Odin2 Manual v2.3.0

Odin 2
Synthesizer Plugin
Manual
for version 2.3.0
TheWaveWarden
www.thewavewarden.com
August 18, 2021

Chapter 0 Contents
1 Introduction 3
1.1 Install . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
1.2 Odin 2: A Mighty God . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
1.3 Panel Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1.4 Saving and Loading Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
1.5 Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
1.6 Scaling the Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
1.7 Help Inside the Plugin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
2 Oscillators 9
2.1 Common Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
2.2 Analog Osc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
2.3 Wavetable Osc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
2.4 Multi Osc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
2.5 Vector Osc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
2.6 Chiptune Osc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
2.7 FM Osc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
2.8 PM Osc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
2.9 Noise Osc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
2.10 WaveDraw Osc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
2.11 ChipDraw Osc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
2.12 SpecDraw Osc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
3 Filters 24
3.1 Common Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
3.2 Lowpass, Bandpass, Highpass . . . . . . . . . . . . . . . . . . . . . . . . . . 28
3.3 SEM-12 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
3.4 Diode Ladder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
3.5 KRG-35 LP / HP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
3.6 Comb Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
3.7 Formant Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
3.8 Ring Modulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
1
4 Amplifier & Distortion 34
4.1 Amplifier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
4.2 Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
5 FX 38
5.1 Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
5.2 Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
5.3 Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
5.4 Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
5.5 Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
6 Modulators 47
6.1 ADSR Envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
6.2 Low Frequency Oscillators (LFOs) . . . . . . . . . . . . . . . . . . . . . . . . 50
6.3 XY-Pad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
6.4 Modwheel & Pitch Bend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
7 Modulation Matrix 54
7.1 Basic Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
7.2 Modulation Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
7.3 Mono & Poly Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
7.4 Modulation Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
7.5 Modulation Destinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
8 Arpeggiator & Step Sequencer 66
9 Global Settings 72
9.1 Play Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
9.2 Unison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
9.3 Microtuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
9.4 Glide and Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
2
Chapter 1 Introduction
1.1 Install
You can download Odin 2 from https://www.thewavewarden.com/odin2. Make sure to
download the correct installer for your platform.
Windows:
The install wizard will guide you through the process on Windows systems.
MacOS:
The install wizard gives you the option to install either the VST3 or AudioUnit plugins.
Installing the AudioUnit version is only recommended for users of Apples Digital Audio
Workstation ”Logic”.
GNU/Linux
For GNU/Linux based systems you have two options: Debian based operating systems
(Debian, Ubuntu, Mint and many more) can use the convenient Debian packages (.deb
file) to install Odin. Other distributions have to use the manual installer. Open the
README.txt file in the zip for further installation instructions in that case. All installers
will install the VST3 version, as well as the LV2 version of Odin2.
Please note that Odin 2 is not available as a 32Bit plugin due to build com-
plications.
Furthermore, Odin 2 is not available as a VST2 plugin due to the ended li-
censing on behalf of Steinberg Media Technologies.
Adding Odin 2 to a Track
Odin 2 can be added to your track like any other VST3, AudioUnit or LV2 plugin. For
details on how to add the plugin in your Digital Audio Workstation, refer to its manual.
3
1.2 Odin 2: A Mighty God
Odin 2 is a mighty kick-ass semimodular subtractive synthesizer plugin, which is made

for you with love. Oh, also, it is
Free Software!.
Don’t let anybody tell you otherwise.
The design approach of Odin 2 lets you choose from a large variety of modules, which
can be mixed and matched for virtually endless sonic capabilities. Three Oscillators,
three Filters, a dedicated Distortion, four onboard FX, four Envelopes, four LFOs ... the
list continues: Modulate tons of parameters with the big-ass Modulation Matrix, use the
Arpeggiator and Step Sequencer to generate rhythms and musical ideas, theres Unison,
a XY-Pad, you can draw your oscillator waves, or maybe your spectra?
This text is supposed to fit on one page, so I can’t really talk about everything Odin 2 has
to offer,
but
The sonic capabilities of Odin 2 will keep you happy for years to come, so dig right into
it and get started!
4
1.3 Panel Overview
• A: The three oscillator slots. See Chapter 2.

• B: The three filter slots. See Chapter 3.
• C: The amplifier module. See Chapter 4.1.
• D: The distortion module. See Chapter 4.2.
• E: The FX section: See Chapter 5.
• F: The four ADSR Envelopes. See Chapter 6.1
• G: The four Low Frequency Oscillators (LFOs). See Chapter 6.2
• H: The global controls See Chapter 9
• I: The XY-pad section. See Section 6.3
• J: The modulation matrix . This space can also be occupied by the Arpeggiator
(Chapter 8) and Preset Browser (Section 1.4).
5
1.4 Saving and Loading Presets
So you just downloaded the synth and want to see what is it capable of or stumbled
upon a cool sound which you want to save for later. Both of these are done in the Preset
Library:
The Preset Browser occupies the same space in the GUI as the Modulation
Matrix and the Arpeggiator. If you can’t locate the module in the lower right
corner of the GUI, press the ”Preset Library” button above the modulation
matrix:
The preset browser is divided into the ”Soundbank Selection” (left), the ”Category Se-
lection” (mid) and the ”Patch Selection” (right).
Loading Presets:
To load a preset, navigate to the desired soundbank and category and click on a preset.
Saving Presets:
To save a preset, navigate to the desired soundbank and category and click the ”Save”
button in the bottom right corner of the module. A text field will appear, where you can
input a name for the preset. Pressing the enter-key or ”Save” again will save the preset
to the current category.
6
1.5 Routing
Here’s an overview of the internal signal flow inside Odin 2:
The routing buttons are located here on the GUI:
7
Filter Input Modulatable: Automatable:
The buttons 1, 2 and 3 toggle the input of Oscillator 1, 2 and 3

into the Filter module. The button F1 is only available on
Filter 2 and toggles the input of Filter 1 into Filter 2.
Filter Output Modulatable: Automatable:
These buttons toggle the output of the respective Filter

modules into the Amplifier module.
Per default, Odin 2 is set to serial processing: All oscillators are routed into Filter 1,
which is routed into Filter 2, which is routed into the Amplifier.
To use parallel processing, enable ”Filter 1 Output”, Disable ”Filter 2 Input F1” and in-
put only the desired Oscillators into each Filter module.
1.6 Scaling the Interface

Odin 2 offers the possibility to scale the GUI to 100% (800px × 614px) or 150% (1200px
× 921px). To do so, use the selector in the top right corner of the interface:
1.7 Help Inside the Plugin

Maybe the most important feature to know in Odin 2 is the tooltip button:
It is located in the top right corner of the GUI. When activated, you can hover over any
parameter in the synth and it will show you a tooltip, briefly describing its functionality.
8
Chapter 2 Oscillators
Three oscillators form the basis of sound generation in Odin 2. You can choose from a
wide variety of different modules, which are capable of a wide palette of sounds, even
without any further processing. Initially, Odin 2 starts out with an Analog Osc in slot 1
and none in slot 2 & 3.
Osc Type Modulatable: Automatable:
You can change the module being used with the small dropdown button on
the top-right of the osc-module:
2.1 Common Parameters

There are some controls which are common to most oscillator modules:
9
Osc Octave Modulatable: Automatable:
Detunes the oscillator in whole octaves.
Osc Semitones Modulatable: Automatable:
Detunes the oscillator in semitones.
Osc Finetune Modulatable: Automatable:
Detunes the oscillator in cents.
Osc Volume Modulatable: Automatable:
Regulates the volume of this oscillator in deciBels. Can be used to shut the
oscillator entirely. Modulating this parameter from the modulation matrix with
−100 will always shut the sound. Modulating this parameter with +100 will
raise the sound to 0dB if the current value is smaller than -12dB. If it is bigger
than -12dB, it will modulate to +12dB from the current value.
Osc Reset (Rst) Modulatable: Automatable:
Resets the waveform to its initial position each time a key is pressed. This is
useful to get more consistent sounding notes, for example for tight basslines.
If this is turned off, the wave will continue where it ended on the last note.
10
Osc Sync Modulatable: Automatable:
This parameter is only available for Osc 2 & 3. Activating sync will sync this
osc to Osc 1. That means each time Osc 1 completes a cycle, this osc is reset
to its initial position. The pitch of the oscillator is thereby controlled by Osc
1. This can introduce lots of harmonics, even for soft waveforms like the sine
wave.
Internally, any osc with activated sync will use 3x oversampling to prevent
aliasing on the hard resets. Additionally, any osc with enabled sync uses a
DC-blocking filter to remove constant offsets in the wave.
2.2 Analog Osc
The analog osc aims to emulate the sound of classic analog synthesis. The first obvious
choice you have is the waveform:
11
Analog Waveform Modulatable: Automatable:
Sawtooth:
The classic sawtooth wave. It is very rich in harmonics and forms an excel-
lent starting point for a wide variety of sounds. This particular Sawtooth emu-
lates the way analog synthesizers generate saw-waves. The result is a (phase-
corrected) ”fat-saw”. This variant doesn’t rise linearly as the icon would sug-
gest, but in a slight curve, providing a different tonal character.
Pulse Wave:
The pulse wave has a thinner sound than the sawtooth, sometimes giving the
impression of a ”hollow” sound body being emulated. The pulse still has a lot
of harmonics, making it a common alternative to the sawtooth. The width of
the pulse can be adjusted, see the next parameter Pulse Width.
Triangle:
The triangle wave is much gentler than the saw and pulse waves. It still has a
lot of harmonics present though. This wave is well suited for flute like sounds.
Sine:
The purest of all waveforms. The sine wave (by its very definition) has no har-
monics at all. The resulting sound is very easy on the ears.
Pulse Width (PW) Modulatable: Automatable:
This parameter has no effect if the waveform selected is not a pulse. It shifts
the duty cycle of the pulse wave, making it stay longer in the lower section for
higher values.
The pulse width control can not be used to shut the sound completely (P W =
0 or P W = 1), but that can be achieved when modulating via the modulation
matrix .
12
Drift Modulatable: Automatable:
Analog oscillators tend to not be stable in their frequency. Drift emulates

this behavior by randomly shifting the pitch up and down just a little bit over
time. For a single osc, the effect is not very apparent, but becomes clear once
two oscillators are used.
2.3 Wavetable Osc
The Wavetable Osc allows you to create evolving sounds, which feature more than one
waveform. Each of the 35 selectable wavetables consists of four waves itself. You can
sweep through these easily by hand or with pre-setup modulation.
Wavetable Modulatable: Automatable:
Selects which wavetable to be used. A wide variety of sounds is available,

starting with analog waveforms, human voice like sounds, additive waves,
waveforms taken from instruments and many, many more.
Wavetable Position Modulatable: Automatable:
Fades through the four waves in the selected wavetable. A value of 0 will give
the first wave, 0.333 the second, 0.666 the third and 1 the last wave.
13
Modulation Modulatable: Automatable:
Selects a modulation source, which can be used to modulate the Wavetable

Position. Modulation Envelope and LFO1 are selectable. Please note that arbi-
trary modulation sources can be selected when working with the modulation
matrix . This slot is merely for a fast and convenient way to set up modula-
tion.
Amount Modulatable: Automatable:
Sets the amount of modulation being used to modify the Wavetable Position.
Positive and negative values are possible.
2.4 Multi Osc
The Multi Osc is four oscillators disguised as one. These can be arbitrarily detuned and
can even use different waveforms, which results in a thicc, rich sound.
Detune Modulatable: Automatable:
Detunes the four sub-oscillators against each other. The detune values are
calculated to avoid beating (random phase-cancellation).
14
Wavetable Modulatable: Automatable:
The same as in Wavetable Osc: Selects which wavetable to be used. A wide

variety of sounds is available, starting with analog waveforms, human voice
like sounds, additive waves, waveforms taken from instruments and many,
many more.
Wavetable Position Modulatable: Automatable:
The same as in Wavetable Osc: Fades through the four waves in the selected
wavetable. A value of 0 will give the first wave, 0.333 the second, 0.666 the
third and 1 the last wave.
Wavetable Spread Modulatable: Automatable:
Spreads the four sub-oscillators over the wavetable: The first sub-osc
wavetable position will be shifted to the left, the last will be shifted to the
right. These shifts happen around the value chosen by Wavetable Position.
2.5 Vector Osc
The Vector Osc gives even more options for evolving sounds than the Wavetable Osc.
Four freely definable waves can be interpolated in a very intuitive graphic way via an
XY-pad.
15
A, B, C & D Modulatable: Automatable:
Select the waves to be used. Each of the four letters mark one corner of the
XY-pad, as the graphic suggests. Virtually any waveform from the entire syn-
thesizer can be chosen for any of the corners. This also includes any of the
drawable waveforms (see Draw Oscillators).
When selecting Draw Osc 1, 2 & 3, the waves you have drawn in osc slots 1, 2
and & 3 respectively are used.
X&Y Modulatable: Automatable:
Moves the handle over the XY pad. Each of the corners represent the wave-
form chosen from the A, B, C and D drop down menus. Moving closer to a
corner will make the sound more closely relate the waveform of that corner.
When being in a corner, the resulting waveform is purely the one selected for
that corner. Uses bilinear interpolation to fade through the four tables.
2.6 Chiptune Osc
The Chiptune Osc is an easy way to get nostalgic for your childhood. It aims to emulate
the sound of yesteryear while emulating the processing capabilities of a 4-Bit sound
chip, like it was used in the Nintendo Entertainment System NES or original Nintendo
GameBoy. It also features a simple arpeggiator, with two or three steps being selectable.
Whilst being able to produce harmonic sounds, it also features a dedicated chiptune
noise module.
16
Waveform Modulatable: Automatable:
Lets you select from a variety of waveforms, like you would typically find on
the sound chips of yesteryear. Available are a bunch of pulse waves, a trian-
gle, saw and sine variant. All of these waves are limited to a 4Bit resolution
(16 steps) on the Y -axis. On top of these, you can select any of the ChipDraw
waves.
To clarify: ChipDraw 1, 2 & 3 refer to the waves you have drawn in osc slots 1,
2 and & 3 respectively. You need to apply changes in the ChipDraw Oscs for
the change to take effect (see ChipDraw Osc).
Arpeggiator Modulatable: Automatable:
Turns on an internal arpeggiator module, which makes the oscillator jump

over predefined semitone values. See the next parameters for specifics.
Arp 1, 2 & 3 Modulatable: Automatable:
Select the semitones to be played by the arpeggiator module. For the third
step to be used, the next parameter Step 3 needs to be active.
Step 3 Modulatable: Automatable:
Enables the third step in the arpeggiator. When Step 3 is not active, the
arpeggiator will only loop between the first two steps.
Speed Modulatable: Automatable:
Sets the speed of the arpeggiator in Hz.
17
Noise Modulatable: Automatable:
Enabling Noise will change stop the output of the selected waveform. Instead,
the oscillator will generate a random value to be output each time a cycle is
complete. This creates a classic noise effect like it was used on early game
consoles. Internally, 3x oversampling is used to remove aliasing on the jumps
between values. Note that this noise is dependent on the note being played
and has a perceived pitch. It is also possible to use the noise module while
the Chiptune arpeggiator is enabled.
2.7 FM Osc
The FM Osc is a convenient way to set up Frequency Modulation, or FM. The basic idea
behind FM is that you have two oscillators: The carrier and the modulator. The modu-
lator is solely used as a modulation source for the frequency of the carrier. The carrier is
the oscillator you will actually hear. While you can set up FM via the modulation matrix
as well, the FM osc is the easy way to do it. The theory behind FM is very well docu-
mented in other literature, for example on Wikipedia.
FM will usually produce a metallic, bell-like sound.
Both carrier and modulator can be assigned a waveform. This will be the ac-
tual waveform that the sub-osc is using. Virtually any waveform from the en-
tire synthesizer can be chosen. This also includes any of the (see Draw Oscil-
lators).
18
Ratio Modulatable: Automatable:
The numbers above/below the waveform describe the base-frequency relation

modulator and carrier have to one another. The frequency of the modulator
will always be
Ratiomod
fmod = fcar (2.1)
Ratiocar
So for example using the values Ratiomod = 2 and Ratiomod = 1 will put the
modulator one octave (double the frequency) above the carrier. The base freq
of the carrier is the pitch played for the note.
Using fractions which are not reducible to ”simple” fractions, like 11
7
will yield
1
wilder results than ”simple” ones like 2 .
Note that modulating these values from the modulation matrix , allows for
fractions which are non-rational (continuous modulation).
FM Modulatable: Automatable:
This is where the magic happens: The FM amount controls how deep the
modulator modulates the frequency of the carrier. A value of zero will show
no modulation at all, so the carrier is playing like a normal osc. When in-
creasing the amount, the sound gets more and more metallic. The range of
this parameter can be extended over its natural range via the modulation ma-
trix .
2.8 PM Osc
PM or Phase Modulation, is closely related to FM or Frequency Modulation. Like the

FM Osc, it features a modulator and a carrier oscillator, but this time the modulator
19
modulates the phase of the carrier. When only using sine-waves, the frequency contents
generated by FM and PM are indistinguishable.
Both carrier and modulator can be assigned a waveform. This will be the ac-
tual waveform that the sub-osc is using. Virtually any waveform from the en-
tire synthesizer can be chosen. This also includes any of the (see Draw Oscil-
lators).
Ratio Modulatable: Automatable:
The numbers above/below the waveform describe the base-frequency relation

modulator and carrier have to one another. The frequency of the modulator
will always be
Ratiomod
fmod = fcar (2.2)
Ratiocar
So for example using the values Ratiomod = 2 and Ratiomod = 1 will put the
modulator one octave (double the frequency) above the carrier. The base freq
of the carrier is the pitch played for the note.
Using fractions which are not reducible to ”simple” fractions, like 11
7
will yield
wilder results than ”simple” ones like 21 .
Note that modulating these values from the modulation matrix , allows for
fractions which are non-rational (continuous modulation).
PM Modulatable: Automatable:
The PM amount controls how deep the modulator modulates the phase of
the carrier. A value of zero will show no modulation at all, so the carrier is
playing like a normal osc. The range of this parameter can be extended over
its natural range via the modulation matrix .
20
2.9 Noise Osc
The Noise Osc provides a source of noise in Odin 2. The initial noise generation pro-
duces white noise. The noise can be further preprocessed by the included lowpass and
highpass filters.
Highpass Modulatable: Automatable:
Sets the cutoff frequency for the included highpass filter. The filter is a first
order (6dB / Oct) virtual analog highpass filter.
Lowpass Modulatable: Automatable:
Sets the cutoff frequency for the included lowpass filter. The filter is a first
order (6dB / Oct) virtual analog lowpass filter.
2.10 WaveDraw Osc
21
The WaveDraw Osc lets you experiment with waveforms by letting you draw them your-
self.
The changes you make to the waveform will have no effect until you press the
apply button on the bottom-right of the oscillator. If this button is red, then
there are still unapplied changes to the waveform.
The drawn waveform is sampled using 200 discrete steps. When you press the apply but-
ton, the waveform is processed into the spectral domain to create a usable wavetable.
2.11 ChipDraw Osc
The ChipDraw Osc lets you draw a custom ChipDraw waveform. It resembles the capa-
bilities of the ”custom waveform” on an Nintendo Entertainment System (NES) sound
system. The waveform consists of 32 steps in horizontal direction, which can be offset
to 16 values (4Bit) in vertical direction.
When you press the apply button, the waveform is processed into the spectral domain
to create a usable wavetable.
22
2.12 SpecDraw Osc
The SpecDraw Osc opens the sonic capabilities with some additive synthesis. Unlike
subtractive synthesis, where you filter frequencies from harmonically rich waves, ad-
ditive synthesis lets you build a sound by stacking up individual harmonics. The n-th
harmonic is a sine wave which has n-times the frequency of the base note. The Spec-
Draw Osc lets you draw the amplitude of these sine waves. The left-most bar represents
the fundamental. In the initial state, only this bar ist present, resulting in an overall
sine wave osc. As you bring more overtones, the sound gets richer. Additive synthesis is
capable of creating timbres which are not possible with subtractive synthesis.
23
Chapter 3 Filters
Signal filters are one of the basic tools to shape your sound in subtractive synthesis.
While the oscillators in Odin 2 are already capable of a wide array of sounds, unpro-
cessed oscillators usually sound very sharp and not pleasing to the ears. So what is a
filter? A filter selectively removes frequencies from the spectrum, usually with some di-
als for the user to control the roll-off. Filters can be characterized by their frequency
response, which tells us which frequencies are being attenuated or boosted:
Odin 2 has three slots for filters which can be filled with a extensive selection of modules
to shape your sound. A wide array of high quality virtual analog filter emulations is
available, which emulate various analog filter circuits from synthesizer history.
24
Filter Type Modulatable: Automatable:
To change the filter module, use the dropdown to the top-right of the filter
module:
3.1 Common Controls

Some of the controls are shared among most filter modules:
25
Filter Frequency Modulatable: Automatable:
Controls the cutoff point of the filter. The frequency value marks the point
where the frequency is attenuated by 3dB.
Filter Resonance Modulatable: Automatable:
Increasing resonance creates a peak in the spectrum at the position of the fil-
ter cutoff.
Note also that the frequencies which were previously unaffected by the filter
are being attenuated by the resonance parameter.
None of the filters in Odin 2 are capable of self-oscillation for the sake of your
ears and speakers.
26
Filter Velocity (Vel) Modulatable: Automatable:
Adds velocity from MIDI-Notes to the filter frequency. This allows for expres-
sive play, as harder key-hits move the filter freq up. Note that the value is
added on top of the current value, so to achieve a similar resulting timbre,
you might need to lower the filter frequency accordingly.
Filter Envelope (Env) Modulatable: Automatable:
Controls the amount of Filter Envelope which is applied to the filter fre-
quency. To see how the Filter Envelope itself is operated, see section 6.1.
Filter Keyboard (Kbd) Modulatable: Automatable:
Controls how much the MIDI-note is put on top of the filter frequency. In-
creasing this value makes the filter open up more for higher notes. This allows
for more consistent notes across the keyboard, since higher notes might need
higher filter freqs as well. Note that the value is added on top of the current
value, so to achieve a similar resulting timbre, you might need to lower the
filter frequency accordingly.
Filter Gain Modulatable: Automatable:
Regulates the volume of this filter in deciBels. Can be used to shut the filter
entirely. Modulating this parameter from the modulation matrix with −100
will always shut the sound. Modulating this parameter with +100 will raise
the sound to 0dB if the current value is smaller than -12dB. If it is bigger than
-12dB, it will modulate to +12dB from the current value.
27
Filter Saturation Modulatable: Automatable:
Introduces a slight distortion by shaping the signal with a hyperbolic tangent

function. Depending on the filter module being used, the saturation stage is
in a different position of the signal loop, yielding different results.
3.2 Lowpass, Bandpass, Highpass
The staples of sound-design in Odin 2. These filters are virtual analog emulations of a
certain, famous ladder filter which has had a big impact in the history of synthesizers.
Each of these filters is available in a 12dB/Oct and a 24dB/Oct variant. These values
determine the slope of the filter roll-off. The 24dB/Oct variants filter more frequencies
than the 12dB/Oct counterparts.
3.3 SEM-12
Another emulation of a classic synthesizer filter. This filter has the specialty of being
able to shift between a lowpass and a highpass filter, with a notch-filter in between. The
filter slope of this filter is 12dB/Oct.
28
SEM Transition Modulatable: Automatable:
Fades from a lowpass filter over a notch filter to a highpass filter. This allows
for special filter variants which still leave some of the frequencies that were
filtered before.
3.4 Diode Ladder
The Diode Ladder is a virtual analog emulation of another classic analog synthesizer
filter. Its analog pendant was originally developed to work around a patent on the well
established ladder filter. While still being 24dB/Oct, the characteristic of this filter is said
to be more aggressive and wild compared to the classic ladder, especially when invoking
resonance.
29
3.5 KRG-35 LP / HP
Yet another virtual analog emulation of one of the legendary analog filters of the past.
This filter comes in a lowpass and highpass variant. Cranking up the resonance on these
filters reveals a dirty, aggressive sound. Note that while the filters are named KRG-35,
their slope is 12dB/Oct.
3.6 Comb Filter
A comb filter is essentially a tuned delay module. The input signal fed into a delay-line,
which echos the sound back after a set amount of time. The delay time is the inverse of
the filter frequency:
1
tdelay = (3.1)
ff req
The frequency response of this filter usually resembles the shape of a hair-comb, hence
the name.
30
The resonance parameter for the Comb Filter controls how much of the delayed signal
is fed back into the delay line again, creating a feedback loop.
Comb filters can sound from subtle to metallic. When automating or modulating the
frequency with high resonance values, a psychedelic smearing effect can be produced.
Comb Polarity (+/-) Modulatable: Automatable:
Controls whether the insertion of the signal into the delay line is positive (+)
or inverted (-). This changes the frequency behaviour. Inverted operation
tends to eliminate deep frequencies.
3.7 Formant Filter
The Formant Filter tries to emulate vowels as they are produced in human speech. A
tone is perceived as a vowel if two characteristic frequencies are dominant. These are
called formants. The Formant Filter emulates this by using a combination of two res-
onator filters, which increase the frequencies around the two formants.
31
The Formant Filter allows you to choose two vowels and freely move the formant peaks
between the according formant peaks.
Vowel 1 & 2 Modulatable: Automatable:
Select the vowels to the left and right of the transition. Selectable vowels are:
A, E, I, O, U, Ä, Ö, Ü
Formant Transition Modulatable: Automatable:
Transition between the two selected vowels. The transition is not a simple in-
terpolation of the two vowel sounds, but actually moves the resonant formant
peaks in the spectrum from one vowel to the next.
The parameters Filter Velocity and Filter Envelope are applied to this parame-
ter for the formant filter.
3.8 Ring Modulator
The ring modulator is an oscillator disguised as a filter. The function of this module is
to multiply the input signal with an internal sine-oscillator. This is formerly known as
amplitude modulation.
32
RingMod Freq Modulatable: Automatable:
Controls the frequency of the internal oscillator.
RingMod Amount Modulatable: Automatable:
Controls the amount of ringmod to be applied. This interpolates between the

input signal and the processed signal, effectively working like a Dry/Wet con-
trol.
33
Chapter 4 Amplifier & Distortion
The Amplifier and Distortion sections form the only parts in the signal flow in Odin 2
which are both polyphonic and stereo.
4.1 Amplifier
The amplifier section plays an important gain-staging role in Odin 2. The sound can be
boosted or attenuated, as well as panned.
Amp Gain Modulatable: Automatable:
Changes the volume in in deciBels. Can be used to shut the sound entirely.
Modulating this parameter from the modulation matrix with −100 will always
shut the sound. Modulating this parameter with +100 will raise the sound to
0dB if the current value is smaller than -12dB. If it is bigger than -12dB, it will
modulate to +12dB from the current value.
34
Amp Pan Modulatable: Automatable:
Pan or Panorama can be used to move the sound over the stereo field. The
default value of zero will leave the sound centered. Moving the pan towards
-1 will attenuate the right stereo channel, moving towards 1 does the same for
the left channel.
Amp Velocity Modulatable: Automatable:
Makes the Amplifier gain sensible to the MIDI-Velocity. This allows for expres-
sive play, where harder notes produce louder sounds. Increasing this value
lowers the default gain of the amp, such that a MIDI-note with maximum ve-
locity (127) will bring the level back to its previous level.
Please note that the Amp Envelope is not applied between the Amplifier and
Distortion section, like the routing would suggest. The Amp Envelope is ap-
plied after the Distortion section.
4.2 Distortion
35
The Distortion module is capable of distorting the sound by various characteristic dis-
tortion functions. All the distortion types used in this section are threshold based: Once
the wave surpasses a predefined value (in positive or negative direction), the processing
will apply. Internally, 3x oversampling is used to prevent aliasing from the sharp cuts
made to the waveform.
Distortion On Modulatable: Automatable:
Turns the Distortion module on or off.
Boost Modulatable: Automatable:
Boosts the gain of the incoming wave, making it surpass the internal threshold
easier.
Distortion DryWet Modulatable: Automatable:
Interpolates the processed and unprocessed signals, thereby controlling the

amount of distortion applied to the sound.
36
Distortion Algorithm Modulatable: Automatable:
Selects which distortion algorithm is used. The options are:
Clamp: Clamps the signal once it surpasses the threshold.
Fold: Folds the wave over once it surpasses the threshold. If the folded wave
hits the threshold on the other side, it will be folded again (and so on). Pro-
duces more harmonic content than the Clamp algorithm.
Zero: Pulls the wave to zero once it surpasses the threshold. The strongest of
the available distortion algorithms.
37
Chapter 5 FX
Odin 2 comes with five internal FX modules: Delay, Chorus, Phaser, Flanger and Re-
verb.
The buttons on top of the FX modules serve multiple purposes:
Clicking the corresponding name of the module reveals the corresponding module. The
buttons below the module name are used to turn enable or disable the module. You can
also change the order of the modules, by drag’n’dropping their name handles to the left
or right.
FX On Modulatable: Automatable:
Use the buttons below the module name to turn the FX module on or off. All
modules can be used at the same time.
38
FX Order Modulatable: Automatable:
Drag’n’drop the FX module handles to change the order of the FX. The algo-
rithms are calculated in series from left to right.
5.1 Delay
A delay is a module capable of producing an ’echo’ effect: The signal is fed into a delay-
line, which outputs the signal again after a set amount of time again. The output of the
delay line can also be fed back in, allowing a chain of attenuating echos. By controlling
the delay time and feeback parameters, a wide variety of effects can be achieved. The
Delay module in Odin 2 goes a step further and offers several additional features.
Delay Time Modulatable: Automatable:
Controls the time the delay line takes to output the sound again. Depending
on the parameter ”Delay Sync”, this is either a dial for continuous values in
Hz, or a custom selector to sync the time to the beat. This selector allows for
arbitrary fractions of the current host BPM, for example 5/16th notes:
Delay Feedback Modulatable: Automatable:
Controls how much of the output of the delay line is fed back in again. If
feedback is zero, only one echo will be audible. If feedback is one, an infinite
series of exact copies of sound will be output. Everything inbetween makes
for slowly attenuating echos.
39
Delay Sync Modulatable: Automatable:
Controls whether the Delay Time is set by a knob in Hz or via the sync-time
selector, syncing it to the host BPM.
Delay PingPong Modulatable: Automatable:
Enabling PingPong will make the left and right stereo delay lines crossfeed:
The output of the left line is fed into the right line and vice versa.
The initial input into the delay lines is mixed down to a mono signal and then
fed into the left delay line only. The dry signal remains in the center of the
stereo field.
Delay Highpass (HP) Modulatable: Automatable:
The processed signal in the Delay module is filtered through a 6dB/Oct high-
pass filter. The Delay Highpass parameter controls the cutoff of this internal
filter. This is great for removing the muddiness that deep frequencies can pro-
duce in a delay module.
Note that the highpass filter is not applied inside, but after the feedback loop,
i.e. consecutive echos do not get filtered further more as they are processed
again.
Ducking Modulatable: Automatable:
Ducking attenuates the output of the delayed signal if an input signal is

present. This is great for decluttering sections where the delayed signal in-
terferes with the unprocessed signal.
Unlike the other FX modules, the Delay features a separate Dry and Wet control to allow
for easier adjustments of processed and unprocessed signals individually.
40
Delay Dry Modulatable: Automatable:
Controls how much unprocessed signal is output by the Delay.
Delay Wet Modulatable: Automatable:
Controls how much processed signal is output by the Delay.
5.2 Chorus
The Chorus module is a delay based effect capable of thickening sounds. The generated
sound resembles that of a slightly detuned ensemble, hence the name chorus. Inter-
nally, the Chorus module uses a delay line, which is read from at two diferent posi-
tions. The delay times are modulated by an internal Low Frequency Oscillator (LFO).
This slightly detunes the result resulting in the Chorus sound. The LFOs for the left and
right channel are phase-offset by 90◦ to spread the sound in the stereo field.
Chorus Rate Modulatable: Automatable:
Controls the speed of the internal LFO. Depending on the parameter ”Chorus
Sync”, this is either a dial for continuous values in Hz, or a custom selector
to sync the time to the beat. This selector allows for arbitrary fractions of the
current host BPM, for example 5/16th notes:
41
Chorus Sync Modulatable: Automatable:
Controls whether the Chorus Rate is set by a knob in Hz or via the sync-time
Chorus Modulation Modulatable: Automatable:
Controls how much the internal LFO modulates the two delay times. Exagger-
ates the detune effect.
Chorus Feedback Modulatable: Automatable:
Controls how much of the output of the delay line is fed back in again. Pro-
nounces the effect of the Chorus a bit more.
Chorus DryWet Modulatable: Automatable:

strength of the effect.
5.3 Phaser
The phaser module introduces movement to the sound by applying a subtle ”windy”
character. The internal structure consists of a series of allpass filters: These filters do
not alter the amplitude like the filters from Chapter 3, but only shifts the phase of some
frequencies. By adding the phase-shifted signal back onto the original signal, some of
42
the frequencies get boosted, attenuated or eliminated entirely via phase-cancellation.
The characteristic of the allpass-filters is continuously modulated by an internal Low
Frequency Oscillator (LFO), which makes for the movemnet in the sound. The LFOs for
the left and right channel are phase-offset by 90◦ to spread the sound in the stereo field.
Phaser Rate Modulatable: Automatable:
Controls the speed of the internal LFO. Depending on the parameter ”Phaser
Phaser Sync Modulatable: Automatable:
Controls whether the Phaser Rate is set by a knob in Hz or via the sync-time
Phaser Modulation Modulatable: Automatable:
Controls how much the internal LFO modulates the internal allpass filters.
Phaser Feedback Modulatable: Automatable:
An extra feedback stage, which feeds the output signal into the input again.
Phaser Freq Modulatable: Automatable:
Shifts the base frequency of the internal allpass filters, thereby altering the
characteristic of the effect.
43
Phaser DryWet Modulatable: Automatable:
Controls how much of the phase-shifted signal is added to the input signal,
thereby controling the strength of the effect.
5.4 Flanger
A Flanger is a modulated comb filter. The signal is fed into a delay line and mixed with
the input signal after a small echo. The timing of this effect is modulated by an internal
Low Frequency Oscillator (LFO). Additionally, the output of the delay line can be fed in
again via the Feedback parameter, to allow for a continuous stream of echoes. The delay
times for Comb Filters and Flangers is very short, usually below 50ms.
Flanger Rate Modulatable: Automatable:
Controls the speed of the internal LFO. Depending on the parameter ”Flanger
Flanger Sync Modulatable: Automatable:
Controls whether the Flanger Rate is set by a knob in Hz or via the sync-time
44
Flanger Modulation Modulatable: Automatable:
Controls how much the internal LFO modulates the delay time.
Flanger Feedback Modulatable: Automatable:
Controls how much of the output of the delay line is fed back in again. Cre-
ates a metallic smearing effect for big values. This parameter can be positive
or negative allowing for positive and negative comb operation.
Flanger DryWet Modulatable: Automatable:

strength of the effect.
5.5 Reverb
The reverb module provides a source of artificial reverberation in Odin 2. This module
is sourced from Zita-rev1. The reverb additionally features a built in equalizer with a
rather large Q, to further shape the reverb to your hearts desire.
Pre-Delay Modulatable: Automatable:
Controls how much the signal is delayed before being fed into the reverbera-
tion. This contributes to how big the emulated room feels.
45
Decay Modulatable: Automatable:
Controls how fast the reverberation decays. The value in seconds controls the
RT60, that is how long the signal takes to be attenuated by 60dB.
HF-Damp Modulatable: Automatable:
Controls how much high frequencies are attenuated. Higher values will let
more frequencies pass.
EQ-Gain Modulatable: Automatable:
Controls the gain of the internal equalizer. The equalization will only be ap-
plied to the wet signal. Use this to highlight parts of the spectrum, or attenu-
ate unwanted frequencies.
EQ-Freq Modulatable: Automatable:
Controls the frequency of the internal equalizer. The equalization will only
be applied to the wet signal. Use this to highlight parts of the spectrum, or
attenuate unwanted frequencies.
DryWet Modulatable: Automatable:
Controls the mix of unprocessed and processed sound.
46
Chapter 6 Modulators
The previous chapters wrote about the audio generators and manipulators. This section
will take a look at some useful modules which are used to modulate parameters within
Odin 2.
Some of the modulators have hardwired functionalities in the synthesizer. However, the
true potential of these (and the entire synth, really) lies in applying modulation from the
modulation matrix .
6.1 ADSR Envelopes

An ADSR Envelope provides a handy way of setting up a wide variety of curves like they
can be observed in the timbre changes of physical instruments. ADSR Envelopes follow
two basic signals: MIDI note-on and MIDI note-off. Depending on these, a curve is
produced based on the four parameters Attack, Decay, Sustain and Release.
Odin 2 provides four of these Envelopes:
The Amp Envelope is hardwired to control the volume curve of the voice. This effect
is not applied in the actual Amplifier module, but after the Distortion section (see the
routing graphic in Section 1.5). Note that the Amp Envelope can still be used as a freely
assignable modulation source in the modulation matrix . This Envelope is calculated
for each voice independently.
The Filter Envelope is hardwired to modulate the frequencies of the various Filter mod-
ules in Odin 2. For this to take effect, the parameter ”Filter Env” (see Section 3) has
47
to be enabled. The modulation by this envelope can be in either positive or negative
direction. This Envelope is calculated for each voice independently.
The Mod Envelope is a freely assignable modulation source. This Envelope is calculated
for each voice independently.
The Global Envelope is different from the other three Envelopes in that it exists only
once for all voices. This can come in handy when you want the modulation not to di-
verge between voices.
To switch between the different Envelope modules, use their handles on top of the sec-
tion:
Two envelopes are paired to occupy the same space. To access the currently not visible
Envelope, simply click on its name.
The following graphic shows the structure of an ADSR envelope:
Attack Modulatable: Automatable:
The Attack determines the time the Envelope takes from the start to the first
peak.
When playing the synth in Legato mode (see Section 9.1), the attack section
will start from the last value the Envelope from the previous voice produced.
No matter the start height, the slope of the Attack will always be the same as
if it started from zero.
Using really short Attack times can introduce clicks into the sound, so it is ad-
visable to have at least some attack for most situations.
Note that unlike the Decay and Release sections, the Attack follows a linear
curvature.
48
Decay Modulatable: Automatable:
The Decay controls the time the Envelope will take to fall to the sustain value
after the Attack reached its highest point. This curve will always start at the
internal value one, and will always fall to the value specified by the Sustain
parameter.
The Decay section follows an exponential falling curvature.
Sustain Modulatable: Automatable:
The Sustain determines the level that the Evelope will fall to after the Decay
section. Note that the Sustain section will be active after Decay finished for as
long as the MIDI-key is not released.
Release Modulatable: Automatable:
The Release controls the time the Envelope will take to fall to zero after the
MIDI-key was released. No matter what stage is currently active, once the key
is released, the Envelope will jump right to the Release section immediately.
The starting point for the falling curve will always be the last value that the
Envelope produced. A finished Release section of the Amp Envelope gives the
synthesizer the signal to end processing for this voice.
The Release section follows an exponential falling curvature.
ADSR Loop Modulatable: Automatable:
The loop parameter gives the option to start the Attack section again after the
Decay is finished, thereby creating an LFO-type modulation source.
49
6.2 Low Frequency Oscillators (LFOs)
A Low Frequency Oscillator (LFO) is an Oscillator module which operates at frequencies

below the human hearing range. They are therefore not suited for audio signal genera-
tion, but play a crucial role in slowly modulating parameters over time in synthesizers.
Like with all Oscillators in Odin 2, waveforms and operation speeds can be controlled.
Odin 2 has four LFO modules: LFO1, 2 and 3 are available per voice. The fourth Glob-
alLFO exists only once for all voices. It can therefore be used to modulate all voices
identically. The LFOs are also capable to act as a Sample & Hold module. See the pa-
rameter ”LFO Waveform” for details on how to activate it.
To switch between the different LFO modules, use their handles on top of the section:
Two LFOs are paired to occupy the same space. To access the one currently not visible ,
simply click on its name.
LFO Freq Modulatable: Automatable:
Controls the speed of the oscillator. Depending on the parameter ”LFO Sync”,
this is either a dial for continuous values in Hz, or a custom selector to sync
the time to the beat. This selector allows for arbitrary fractions of the current
host BPM, for example 3/16th notes:
Please note that a synced LFO does not keep track of the playback position of
the DAW. The oscillator is still free-running, but the frequency is derived from
host-BPM.
LFO Sync Modulatable: Automatable:
Controls whether the LFO Freq is set by a knob in Hz or via the sync-time se-
lector, syncing it to the host BPM.
50
LFO Waveform Modulatable: Automatable:
Determines what waveform is used by the Oscillator. Available Waveforms are:
A sine wave
A falling sawtooth wave
A triangle wave
A pulse wave with pulse width 0.5
A waveform with a sharp peak in the middle

Sample & Hold: This is not a waveform, but sets the LFO to
S&H operation. Each time a cycle is complete, a new bipolar
random value is generated, which is held for the entire cycle.
A pyramid shaped waveform with four discrete steps.
A pyramid shaped waveform with six discrete steps
A pyramid shaped waveform with eight discrete steps
A pyramid shaped waveform with twelve discrete steps
A stair shaped waveform with three discrete steps
A stair shaped waveform with four discrete steps
A stair shaped waveform with six discrete steps
A stair shaped waveform with eight discrete steps
A stair shaped waveform with twelve discrete steps

The waveform which was drawn in the WaveDraw Osc in slot
1 (See Section 2.10)
51
LFO Reset Modulatable: Automatable:
Resets the LFO to the beginning of the wave on note start.
6.3 XY-Pad
The XY-Pad provides a convenient way to combine two independent modulation sources
which can be intuitively modified with your mouse. Modulations set up with the XY-Pad
often yield interesting and unpredicted sounds.
XY-Pad X Modulatable: Automatable:
Controls the X-axis of the XY-Pad.
XY-Pad Y Modulatable: Automatable:
Controls the Y-axis of the XY-Pad.
52
6.4 Modwheel & Pitch Bend
Modwheel and Pitch Bend provide two basic modulation sources which can be found
on most MIDI keyboards.
Pitch Bend Modulatable: Automatable:
Pitch Bend allows you to easily transpose the sound of all Oscillators (See
Chapter 2). The amount of transposition is controlled by the parameter ”Pitch
Bend Range” in semitones. Default is +/- 12 semitones.
This control will automatically track all MIDI Pitch Bend messages send to
Odin 2 and update accordingly.
You can use the Pitch Bend as a modulation source as well.
Pitchbend Range Modulatable: Automatable:
Controls how far Pitchbend modulates the pitch of the oscillators in either di-
rection. Can be set to zero to use the Pitchbend as a pure modulation source
for other parameters.
Modwheel Modulatable: Automatable:
A freely assignable modulation source, which is also found on most MIDI key-
boards. It is therefore a very common modulation source for expressive play.
This control will automatically track all MIDI Modwheel messages (MIDI-CC
001) send to Odin 2 and update accordingly.
53
Chapter 7 Modulation Matrix
The modulation matrix is where the true power of Odin 2 lies. A large amount of param-
eters inside the synthesizer can be modulated by a large variety of modulators.
7.1 Basic Operation

It might look daunting at first with the amount of controls it has to offer, but in reality it
is nine rows of the same controls:
Modulation Source Modulatable: Automatable:
Sets up a source for the modulation. The source chosen in this slot will be
controlling the parameter set by ”Destination 1” and ”Destination 2” by the
amounts set by ”Destination 1 Amount” and ”Destination 2 Amount”.
For a list of available modulation sources, see Section 7.4.
54
Modulation Destination 1 Modulatable: Automatable:
Sets up a destination for the modulation. The destination chosen in this slot
will be controlled by the source set in ”Modulation Source” by the amount set
by ”Destination 1 Amount”.
For a list of available modulation destinations, see Section 7.5.
Modulation Destination 2 Modulatable: Automatable:
An independent second modulation destination with identical features to

”Modulation Destination 1”. Destinations 1 and 2 do not interfere with one
another in any way.
Destination 1 Amount Modulatable: Automatable:
Controls how much the Source modulates Destination 1. Can be positive or

negative.
Destination 2 Amount Modulatable: Automatable:
Controls how much the Source modulates Destination 2. Can be positive or

negative.
You can use the X-Buttons to the right of each row to instantaneously clear the entire
modulation row.
7.2 Modulation Scaling

An advanced feature of the modulation matrix in Odin 2 is the ”Modulation Scale” op-
tion. You can scale the modulation that was set up with the parameters above by another
modulation source. The value of the source chosen for scale now controls the modula-
tion depth. This way you can essentially modulate the modulation itself. A common
use case for this includes scaling with the Modwheel: The set up modulation now can
be controlled by the keyboard player by moving the Modwheel up and down.
55
Consider the following graphic: On the left side, an LFO is set up to modulate a param-
eter. On the right side, the modulation is scaled by another, slower moving LFO:
We can see how the actual modulation curve gets more complex instantaneously.
Modulation Scale Modulatable: Automatable:
Select which modulation source is used to scale the modulations. Note that
the scaling applies to Destination 1 and Destination 2 in the same way.
For a list of available modulation sources, see Section 7.4.
Scale Amount Modulatable: Automatable:
Determines the amount of scaling applied to the modulation. Using a scale

amount of 100 is equivalent of multiplying the ”Source” and ”Scale” values
together. For values between 0 and 100, linear interpolation logic applies be-
tween the raw modulation and and the multiplied values. For values below
zero, the scaling source is inverted.
7.3 Mono & Poly Modulation

Some of the modulation sources and destinations inside Odin 2 are polyphonic (i.e. ex-
ist once per voice), while others are monophonic (exist once per plugin instance). The
following table summarizes the behavior when setting up poly/mono source and desti-
nation combos:
56
Mono Destination Poly Destination
single modulation source and a single source modulates all
Mono Source
destination destinations
only the most most recent
each voice is modulated
Poly Source voice modulates the
independently
destination
A similar logic applies when dealing with poly/mono modulation scaling.
To see which modulations are poly or mono, refer to the tables in Section 7.4 and Section
7.5.
7.4 Modulation Sources

This list provides an overview over all modulation sources available in Odin 2:
Note that all unipolar sources operate in the range [0, 1], and all bipolar sources in the
range [-1, 1].
Mono
Source Polarity Description
/Poly
The output of the Oscillator module that is
Oscillator 1 Poly Bipolar
currently in slot 1.
The output of the Filter module that is
Filter 1 Out Poly Bipolar currently in slot 1. If no Filter is present, the
bypassed signal is used.
The output of the Filter module that is
Filter 2 Out Poly Bipolar currently in slot 2. If no Filter is present, the
bypassed signal is used.
Amp Envelope Poly Unipolar The Amplifier Envelope.
Filter Envelope Poly Unipolar The Filter Envelope.
Mod Envelope Poly Unipolar The Modulation Envelope.
Global Envelope Mono Unipolar The Global Envelope.
57
LFO 1 Poly Bipolar The output of LFO 1.
Global LFO Mono Bipolar The output of the Global LFO.
X Mono Unipolar The X-coordinate of the XY-Pad.
Y Mono Unipolar The Y-coordinate of the XY-Pad.
Modwheel Mono Unipolar The position of the Modwheel.
PitchBend Mono Bipolar The position of the PitchBend wheel.
The index of the MIDI note-on event,
MIDI Note Poly Unipolar scaled from 0 (note: 0, C-2) to 1 (note: 127,
G8).
The velocity of the MIDI note-on event,
MIDI Velocity Poly Unipolar
scaled from 0 (vel: 0) to 1 (vel: 127).
The MIDI Breath value (CC-2), often
MIDI Breath Mono Unipolar provided by dedicated breath controllers,
scaled from 0 (CC-2: 0) to 1 (CC-2: 127).
Often referred to as ”Mono Aftertouch”. A
Channel pressure value applied to the keyboard
Mono Unipolar
Pressure after pressing a key, scaled from 0 (CP: 0) to
1 (CP: 127).
A unique value for each voice in a unison
voice cluster. The value is the one that is
Unison Index Poly Bipolar
used to spread the voices over the stereo
field.
The upper row of modulation parameters
from the Arpeggiator module. This value is
Arp Mod 1 Poly Bipolar
distributed to the voice that is triggered by
that sequence step.
The lower row of modulation parameters
from the Arpeggiator module. This value is
Arp Mod 2 Poly Bipolar
distributed to the voice that is triggered by
that sequence step.
The pedal that is commonly used on
Sustain Pedal Mono Unipolar
(digital) pianos to avoid releasing keys.
58
The pedal that is commonly used on
Soft Pedal Mono Unipolar (digital) pianos to attenuate the volume of
keys.
A random value that is generated every
Random Poly Bipolar
time a new voice is triggered
Constant Mono Unipolar A constant value of 1
7.5 Modulation Destinations

This is an overview of all available modulation destinations in Odin 2. The column
”Range” describes the amount of modulation that is applied if you use a ”Constant”
source and modulate by an amount of +100 or -100. Note that most destinations have
internal logical limits for their modulation ranges. For example, the ”Amplifier Pan” can
not get out of the range [-1, 1].
Destination Mono/ Description Range

Poly
Oscillator Common
Osc Pitch Exponential modulation of the +100: Two octaves up
Poly
Exp oscillator pitch -100: Two octaves down
+100: Adds two times the current

Osc Pitch frequency
Linear modulation of the oscillator
Poly -100: Subtracts two times the current
Lin pitch
frequency, making the oscillator run
backwards.
+100: If the volume is below -12dB,

then modulation is up to 0dB. If the
Modulates the volume of the volume is above -12dB, then
Osc Volume Poly
oscillator modulation is 12dB up from that
point.
-100: Modulates to −∞dB.
Analog Osc
Modulates the pulse width of the
pulse wave. Unlike the control
+100: Increase duty cycle by 100%
Pulse Width Poly knob, this can be used to achieve a
-100: Decrease duty cycle by 100%
pulse-width of 0% or 100% (no
sound) and beyond.
Wavetable / Multi Osc
59
+100: Move once through the entire
Modulates the position used for
table.
Osc Position Poly interpolating between the four
-100: Move once through the entire
subtables.
table backwards.
Multi Osc
+100: Same as moving the control
Modulates the detuning of the knob by a value of +1.
Osc Detune Poly
sub-oscillators. -100: Same as moving the control
knob by a value of -1.

Modulates the spreading of the
knob by a value of +1.
Osc Spread Poly sub-oscillators across the
-100: Same as moving the control
wavetable.
Vector Osc
+100: Move the handle the width of
Modulate the X position of the the pad to the right.
Osc X Poly
vector pad. -100: Move the handle the width of
the pad to the left.
+100: Move the handle the height of

Modulate the Y position of the the pad up.
Osc Y Poly
vector pad. -100: Move the handle the height of
the pad down.
Chiptune Osc
+100: Increase the speed by a factor
Osc Arp Modulates the speed of the
of 4.
Poly arpeggiator in the chiptune osc
Speed exponentially.
-100: Decrease the speed by a factor
of 1/4.
FM and PhaseMod Oscs

Osc FM Modulates the amount of
Poly frequency modulation between
amount carrier and modulator oscs.

Osc PM Modulates the amount of phase
Poly modulation between carrier and
amount modulator oscs.
Modulates the ratio used for the +100: Increases the current ratio by a
Modulator modulator (see Section 2.7). Unlike factor of four.
Poly
Ratio the controls, this can be used to -100: Decrease the current ratio by a
generate irrational fractions. factor of 1/4.
60
Modulates the ratio used for the +100: Increases the current ratio by a
Carrier carrier (see Section 2.7). Unlike the factor of four.
Poly
Ratio controls, this can be used to -100: Decrease the current ratio by a
generate irrational fractions. factor of 1/4.
Noise Osc
+100: Modulates the frequency 64
Osc LP Modulates the frequency of the
semitones up (factor 40.317).
Poly lowpass filter in the noise osc
Frequency exponentially.
-100: Modulates the frequency 64
semitones down (factor 0.0248).

Osc HP Modulates the frequency of the
Poly highpass filter in the noise osc
Frequency exponentially.
Filter Common
Filter Modulates the filter frequency semitones up (factor 40.317).
Poly
Frequency exponentially. -100: Modulates the frequency 64

Filter Modulates the resonance of the knob by a value of +1.
Poly
Resonance filter. -100: Same as moving the control
+100: If the current gain is below

-12dB, then modulation is up to 0dB.
If the gain is above -12dB, then
Filter Gain Poly Modulates the volume of the filter.
modulation is 12dB up from that
point.

Filter Env Modulates how much envelope is knob by a value of +1.
Poly
Amount applied to the filter. -100: Same as moving the control

Filter Vel Modulates the velocity sensitivity knob by a value of +1.
Poly
Amount of the filter. -100: Same as moving the control

Filter Kbd Modulates the keyboard sensitivity knob by a value of +1.
Poly
Amount of the filter. -100: Same as moving the control

Filter Modulates the saturation of the knob by a value of +1.
Poly
Saturation filter. -100: Same as moving the control
61
SEM-12 Filter
Filter SEM Modulates the filter characteristic
Poly transition from lowpass over notch
Transition to highpass.
Formant Filter
Filter +100: Same as moving the control

Modulates the transition from the knob by a value of +1.
Formant Poly
left vowel to the right. -100: Same as moving the control
Transition knob by a value of -1.
Amplifier
+100: If the current gain is below
-12dB, then modulation is up to 0dB.
Amplifier Modulates the gain in the If the gain is above -12dB, then
Poly
Gain Amplifier module. modulation is 12dB up from that
point.

Amplifier Modulates the position of the knob by a value of +1.
Poly
Pan sound in the stereo field. -100: Same as moving the control
Distortion
Distortion Modulates the input boost of the knob by a value of +1.
Poly
Boost distortion module. -100: Same as moving the control

Distortion Modulates the relation of
Poly unprocessed and processed signal
DryWet in the Distortion module.
ADSR Envelopes
+100: Scales the current time by a
Modulates the attack time of the
factor of 8 and then adds 0.3 seconds.
Envelope exponentially and
Env Attack Poly -100: Scales the current time by a
linearly. This parameter is Mono
factor of 1/8 and then subtracts 0.3
for the Global Env.
seconds.

Modulates the decay time of the
Env Decay Poly
-100: Scales the current time by a
for the Global Env.
seconds.
62
Modulates the sustain value of the slider +1.
Env Sustain Poly
Envelope. -100: Same as moving the control
slider -1.

Modulates the release time of the
Env Release Poly -100: Scales the current time by a
for the Global Env.
seconds.
LFOs
+100: Increases current frequency by
Modulates the frequency of the
4 octaves (factor 16).
LFO Freq Poly LFO exponentially. This parameter
-100: Decreases current frequency by
is Mono for the Global LFO.
4 octaves (factor 0.0625).
Delay
+100: Increases the current time by a
Modulates the delay time factor of 3.
Delay Time Mono
exponentially. -100: Decreases the current time by a
factor of 1/3.

Delay Modulates the feedback of the knob by a value of +1.
Mono
Feedback delay line. -100: Same as moving the control

Delay HP Modulates the frequency of the
Mono highpass filter in the Delay module
Freq exponentially.

Modulates the output of
Delay Dry Mono unprocessed signal from the Delay
module.

Modulates the output of processed knob by a value of +1.
Delay Wet Mono
signal from the Delay module. -100: Same as moving the control
Phaser
+100: Increases the speed by a factor
Modulates the speed of the of 4.
Phaser Rate Mono
internal LFO exponentially. -100: Decreases the speed by a factor
of 1/4.
63
Phaser Modulates the depth of frequency
Mono modulation by the LFO in the
Amount Phaser.
+100: Moves the frequency up

Modulates the base frequency of 2000Hz.
Phaser Freq Mono
the internal allpass filters linearly. -100: Moves the frequency down
2000Hz.

Phaser Modulates the internal feedback of knob by a value of +1.
Mono
Feedback the Phaser module. -100: Same as moving the control

Phaser Modulates the ratio of processed
Mono and unprocess signals output by
Drywet the Phaser module.
Chorus
Chorus Rate Mono
of 1/4.

Chorus Modulates the depth of frequency
Amount Chorus.

Chorus Modulates the feedback of the knob by a value of +1.
Mono
Feedback internal delay line. -100: Same as moving the control

Chorus Modulates the ratio of processed
Drywet the Chorus module.
Flanger
Flanger Rate Mono
of 1/4.

Flanger Modulates the depth of frequency
Amount Flanger.
64
Flanger Modulates the feedback of the knob by a value of +1.
Mono
Feedback internal delay line. -100: Same as moving the control

Flanger Modulates the ratio of processed
Drywet the Flanger module.
Arpeggiator
Modulates the speed of the +100: Doubles the speed.
Arp Speed Mono
Arpeggiator module exponentially -100: Halves the speed.
Modulates the gate time in the +100: Adds 100% gate time.
Arp Gate Mono
Arpeggiator module. -100: Subtracts 100% gate time.
XY-Pad
+100: Like moving the handle once
Modulates X coordinate of the
across the pad to the right.
XY-Pad X Mono XY-Pad in the synth (see Section
-100: Like moving the handle once
6.3).
across the pad to the left.
+100: Like moving the handle once

Modulates Y coordinate of the
across the pad upwards.
XY-Pad Y Mono XY-Pad in the synth (see Section
-100: Like moving the handle once
6.3).
across the pad downwards.
Global
Modulates the Glide parameter in knob by a value of +1.
Glide Mono
the synth (see Section 9.4). -100: Same as moving the control
+100: If the current master gain is

below -12dB, then modulation is up to
Modulates the master gain of the 0dB. If the master gain is above -12dB,
Master Mono
synthesizer. then modulation is 12dB up from that
point.
65
Chapter 8Arpeggiator & Step Sequencer
The Arpeggiator & Step Sequencer is a tool which is able to automatically play complex
rhytmic sequences from a given set of input notes. Activating this module overrides the
notes you’re inputting into the synthesizer and generates note sequences itself.
The Arpeggiator & Step Sequencer occupies the same space in the GUI as the
modulation matrix and the Preset Library. If you can’t locate the module in
the lower right corner of the GUI, press the ”Arpeggiator” button above the
modulation matrix:
The basic operation of this module is to listen for the inputs you play on the keyboard
and play them over a set of octaves. You can control various parameters, like the amount
of octaves, the direction of the arpeggio, gate length, which notes to omit and many
more.
66
Arpeggiator On Modulatable: Automatable:
Turns the Arpeggiator & Step Sequencer module on or off.
Arpeggiator Step Time Modulatable: Automatable:
Controls the time one step takes, synced to the host BPM. The image above
represents a length of 2/16th or 1/8th note. This parameter can be modulated
in the modulation matrix to achieve non-synced values.
Arpeggiator Octaves Modulatable: Automatable:
Controls over how many octaves the arpeggio will be played. For a pure Step
Sequencer style operation, set this value to 1.
Arpeggiator Gate Length Modulatable: Automatable:
Controls how long a note is played, before a note-off signal is sent to the syn-
thesizer. The times are represented in percent of the current step time. If the
gate length is bigger than 100%, each step will overlap into the next step.
67
Arpeggiator Direction Modulatable: Automatable:
Determines the play style of the arpeggiator. The resulting notes for the vari-
ous directions will be displayed here for ”Arpeggiator Octaves” set to 2, Speed
of 1/16 and a C-major chord as an input:
Direction: Up
Direction: Down
Direction: Up Down
Direction: Down Up
Direction: Crawl Up
Direction: Crawl Down
68
Step Active Modulatable: Automatable:
Turns a step in the sequence on or off. This can be used to easily create rhyt-
mic patterns.
Arpeggiator Steps Modulatable: Automatable:
Limits the number of steps to be played before the sequence wraps around.
To clarify: ”Sequence” here does not mean the note-pattern created by the
arpeggiator. Rather it means the rhythmic pattern created by enabling or dis-
abling steps with the ”Step Active” buttons. You can tell the current sequence
size by the amount of LEDs which are displayed on the bottom of the module.
If the sequence has ended, it will either start over, or stop, depending on the
parameter ”One-Shot”.
Arpeggiator One-Shot Modulatable: Automatable:
Enables one-shot mode: In one-shot mode, the sequence is stopped after

playing through it once.
To clarify: ”Sequence” here does not mean the note-pattern created by the
arpeggiator, but the sequence length as set by the parameter ”Arpeggiator
Steps”. You can tell the current sequence size by the amount of LEDs which
are displayed on the bottom of the module.
69
Arpeggiator Modulation 1 Modulatable: Automatable:
A set of freely definable modulation values. This value will be transmitted to

the note that is triggered from this step in the sequence, and can be used in
the modulation matrix via the modulation source ”Arp Mod 1”.
This can be used to bring movement into the sequence by modulating sound
parameters as the sequence progresses.
The second row of knobs in the Arpeggiator & Step Sequencer can be tog-
gled to either be ”Arpeggiator Modulation 2” or ”Arpeggiator Transpose” by
the button to the left:
Both functionalities will be available at the same time, but only one set of
knobs is visible.
Arpeggiator Modulation 2 Modulatable: Automatable:
A set of freely definable modulation values. This value will be transmitted to

the note that is triggered from this step in the sequence, and can be used in
the modulation matrix via the modulation source ”Arp Mod 2”.
This can be used to bring movement into the sequence by modulating sound
parameters as the sequence progresses.
Make sure the button to the left of the second row is set to ”Mod 2” and not
”Transp” to access these parameters.
70
Arpeggiator Transpose Modulatable: Automatable:
Transposes the corresponding step in the sequence in semitones.

When used with a ”Arp Octaves” set to one and only one key played, this can
be used to create custom note sequences.
Make sure the button to the left of the second row is set to ”Transp” and not
”Mod” to access these parameters.
71
Chapter 9 Global Settings
9.1 Play Modes

Odin 2 is capable of three play modes: Polyphonic, Legato and Retrig.
In the default mode Poly, you can play up to 24 voices. When you reached the voice
limit, the oldest note that is not still held down will be stolen and used as the new voice.
In Legato mode, you have only one voice to play with. When playing another note while
still holding down the last note, the envelope generators (see 6.1) will not be retrig-
gered. This essentially creates one long note, which changes pitch as you press the sec-
ond key. Legato mode can be very useful if you don’t want notes to overlap, for example
in a lead or bass type of sound.
Retrig mode also features a single voice. In contrast to Legato mode, the envelopes per-
form a soft-reset when overlapping notes are triggered. In that case, the Attack section
of the envelopes (see 6.1) is not started from zero, but the value it is currently on. This
creates a smooth transition between the two notes, while still giving each note their own
percussive start.
The drop-down to select the play mode can be found on the top of the GUI.
Play Mode Modulatable: Automatable:
Select between playmodes Poly, Legato and Retrig.
72
9.2 Unison
The Unison feature makes it possible to trigger a stack of voices together instead of a
single voice. These voices can be slightly detuned and spread over the stereo field, to
generate a much wider, bigger sound. While detune and width parameters are available
as dedicated controls, you can modulate any parameter for each unison voice indepen-
dently with the modulation destination ”Unison Index” (see Section 7.5).
The controls for Unison can be found in the top-left corner of the GUI.
Since the implementation of Unison in Odin 2 literally triggers multiple

voices, using high Unison counts uses lots of CPU time. Use it with care, if
you run into performance issues, you can always bounce the track to audio in
your DAW.
Unison Count Modulatable: Automatable:
Determines how many voices are triggered when you press a button.
Try to keep the Unison Count low if you’re experiencing performance issues.
Unison Detune Modulatable: Automatable:
Controls the amount of detune for the voices in the unison stack.
Unison Width Modulatable: Automatable:
Controls the stereo spread of the voices in the unison stack. Having this value
at zero will put all voices in the center of the stereo field. Having the value at
one puts the first voices hard-left and the last on hard-right. The voices inbe-
tween are spread linearly inbetween
73
9.3 Microtuning
Starting from version 2.3, Odin 2 supports microtuning. This feateare can be used from
subtle changes, like retuning the instrument to a different base frequency to a complete
remapping of the keyboard. You can find the Tuning dropdown on top of the GUI:
The tuning is specified by two separate files: The keyboard mapping files (.kbm) and
Scala files (.scl). Together, they make up a complete and arbitrary tuning of the synthe-
sizer. To read up on the specifications, use these resources:
Scala File Specification: http://www.huygens-fokker.org/scala/scl_format.html
Keyboard Mapping Specification: http://www.huygens-fokker.org/scala/help.htm#
mappings
A large variety of tuning files can be downloaded from this scale archive: http://www.
huygens-fokker.org/docs/scales.zip.
To generate your own .kbm and .scl files, use the ”Export SCL/KBM file” option. This will
let you save the currently used files and adjust them as needed. You can then import the
modded file again.
9.4 Glide and Master

The last two remaining parameters, Glide and Master are located in the bottom left cor-
ner of the GUI.
74
Glide Modulatable: Automatable:
Makes the pitch of newly triggered voices glide from the frequency of the last
note to the frequency of the current note. The glide curve is exponential.
Master Modulatable: Automatable:
Controls the output gain of the synthesizer.
75

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Odin 2

August 18, 2021

8 Arpeggiator & Step Sequencer 66

Adding Odin 2 to a Track

Odin 2 is a mighty kick-ass semimodular subtractive synthesizer plugin, which is made

• A: The three oscillator slots. See Chapter 2.

The routing buttons are located here on the GUI:

The buttons 1, 2 and 3 toggle the input of Oscillator 1, 2 and 3

Filter Output Modulatable: Automatable:

These buttons toggle the output of the respective Filter

1.6 Scaling the Interface

1.7 Help Inside the Plugin

Osc Type Modulatable: Automatable:

2.1 Common Parameters

Detunes the oscillator in whole octaves.

Osc Semitones Modulatable: Automatable:

Detunes the oscillator in semitones.

Osc Finetune Modulatable: Automatable:

Detunes the oscillator in cents.

Osc Volume Modulatable: Automatable:

Osc Reset (Rst) Modulatable: Automatable:

2.2 Analog Osc

Pulse Width (PW) Modulatable: Automatable:

Analog oscillators tend to not be stable in their frequency. Drift emulates

2.3 Wavetable Osc

Wavetable Modulatable: Automatable:

Selects which wavetable to be used. A wide variety of sounds is available,

Wavetable Position Modulatable: Automatable:

Selects a modulation source, which can be used to modulate the Wavetable

Amount Modulatable: Automatable:

2.4 Multi Osc

Detune Modulatable: Automatable:

The same as in Wavetable Osc: Selects which wavetable to be used. A wide

Wavetable Position Modulatable: Automatable:

Wavetable Spread Modulatable: Automatable:

2.5 Vector Osc

X&Y Modulatable: Automatable:

2.6 Chiptune Osc

Arpeggiator Modulatable: Automatable:

Turns on an internal arpeggiator module, which makes the oscillator jump

Arp 1, 2 & 3 Modulatable: Automatable:

Step 3 Modulatable: Automatable:

Speed Modulatable: Automatable:

Sets the speed of the arpeggiator in Hz.

Waveform Modulatable: Automatable:

The numbers above/below the waveform describe the base-frequency relation

PM or Phase Modulation, is closely related to FM or Frequency Modulation. Like the

Waveform Modulatable: Automatable:

Ratio Modulatable: Automatable:

The numbers above/below the waveform describe the base-frequency relation

Highpass Modulatable: Automatable:

Lowpass Modulatable: Automatable:

2.10 WaveDraw Osc

2.11 ChipDraw Osc

3.1 Common Controls

Filter Resonance Modulatable: Automatable:

Filter Envelope (Env) Modulatable: Automatable:

Filter Keyboard (Kbd) Modulatable: Automatable:

Filter Gain Modulatable: Automatable: