Delay Mode Op ons
Determines method playing repeats of the original signal.
Note that this se ng is visualized in the delay visual.
Also for any mode other than mono there are two delay me frequency se ngs.

Mono: Repeats the le and right signals at the same me.

Stereo: Repeats the le and right channels at poten ally different mes which can be set in the two delay me
frequency se ngs.

Ping Pong: Repeats a mono summed version of the original signal alterna ng on the le and right side.
The delay me frequency se ng on the right determines the me un l the first repeat (on the right channel),
and the me a er the repeat on the le channel to repeat on the right channel.
The delay me frequency se ng on the le determines the amount of me a er the repeat on the right
channel to repeat on the le channel.

Mid Ping Pong: Similar to ping pong, but channels are not summed to mono. Addi onally a repeat that plays
both the le and right channel repeats simultaneously is added.
So the signal will repeat right, le , stereo, right, le , stereo, etc.

Feedback Knob
Feeds a percentage of the delay output back into the input.
Nega ve percentages will feed a phase inverted version of the output back into the input.
Nega ve feedback can be useful for solving phase cancella on issues especially for short delays with a lot of
feedback.

Filter Knobs
A filter can be applied to the delay output.
Spread: mixes between a band-pass filter and no filter.
Cutoff: Sets the cutoff frequency for the band-pass filter.
Note that these se ngs are reflected in the filter frequency response curve

Mix Knob
Mixes the dry unaltered sound with the delay output.
Note that this se ng is visualized in the delay visual.

5.4 Distortion
Vital’s distor on is a waveshaping distor on.
Waveshaping distor on shapes the sound waves of a signal by mapping amplitude input levels to amplitude
output levels. Addi onally a gain knob is used to boost or lower the incoming input signal.

This can be a great tool for adding textures and harmonics.

To learn more about how wave shape relates to harmonics, watch the following video on the Fourier
transform. h ps://www.youtube.com/watch?v=spUNpyF58BY&ab_channel=3Blue1Brown

Below is Vital’s waveshapping distor on with its components labeled.

1. Ac vator
2. Waveshaping Input Vs. Output Chart
3. Drive Knob
4. Waveshape Type Chooser
5. Filter Placement Op on
6. Filter Frequency Response Curve
7. Filter Control Knobs
8. Dry/Wet Mix Knob

Waveshapping Input Vs. Output Chart

This chart shows the rela onship between input amplitude and output amplitude.
Input amplitude is shown on the x axis while.
Output amplitude is shown on the y axis.

Typically a func on that maps numbers from an infinite range to a small fixed range will be used.
For example the chart of 2*arctan(x)/pi is shown below.

Note that this func on can take an infinite range as input, but the output lives between -1 and 1.
These types of func ons are useful because in digital audio the amplitude has to live between the values of -1
and 1.

Drive Knob
The drive knob increases or decreases the amplitude of the input signal before the waveshapping is applied.
Note that the Waveshapping Input Vs Output chart will react to changes in the drive knob.
This is because the x axis will reflect the input a er it has been turned up or down by the drive knob.

Waveshape Type Chooser

The will choose the specific func on that will map input amplitude to output amplitude.
A brief descrip on of each type of waveshaping distor on is below.

So Clip: Loud signals propor onally become infinitely close to full amplitude, but never actually reach full
amplitude. This results in a round curve before the signal is fla ened when it reaches it’s amplitude limits.
This is useful for adding some harmonics without changing the original sound too much.

Hard Clip: Signals are above full amplitude are set to full amplitude. This results in the signal abruptly
fla ening with a hard angle when it reaches it’s amplitude limits. This is useful for adding odd order harmonics
and changing the original sound to be more aggressive.

Linear Fold: Signals above full amplitude are reflected back the other way. This is useful for adding a unique set
of harmonics, and significantly changing the original sound.

Sine Fold: Similar to linear fold, but the edges of the reflec ons are rounded off. This is useful for adding a
unique set of harmonics, and significantly changing the original sound, but less aggressive than linear fold.

Bit Crush: Output Amplitude Levels are restricted to certain values. The drive knob controls how many
amplitude levels are allowed. This is essen ally the same as bit reduc on.
Bit depth is the amount of possible amplitude levels an audio file can read. For reference, 16 bit files contain
2^16=65,536 possible amplitude levels.

Down Sample: Same as bit crush, but the drive knob has a different sensi vity curve.

Filter Placement Op on
A filter can op onally be applied before or a er the distor on.
This useful because distor on introduces a lot of harmonics, so it may be nice to reduce the amount of
harmonics before or a er distor on is applied. This can be used to reduce the harshness that some mes
comes with distorted sounds.
Note that when the filter is turned on, the Filter Frequency Response Curve is highlighted in red.

Filter Control Knobs

Blend: Blends between low-pass, band-pass, and high-pass filter type.
Cutoff: Sets cutoff frequency for filter
Resonance: Set peak amount at the cutoff frequency.

Mix Knob
Mixes the dry unaltered sound with the distorted output.

5.5 EQ
An equalizer with 3 a enua on points that can be set as a low-pass, low-shelf, high-pass, high-shelf, notch, or
peak.
Below is Vital’s EQ with its components labeled.

1. Ac vator
2. EQ Visual
3. A enua on Point Chooser
4. A enua on Point Type Chooser
4. A enua on Point Control knobs

EQ Visual
The EQ frequency response curve is shown as an off-white curve.
The present harmonics in the output of the EQ are shown in the background.
The a enua on points are shown as off-white circles.
The currently selected a enua on point will be a filled in circle.
Clicking and dragging on an a enua on point will adjust the cutoff frequency and gain of the a enua on
point.

A enua on Point Chooser

Clicking on “LOW”, “BAND”, or “HIGH” will select the low, mid, or high a enua on point respec vely.
Selec ng an a enua on point will fill in the respec ve circle on the EQ visual and will pull up the respec ve
a enua on point control knobs.

A enua on Point Type Chooser

The low and high a enua on points are set to shelves by default.
Clicking on the a enua on point chooser will change the point to a low-pass or high-pass.
The mid a enua on point is set to a peak by default.
Clicking on the a enua on point chooser will change the point to a notch.

A enua on Point Control Knobs

These knobs will control the currently selected a enua on point
Gain: Selects the gain in db for the a enua on point
Note that gain is disabled for low-pass, notch, and high-pass a enua on points.
Cutoff: Selects the cutoff frequency for the a enua on point.
Resonance: Set peak amount at the cutoff frequency.

5.6 Filter
An addi onal filter iden cal to the filters in the voice sec on of the synth.
The only difference is that this filter is routed in the effects chain.
5.7 Flanger
A flanger is a sound produced when the original sound is played with a duplicate of itself at a low but changing
delay me.
This was originally done by pu ng a finger on a tape machine, so that the duplicate track would play just a ny
bit late at a changing amount of delay. This starts to introduce notch filters because the duplicate track starts
to cancel some of the frequencies of the original track. These notches naturally start at the top of the
frequency range and work their way down as the delay me is increased. This results in a comb filter.
For more informa on on the history of flangers and how they work watch the following videos.
h ps://www.youtube.com/watch?v=Q1dB7skqrks&ab_channel=OmegaStudiosSchool
https://www.youtube.com/watch?v=Ici_YOVDl_0&t=203s&ab_channel=ProAudioFiles
https://www.youtube.com/watch?v=gYF2h5ry3kY&ab_channel=EmpressEffects

For simplicity, the Vital flanger is the specific type of comb filter that would be the result of an actual flanger,
rather than an actual flanger itself.

Below is the Vital flanger with its components labeled.

1. Ac vator
2. Flanger Visual
3. Feedback knob
4. Center Frequency Knob
5. Center Frequency Modula on Frequency Se ngs
6. Center Frequency Modula on Depth Knob
7. Stereo Offset
8. Dry/Wet Mix Knob

Flanger Visual
The flanger visual shows the frequency response curve for the comb filter being applied to the sound.
Note that when the offset knob is not set to 0 or 360 degrees, there are two transparent frequency response
curves. One is for the le channel and the other is for the right channel.

Feedback Knob
Feeds a percentage of the flanger output back into the input.
Nega ve percentages will feed a phase inverted version of the output back into the input.
Posi ve percentages result in more even order harmonics, while nega ve results in more odd order harmonics.

Center Frequency Knob

Sets the center frequency of the comb filter

Center Frequency Modula on Frequency Se ngs

Center frequency of comb filter is modulated up and down to create a flanging sound.
This parameter sets the amount of me it takes for the comb filter to move down and up once.
Can be set as a me in seconds, or a frac on of the songs BPM.
Can be set to freeze to remove center frequency modula on.

Center Frequency Modula on Depth Knob

Sets how far the comb filter modula on moves down and up

Stereo Offset
Offsets the comb filter center frequency for the le and right channels by a degree amount.
The degree represents the degree of the center frequency modula on cycle.

Mix Knob
Mixes the dry unaltered sound with the flanger output.

5.8 Phaser
A phaser duplicates the original sound runs it through an all-pass filter and then plays that back with the
original sound.
All-pass filters have a flat frequency response curve, but adjust the phase of certain frequencies.
Thus, a phaser causes frequencies to cancel out in a few bands which is the same as a few notch filters.
This process can be repeated mul ple mes to create more frequency bands that have been canceled out.
For more informa on on the history of phasers and how they work watch the following video.
h ps://www.youtube.com/watch?v=gYF2h5ry3kY&ab_channel=EmpressEffects

For simplicity, the Vital phaser is a series of notch filters that are commonly the result of a real phaser, rather
than an actual phaser itself.

Below is the Vital phaser with its components labeled

1. Ac vator
2. Phaser Visual
3. Notch Slider
4. Feedback Knob
5. Center Frequency Knob
6. Center Frequency Modula on Frequency Se ngs.
7. Center Frequency Modula on Depth Knob
8. Stereo Offset
9. Dry/Wet Mix Knob

Phaser Visual
The phaser visual shows the frequency response curve for the notch filters being applied to the sound.
Note that when the offset knob is not set to 0 or 360 degrees, there are two transparent frequency response
curves. One is for the le channel and the other is for the right channel.
Notch Slider
Sets the number of notches in the series of notch filters.
In a classic phaser, adding more all pass filters would result in more notches.
On many phasers the number of all pass filters is called “poles”.

Feedback Knob
Feeds a percentage of the phaser output back into the input.

Center Frequency Knob

Sets the center frequency of the series of notch filters.

Center Frequency Modula on Frequency Se ngs

Center frequency of the series of notch filters is modulated down and up.
This parameter sets the amount of me it takes for the series of notch filters to move down and up once.
Can be set as a me in seconds, or a frac on of the songs BPM.
Can be set to freeze to remove center frequency modula on.

Center Frequency Modula on Depth Knob

Sets how far the series of notch filters modula on moves down and up

Stereo Offset
Offsets the series of notch filters center frequency for the le and right channels by a degree amount.
The degree represents the degree of the center frequency modula on cycle.

Mix Knob
Mixes the dry unaltered sound with the phaser output.

5.9 Reverb
Used to create the sound of a room.
Digital reverbs are typically a fast delay, with a high amount of feedback and different comb and all pass filters
on each delay.
This is trying to replicate sound traveling through the air and bouncing off different surfaces within a room.
The delay replicates the me it takes for the sound to travel from the source to your ear, then to a wall, then
back to your ear, then to another wall, and so on and so forth.
The comb filters represent the frequencies that are lost each me the sound bounces off a different surface.
The all pass filters represent the change in phase for different frequency bands as they travel through the air.
Each digital reverb can work in different ways, but these are the key ideas.

Below is Vital’s Reverb with its components labeled

1. Ac vator
2. Pre Reverb EQ
3. Post Reverb EQ Visual
4. Post Reverb EQ Controls
5. Reverb Chorus Controls
6. Reverb Space Controls
7. Pre-Delay Knob
8. Dry/Wet Mix

Pre Reverb EQ
Pre Low Cut: Applies a high-pass filter to the input before reverb is applied.
Pre High Cut: Applies a low-pass filter to the input before reverb is applied.

Post Reverb EQ
A low-shelf or a high-shelf can be applied a er the reverb to apply damping.
The EQ frequency response curve is shown in the visual as a purple curve.
The a enua on points are shown as purple circles.
The currently selected a enua on point will be a filled in circle.
Clicking and dragging on an a enua on point will adjust the cutoff frequency and gain of the a enua on
point.
Note that gain is restricted to values between -6db and 0db.
Clicking on “LOW”, or “HIGH” will select the low, or high a enua on point respec vely.
Selec ng an a enua on point will fill in the respec ve circle on the EQ visual and will pull up the respec ve EQ
control knobs.

Reverb Chorus Controls

Op onally a chorus effect can be applied to the reverb.
Chorus Amount: Determines the amount of pitch modula on for the chorus.
Chorus Frequency: Determines the frequency for the pitch modula on on the chorus.

Reverb Space Controls

Size: Makes the room sound like a small closed space or an open large hall
Time: Time of the reverb tail in seconds

Pre-Delay Knob
Reverb can be put on a delay such that the original signal can be played by itself for a small amount of me
before the reverb starts. This allows the original signal to be heard more clearly.
The pre-delay knob determines the delay me for the reverb signal in seconds.

Mix Knob
Mixes the dry unaltered sound with the reverb output.
6.0 Global Settings
At the bo om of the right hand panel are some of the global se ng for Vital.

Voices: Determines the amount of midi note that can be played at once. Note that this is different than
Oscillator Unison voices

Bend: Determines the amount of possible midi pitch bend in semitones from original pitch. For example a
bend amount of two would allow the midi note to be bent two semitones up or down.

Vel Trk: Velocity Tracking.

Spread: Se ng this knob all the way to the right will not impact the output of the synth. Turning this knob to
the le will sum the stereo signals to mono.

Right click spread to switch spread knob for Rotate Knob.

Rotate: Rotates the le and right pan in a circle.
To understand this, here is an illustra ve example.
Turn on oscillator 1 and the sampler.
Pan oscillator 1 all the way to the le .
Pan the sampler all the way to the right.
Now slowly move the rotate knob to hear a rota ng stereo field

Glide: Determines the amount of me in seconds it takes for one midi note to glide into the next midi note.

Slope: Determines the curve of the pitch glide between two midi notes.

Always Glide: When ac vated each midi note will pitch glide star ng from the previous midi note played no
ma er what. When deac vated, each midi note will only pitch glide while two midi notes are overlapping.

Octave Scale: When ac vated glide me will depend on the distance of the two midi notes. For example
gliding 3 octaves will take 3 mes as long as it takes to glide 1 octave.

Legato: When voices is set to 1, and legato is ac vated, modula ons such as envelopes or LFOs wont be
retriggered when a new overlapping midi note is played.
7.0 Advanced Settings
The advanced se ngs in Vital are separated into individual oscillator advanced se ngs and Global advanced
se ngs

7.1 Oscillator Advanced Settings

To light up the oscillator advanced se ngs, ac vate the oscillator.
To light up the unison sec on add more than one voice to the oscillator.
If the oscillator is deac vated or only uses one voice, the advanced se ng will be dim and gray.

Below are the advanced oscillator se ngs with the components labeled.

1. Note Tracking Op on
2. Hi Resolu on Wavetable Op on
3. Oscillator Unison Stack Op ons
4. Oscillator Unison Detune Range
5. Oscillator Unison Dry/Wet Knobs
6. Oscillator Unison Spread Knobs

Note Tracking Op on
Deac va ng note tracking will make this oscillator play the same note regardless of the midi note played.
C3 will be played for default oscillator pitch se ngs.
To play a different note, adjust the oscillator pitch se ngs.

Hi Resolu on Wavetable Op on
Wavetables will use a high resolu on.
This is probably unnecessary under most circumstances but may have an impact for wavetables with lots of
high end frequencies.

Oscillator Unison Stack Op ons

Determines how unison voices will be stacked in terms of pitch

Below are brief descrip ons of the unison stack op ons.

Unison: Plays voices with pitches ranging from the bo om of the detune range to the top of the detune range
around the incoming midi note.

Center Drop 12: The same as unison, but one voice is dropped down an octave and played in mono.

Center Drop 24: The same as unison, but one voice is dropped down two octaves and played in mono.
Octave: Plays voices with pitches ranging from the bo om of the detune range to the top of the detune range
around the incoming midi note and the octave above it.

2x Octave: Plays voices with pitches ranging from the bo om of the detune range to the top of the detune
range around the incoming midi note, the octave above it, and two octaves above it.

Power Chord: Plays voices with pitches ranging from the bo om of the detune range to the top of the detune
range around the incoming midi note and a perfect 5th (7 semitones) above it.

Major Chord: Plays voices with pitches ranging from the bo om of the detune range to the top of the detune
range around the incoming midi note, a major 3rd (4 semitones) above it, and a perfect 5th (7 semitones) above
it.

Minor Chord: Plays voices with pitches ranging from the bo om of the detune range to the top of the detune
range around the incoming midi note, a minor 3rd (3 semitones) above it, and a perfect 5th (7 semitones) above
it.

Harmonics: The first voice plays the incoming midi note. Each voice added will play the next pitch in the
harmonic series (up to 16 harmonics for 16 voices). Detune will randomly move these harmonics up or down
which will result in an inharmonic sound.

Odd Harmonics: The first voice plays the incoming midi note. Each voice added will play the next pitch in the
odd ordered harmonic series (up to 16 harmonics for 16 voices). Detune will randomly move these harmonics
up or down which will result in an inharmonic sound.
Note that the odd ordered harmonic series excludes octaves.

Oscillator Unison Detune Range

Determines the boundary for how far a voices pitch can be detuned in semitones.

Oscillator Unison Dry/Wet Knobs

Unison Blend Knob: Adjust the volume of detuned voices.

Stereo Unison: Sums stereo signal to mono when turned all the way to the le .

Oscillator Unison Spread Knobs

Table Spread: Spreads voices throughout different wavetable posi ons. The range of wavetable posi ons is
shown visually above.

Spect Spread: Spreads voices throughout different posi ons on the Oscillator’s Le Modula on knob. The
range of knob posi ons is shown visually above.

Dist Spread: Spreads voices throughout different posi ons on the Oscillator’s Right Modula on knob. The
range of knob posi ons is shown visually above.
7.2 Global Advanced Settings
Below are Vital’s advanced global se ngs with the components labeled.

1. Oscilloscope
2. Frequency Spectrum Analyzer
3. Global Oversampling
4. Frequency Units Op on
5. Global Voice Se ngs

Oscilloscope
The Oscilloscope shows a current view of the waveform being played through the synth.

Frequency Spectrum Analyzer

Displays all harmonics present in the current sound.

Global Oversampling
Sets amount of oversampling for the synth.

According to the nyquist theorem 2x oversampling should be sufficient for prac cally all sounds that a human
can hear.

However, on certain sounds with a lot of emphasis on high end frequencies, addi onally oversampling may be
a li le bit helpful at the expense of CPU usage.

1x oversampling will likely result in some aliasing for high end frequencies.
Synths with no high end frequencies will not be impacted when set to 1x oversampling and will save some CPU
useage.
Addi onally, aliasing could be used as an experimental sound design technique.

Frequency Units Op on
Frequencies throughout Vital can be viewed in hertz (Hz) or semitones.
Hertz are cycles per second.
Semitones are measured in distance from middle C.
Note that this se ng will stay put even when presets are changed or Vital is closed and opened.
Global Voice Se ngs
Note Priority: When more midi notes are played than global voices, this op on will decide which notes are
played and which are not.
Note that a newly added midi note will always play.
Priority is taken from the pool of exis ng midi notes.

Below are the note priority op ons

Newest: Newer midi notes are priori zed over older midi notes

Oldest: Older midi notes are priori zed over newer midi notes

Highest: Higher pitch midi notes are priori zed over lower pitch midi notes

Lowest: Lower pitch midi notes are priori zed over higher pitch midi notes

Round Robin: Similar to Highest

Tuning
Loads a tuning file to determine the pitch spacing of the midi notes.

Pythagorean is the ancient original standard tuning based en rely on perfect 5ths.
Try pythagorean tuning for orchestral songs or experimental songs.
This tuning system contains some oddi es and some rules le open to interpreta on.
Some older instruments even used to have two pitches for the same note.
This relates to the harmonic series and how some of the higher order harmonics are “out of tune”.
h ps://en.wikipedia.org/wiki/Pythagorean_tuning

Just Intona on is an intona on system that was common in non-western pentatonic music.
Try just intona on for songs built around the pentatonic scale or experimental songs.
h ps://en.wikipedia.org/wiki/Just_intona on

Default is the modern standard tuning. AKA Equal Temperament.

Default tuning will probably sound the most comfortable for most modern music.
h ps://www.youtube.com/watch?v=wUBkbrvCmGA&ab_channel=NathanNokes

Tune
Adjust the output of the synth by this number of cents. With 100 cents being 1 semitone.
This is set to 0 by default so that the oscillator will play the incoming midi note as is.

Transpose
Adjust the output of the synth by this number of semitones.
This is set to 0 by default so that the oscillator will play the incoming midi note as is.