Modal COBALT8

8 voice polyphonic extended virtual-analogue synthesiser

User Manual

OS Version - 2.1

1
 Important Safety Information

WARNING – AS WITH ALL ELECTRICAL PRODUCTS, care and general precautions must
be observed in order to operate this equipment safely. If you are unsure how to operate this
apparatus in a safe manner, please seek appropriate advice on its safe use.

ENSURE CORRECT PSU POLARITY - FAILURE TO DO SO MAY CAUSE PERMANENT

DAMAGE - RECOMMENDED USE WITH PROVIDED POWER SUPPLY

This apparatus MUST NOT BE OPERATED NEAR WATER or where there is risk of the
apparatus coming into contact with sources of water such as sinks, taps, showers or outdoor
water units, or wet environments such as in the rain. Take care to ensure that no liquids are
spilt onto or come into contact with the apparatus. In the event this should happen remove
power from the unit immediately and seek expert assistance.

This apparatus produces sound that could cause permanent damage to hearing. Always
operate the apparatus at safe listening volumes and ensure you take regular breaks from
being exposed to sound levels

THERE ARE NO USER SERVICEABLE PARTS INSIDE THIS APPARATUS. It should only be
serviced by qualified service personnel, specifically when:

• The apparatus has been dropped or damaged in any way or anything has fallen on the
apparatus
• The apparatus has been exposed to liquid whether this has entered the apparatus or not
• The power supply cables to the apparatus have been damaged in anyway whatsoever
• The apparatus functions in an abnormal manner or appears to operate differently in any
way whatsoever.

2 3
Index

00. Introduction 6
Specification 8

01. Getting Started 12

Basic Functions 12
UI Combinations 16
Screen Map 20

02. Connections 22

03. Synthesis Engine 24

Oscillators 26
Algorithms 27
Filter 30
Envelopes 32
LFOs 34
Arpeggiator 36
Sequencer 37
FX 38
Modulation 46
Keyboard/Voice 48
Joystick + Audio Input 52
Audio Output + Gain 54
Settings 55
56
04. MIDI
MIDI Implementation Chart 62
MPE 66
Polychain 68
70
05. Update
72
06. MODALapp
Getting Started 74
Main Editor 76
Preset Manager + Modulation Tab 77
Sequencer Tab 78
FX, Keyboard + Settings 80

Warranty Information 82

4 5
00
Modal COBALT8 is an eight voice polyphonic extended virtual-analogue synthesiser.

It features two independent oscillator groups, each containing 40 different algorithms. There
is a Mix control between the oscillator groups and an extended Oscillator Drift control for

Introduction creating huge super-sounds.

The available algorithms include a variety of complex analogue synthesis techniques, built
in cross-modulation (SYNC, RM, and many more), PWM, smooth Morphing between VA
waves, bit crushing and filtered noise. Each algorithm has carefully curated controls that make
complex synthesis simple with just two parameters.

There is a massive arsenal of inspiring morphable and static filters as well as three dedicated
flexible envelope generators for AMP, MOD and FILTER that can be accessed independently or
all three simultaneously on board.

COBALT8 also boasts a hugely powerful “Mod Matrix” with eight assignable slots and four
additional fixed routes, 12 mod sources and 55 destinations.

The 4-axis joystick can be assigned to a huge range of modulation destinations and can be
‘locked’ in place when desired.

There are three LFO’s with tempo sync (two poly, one global).

COBALT8 has three incredibly powerful independent and user-configurable stereo FX engines
for 26 Effects algorithms, incl. Drive, Chorus, Phaser, Flanger, Tremolo, LoFi, Rotary, Stereo
Delay, Ping-Pong Delay, X-Over Delay and Reverb.

The hardware has been manufactured with high-quality components: a powder coated black
steel case, anodised aluminium top panel, endless encoders and a super bright white on black
OLED screen.

Among the many connections, Modal COBALT8 features a USB port to connect your synth
to the MODALapp user interface on a computer tablet or phone. This can be used for preset
design and management as well as updating the firmware on your COBALT8 (please see
‘Updates’ section).

6 7
Specification Specification

Polyphony Sequencer and Arpeggiator

• True 8 voice polyphonic with option to polychain any two COBALT synthesisers for 16 • Polyphonic Real-time and Step sequencer with 512 notes and four recordable/editable
voice polyphony. parameter animations (Delay FX, LFO’s, sequencer and arpeggiator can be either clocked
internally or externally)
MPE • Step Sequencer holds up to 64 steps, 8 notes per step, 4 lanes of Parameter-Lock style
animation, Step Input mode, multiple playback modes including gate modes and rest
• Supports MPE-compatible MIDI controllers, allowing you to apply polyphonic control and function
expression to individual notes • Built-In sophisticated programmable arpeggiator of 32 steps with rest capability and
random up to 2048 steps before repeating
Oscillators
FX
• 2 independent oscillator groups, each with selectable algorithms, self-contained oscillator
cross-modulation and control • Three incredibly powerful independent and user-configurable stereo FX engines for 26
• 40 algorithms including a variety of complex analogue synthesis techniques, built in cross- Effects algorithms, incl. Drive, Chorus, Phaser, Flanger, Tremolo, LoFi, Rotary, Stereo Delay,
modulation (SYNC, RM, and many more), PWM, smooth Morphing between VA waves, Ping-Pong Delay, X-Over Delay and Reverb.
bit crushing and filtered noise
• Each algorithm has carefully curated controls that make complex synthesis simple with User Memory
just two parameters
• Extended Oscillator Drift and Voice Width controls that help to create massive stereo • 500 patch memories, all fully editable and ships with 300 factory programs
soundscapes • 100 sequencer presets that can be linked to any patch for quickly loading arrangements
• Vintage Parameter and Oscillator Free Run to emulate the behaviours of vintage analogue • 100 FX presets
synths • 8 Quick Recall slots accessible from the panel for quickly loading your favourite patches

Filter Controls and Performance

• 31 resonant Filter types including morphable and static filters with drive • Premium FATAR 37-key Keyboard with velocity and channel aftertouch
• Cutoff Scaling with three distinctive modes • 29 endless encoders, 24 buttons
• 4-axis joystick that can be assigned to a huge range of modulation destinations and
Modulation virtually ‘locked’ when desired
• Multiple keyboard modes, Mono, Poly, Unison 2, unison 4, unison 8, Stack 2 and Stack 4
• 3 dedicated envelope generators for AMP, MOD and FILTER that can be accessed
independently or all three simultaneously including negative (reverse) versions and • Glide/Portamento with both legato and staccato modes
multiple envelope curve options • Chord Invert control to easily create chord inversions and variations
• 3 assignable LFO’s, two polyphonic, one global
• 8 assignable modulation slots and 4 additional fixed modulation routings for common
assignments with 12 modulation sources and 55 modulation destinations

8 9
Specification

Inputs and Outputs

• 6.35 mm / 1/4” TS dual-mono line outputs

• 6.35 mm / 1/4” TRS headphone output
• 3.5 mm / 1/8” TRS stereo audio input
• MIDI DIN In and Out
• 3.5 mm / 1/8” TS Analogue clock sync In and Out
• Class compliant MIDI over USB B connection
• 6.35 mm / 1/4” TRS expression pedal input
• 6.35 mm / 1/4” TS sustain pedal input

Enclosure and Display

• Road-ready steel and aluminium enclosure with economical stained bamboo end cheeks
• 1.54-inch large OLED display for instant visual feedback at all times of playing/editing

Power

• Power: DC-9.0V – 1.5A centre-positive

Editor Software

• Free MODALapp software editor available for macOS, Windows, iOS and Android
• MODALapp can also be run within your Digital Audio Workstation (DAW), with VST3 and
AU versions available

Dimensions (L x W x H)

• 555 x 300 x 100 mm / 21.9” x 11.8” x 4”

Weight

• 5.6 kg / 12.4 lbs

10 11
01
Basic Functions

Getting Started Powering on

Connect the power lead to your COBALT8 then connect the outputs of the COBALT8 to your
mixer, or if you prefer, connect your headphones. Optionally connect a USB cable from your
computer or tablet device to the COBALT8 for MODALapp communication.

Then power on.

You will see a loading animation on the screen. When the synth has loaded it will change to
show the main patch page.

Screen Control

The Modal COBALT8 interface is designed to be extremely intuitive and easy to use, so that
all the most important parameters are easily accessible and tweakable directly from the top
panel, however, all functions are also accessible and tweakable on-screen using the two
detented encoders.

These two switched-encoders are located either side of the screen are used for screen
navigation and control and can be clicked to either switch mode or trigger / modify the
selected function:

• Page/Param - When this encoder is in ‘Page’ mode (top row of on-screen text) it cycles
through the parameter pages / groups (e.g. Osc1, Osc2, Filter); when it’s in ‘Param’ mode
(bottom row of on-screen text) it cycles through the parameters on that page / group.
Use the switch by clicking the encoder to toggle between the two modes, where the
mode is displayed on the screen with a line at top for ‘Page’ mode and at the bottom for
‘Param’ mode.

• Preset/Edit (/Bank) - This encoder/switch is used to adjust the currently selected value
or ‘trigger’ the currently displayed parameter. When the panel is in ‘Shift’ mode the
‘Load Patch’ encoder is used to select the patch bank number, jumping up or down in
increments of 100.

12 13
Basic Functions Basic Functions

Secondary functions Randomise Preset

COBALT8 is a comprehensive and fully featured synthesiser. Therefore there are a number of Either when in ’Shift’ mode or while momentarily holding ‘Shift’ press and hold the ‘Rand’
user interface combinations that are required to access some of the deeper functions of the button, a confirmation message will appear on-screen however the preset will not be
synth. overwritten until saved. Randomise is only available for patches.

The top panel UI has 4 buttons that can access secondary functions. These are the ‘Shift’, Save Preset
‘Patch’, ‘Velo’ & ‘Arp’ buttons.
First press the ’Save’ button to enter the ‘full’ save procedure (setting preset slot and/or name
To access the functions labelled in light blue text you may either press ‘Shift’ to latch shift - see below), or hold the ‘Save’ button to perform a ‘quick’ save (saving preset directly into
mode or use it momentarily by holding ‘Shift’ and turning an encoder or pressing a button. current slot with current name).
Once let go the panel will return automatically to its regular non-Shift state.
Once you are in the ‘full’ save procedure, presets are saved in the following way:
To access the functions on the panel labelled in light grey text (3 buttons bottom left, 3
buttons and 2 encoders bottom right), hold the button in that section that has a light grey Slot Selection
ring (‘Velo’ button or ‘Arp’ button) and press the relevant button. NOTE: These combinations
are momentary, not latch-able. Use the ‘Preset/Edit’ encoder to select the preset bank/number to save into, and press the
‘Edit’ switch to select it.
The ‘Patch/Seq’ button is primarily used to switch the screen to either the ‘Load Patch’ or
‘Load Seq’ param for loading patches or sequences, entering the panel into either ‘Patch’ Naming
mode or ‘Seq’ mode. When in ‘Patch’ mode the ‘Save’ and ‘Init’ buttons are used for patch
preset management, however when in ‘Seq’ mode the ‘Save’ and ‘Init’ buttons are used for Use the ‘Page/Param’ encoder to select the character position, and use the ‘Edit’ encoder
sequence preset management. When the white LED above this button is lit, it signifies that the to select the character. Press the ‘Preset/Edit’ switch to finish editing the name. There are a
panel is in ‘Seq’ mode. number of panel shortcuts here:

When held the ‘Patch/Seq’ button can also be used to select the Filter Type by turning the • Press ‘Oct-‘ to jump to lowercase characters
‘Cutoff’ encoder, to select the ‘Arp Gate’ length by turning the ‘Arp’ encoder or, to dial in • Press ‘Oct+’ to jump to uppercase characters
the amount of dynamics processing being applied by the ‘Patch Gain’ function by turning the
• Press ‘Transpose’ to jump to numbers
‘Volume’ encoder, and to select the Chord Inversion type by turning the ‘Drift’ encoder.
• Press ‘Chord’ to jump to symbols
The ‘Init / Rand’ button/functions respond to a button hold. • Press the ‘Page/Param’ switch to add a space (increment all above characters)
• Press ‘Init’ to delete the current character (decrement all above characters)
Navigating and Loading Preset
• Hold ‘Init’ to delete the entire name
To navigate through and load patches first press the ‘Patch/Seq’ button to return to the Patch
page and use the ‘Preset/Edit’ encoder to scroll through presets. Click this encoder (if Preset Confirming
Auto-Load is not enabled) on the desired preset to load it. An asterisk will appear on next to
the current preset name to indicate unsaved edits. Press the ‘Preset/Edit’ switch to confirm the settings and save the preset.

Init Preset At any point during the save procedure hold the ‘Page/Param’ switch to move back a step.

Press and hold the ‘Init’ button, a confirmation message will appear on-screen however the To exit/quit the procedure without saving the preset, press the ‘Patch/Seq’ button.
preset will not be overwritten until saved.

14 15
UI Combinations UI Combinations

Quick Recalls Arp

COBALT8 has 8 Quick Recall slots for quickly loading presets. Quick Recalls are controlled • Hold the ‘Arp’ button and press keys on the internal or an external keyboard to add
using the following button combos: pattern notes or press the ‘Rest’ button to add a rest to the pattern
• Hold the ‘Patch’ button and turn the ‘Division’ encoder to control Arp Gate
• Hold ‘Patch’ + hold one of the eight buttons on bottom left of the panel to assign the
currently loaded patch to a QR slot
Keyboard/Voice
• Hold ‘Patch’ + press one of the eight buttons on bottom left of the panel to load the
patch in the QR slot • Press ‘Unison’ repeatedly to cycle through the different unison modes; press ‘Stack’
repeatedly to cycle through the different stack modes
LFO • Press ‘Chord’ whilst holding a chord on the internal or an external keyboard to set the
chord mode chord.
• Turn the ‘Rate’ encoders into the negative range to access synced rates
• Hold ‘Transpose’ and press a key on the internal keyboard to transpose all notes, where
• To access LFO3 parameters enter ‘Shift’ mode and press the LFO2/LFO3 button the central C key is the root note. Press ’Transpose’ with no keyboard interaction to reset
the transpose value back to 0.
Filter • Hold the ‘Sustain’ button for one second when turning on Sustain to enable Sustain
‘Latch Mode’
• Hold the ‘Patch’ button and turn the ‘Cutoff’ encoder to control the Filter Type parameter
• Hold the ‘Patch’ button and turn the ‘Drift’ encoder to control the Chord Invert
• Hold the ‘Patch’ button and turn the ‘Reso’ encoder to control the Cutoff Scaling parameter.
parameter.
• Hold the ‘Patch’ button and turn the ‘Mix’ encoder to control the Vintage parameter.

Envelopes
Modulation
• Hold either the FILT-EG or AMP-EG button for one second and then turn the ADSR
• To assign a Mod Slot either hold (momentary) or latch the desired Mod source button -
encoders to adjust all envelopes simultaneously
then set a depth by turning desired modulation destination parameter encoder
• Press the ‘MEG’ button when MEG is already selected to latch MEG assign
• When latched in a Mod Source assign mode pressing the flashing Mod Source button
again will exit assign mode
Sequencer
• Mod source button + ‘Depth’ encoder - set global depth for that mod source
• Hold the ‘Mute’ button to clear the sequencer notes • Press ModSlot repeatedly to cycle through and view all mod slot settings on the screen
• Hold the Anim1 / Anim2 / Anim3 / Anim4 buttons to clear an animation lane • When the screen is displaying a mod slot ‘Depth’ parameter (most easily accessed via
assigning modulation using the panel or via the ModSlot button), hold the ‘Edit’ switch to
• When the screen is displaying the ‘Linked Sequence’ parameter, hold the ‘Edit’ switch to
clear the mod slot assignment.
set the value to be the currently loaded sequence.
• To assign a mod source to the global frequency destination, use either of the fine tune
• Hold the ‘Patch’ button and press the ‘Record’ button to enter the Step Sequencer ‘Edit’
controls. ‘Tune1’ will assign to Osc1 tune, ‘Tune2’ will assign to Osc2 tune.
Mode, if the currently loaded sequence is in ‘Step’ mode

16 17
UI Combinations

FX

• Press FX1 / FX2 / FX3 button repeatedly to change the FX type of the slot
• Hold FX1 / FX2 / FX3 button to reset the FX type of the slot to ‘None’
• Turn the ‘B’ encoder into the negative range for the slot with a Delay FX assigned to
access synced delay times
• Press FX1 + FX2 + FX3 to jump to the ‘FX Preset Load’ parameter

Global Settings

• When the screen is displaying the ‘Reset’ option, press the ‘Edit’ switch and follow the
confirm instructions to reset all global settings to the factory default settings. Please note
that this will also reset the Main Volume and Tempo parameter values but your presets
will be unaffected
• Hold the ‘Patch’ button and turn the ‘Volume’ encoder to control the Patch Gain
parameter.

Screen Parameter List

• If a screen parameter is crossed out this means that it is ‘inactive’ (and can’t be controlled)
due to the value or state of other parameters or settings.
• If a screen parameter value is underlined to indicate the currently selected value, you will
need to use the Edit encoder switch to apply newly selected values.

18 19
Screen Map Screen Map

Patch Preset Filter LFO2 Mod Slot 5 FX Preset Arpeggiator Audio Settings - Sequencer
Load Patch Cutoff Shape Status Load FX Status Main Volume Metronome
Save Patch Reso Rate Source Save FX Division Patch Gain Pre-Roll
Init Patch Morph Depth Destination Direction Headphone Level Quantise
Randomise Patch Type Mode Depth FX (General) Octave Gain Boost Transport
Linked Sequence Cutoff Scaling Sync Clear Level Swing Audio In Volume
Assign Gate Audio In -> FX Settings - General
Keyboard / Voice Filter EG Mod Slot 6 FX-1 Clock Source
Voice Mode Amount / Depth LFO3 Status Type Sequence Preset Settings - MIDI Global Tune
Glide Attack Shape Source A Load Sequence Channel Polychain Master
Octave Decay Rate Destination B Save Sequence Omni Preset Auto-Load
Transpose Sustain Depth Depth C Init Sequence Pitchbend Range Reset Settings
Chord Latch Release Mode Clear D MPE Mode Firmware Version
Vintage Type Sync E Sequencer MPE Master Channel
Voice Width Assign Mod Slot 7 F Play MPE Num Channels
Chord Invert Amp EG Status Delay Mode Record MPE Pitchbend Range
Sustain Amount / Depth Mod Slot 1 Source Delay Sync Mode DIN In Filters
Velo Assign Attack Status Destination Swap Length DIN Out Filters
Velo Depth Decay Source Depth Step Length DIN Thru
AftT Assign Sustain Destination Clear FX-2 Num Steps USB Thru
AftT Depth Release Depth Type Step Mode Arp / Seq Out
Note Assign Type Clear Mod Slot 8 A Step Overdub MIDI-in Oct Offset
Note Depth Status B Note Mute MIDI-in Monitor
Expr Assign Mod EG Mod Slot 2 Source C Note Clear
Expr Depth Amount / Depth Status Destination D Anim1 Status Settings - UI
Attack Source Depth E Anim1 Param Screen Brightness
Osc1 Decay Destination Clear F Anim1 Clear Screen Switch Mode
Algorithm Sustain Depth Delay Mode Anim2 Status Screensaver Idle Time
Param A Release Clear Mod (General) Delay Sync Anim2 Param LEDs Brightness
Param B Type Note -> Cutoff Swap Anim2 Clear Keyboard Local
Tune Assign Mod Slot 3 Y+ -> LFO1 Depth Anim3 Status Velocity Curve
Fine Status AftT -> Cutoff FX-3 Anim3 Param Aftertouch Curve
LFO1 Source Velo -> AEG Amount Type Anim3 Clear Modwheel Out
Osc2 Shape Destination A Anim4 Status Pitchbend Out
Algorithm Rate Depth Joystick B Anim4 Param X+ Calibration
Param A Depth Clear XYLock C Anim4 Clear X- Calibration
Param B Mode Pitch Bend Status D Loop Y+ Calibration
Tune Sync Mod Slot 4 X+ Assign E Hold Y- Calibration
Fine Assign Status X+ Depth F Centre Calibration
Source X- Assign Delay Mode Clock Expr Pedal - Type
Osc (General) Destination X- Depth Delay Sync Tempo
Mix Depth Y+ Assign Swap
Drift Clear Y+ Depth
Free Run Y- Assign
Y- Depth
20 21
02
Connections
Expression Pedal over standard 1/4”
stereo/TRS jack from an external
expression source.
MIDI (In, Out)
MIDI In / Out on MIDI 5-pin DIN
USB MIDI
COBALT8 is a class compliant USB MIDI
COBALT8 works best with expression pedals that use cable. These outputs can be used device and connects to a USB host
the TRS polarity and have a resistance of 10k or above. to communicate with any other via USB B Connection for MODALapp
However COBALT8 has a software configuration option
for providing basic compatibility with RTS polarity pedals MIDI devices. The MIDI Out can be communication, MIDI input and MIDI
as well as for improving the compatibility with different set to Thru using MODALapp or output. Simply connect COBALT8 to a
resistances. If your expression pedal has a polarity switch
we recommend setting it to the ‘TRS’ polarity (the default MODALplugin (See the MIDI section) USB socket, such as on your computer
setting on most pedals). For setting maximum compatibility or tablet with a standard USB cable and
with your expression pedal’s polarity and resistance value,
find ‘COBALT8’ listed as a MIDI port on
Audio In please see the ‘Settings - Pedal Type’ section. If you are
unable to configure COBALT8 to work adequately with your computer or tablet.
your expression pedal, you may need to use a TRS Polarity
Adapter. Please note that expression pedals with the TS
Audio Input on 1/8” stereo/TRS jack. polarity will not work with COBALT8.

Clock Sync (In, Out)

Line Out Clock Sync In / Out on 1/8” mono/TS
jack. Simply plug into your clockable
Headphones Line level stereo outputs on 1/4” TS Sustain Pedal over standard 1/4” mono/
gear as desired. (See the Sync section)
dual-mono jacks. The left jack only will TS from an external sustain pedal.
Headphone output on 1/4” stereo/TRS break the stereo circuit and collapse
jack. The volume can be adjusted using the signal to mono. These outputs can Note: COBALT8 supports both types of sustain pedal
polarities. “Positive / Normally Open” pedals can be
the VOLUME knob or the dedicated be connected to any line level input connected / disconnected whilst COBALT8 is powered on,
Headphone Level control on the screen. for monitoring and recording. The however “Negative / Normally Closed” pedals must be
line output is higher quality than the connected before powering on the device and disconnected
after powering off the device in order to work correctly.
Power
The headphone output will match the headphone output, so always use it If your sustain pedal has a polarity switch we recommend
setting it to the “Positive” polarity. If you are unsure of your
audio output so it can be either stereo when recording or performing. The pedal’s polarity type, it is recommended to only connect /
Power switch for COBALT8. Power via
or mono depending on the current Line out level can be adjusted using the disconnected the pedal whilst the device is powered off. DC-9.0V - 1.5A center-positive PSU
audio out configuration. ‘Volume’ knob. (supplied)

22 23
03
Synthesis engine

24 25
Oscillators Algorithms

COBALT8 features two independent oscillator groups, each containing 34 different algorithms The available algorithms on COBALT8 include a variety of complex analogue synthesis
with a Mix control between the oscillator groups. techniques, built in cross-modulation (SYNC, RM, and many more), PWM, smooth Morphing
between VA waves, bit crushing and filtered noise. Each algorithm has carefully curated
controls that make complex synthesis simple with just two parameters.
• Algorithm1: This encoder allows you to select which algorithm to use for Oscillator
Group 1.
• VA Sweep: Sweep through sine, triangle, saw, square, pulse (with pulse width) (A),
• A1: This encoder allows you to control the Param A for the selected algorithm on
ability to detune the oscillators (or snap to musical intervals) using spread (B)
Oscillator Group 1.
• VA Crushed: Sweep through sine, triangle and saw shapes (A) with real-time control over
• B1: This encoder allows you to control the Param B for the selected algorithm on
bit crushing (B)
Oscillator Group 1.
• Spread Saw: Spread mode with increased oscillator count, ability to blend between the
• Tune1: Holding the ‘Shift’ button (or when latched in shift mode) and turning this
fundamental and detuned oscillators (A) and more comprehensive spread (B) options (e.g
encoder allows us to control the coarse tuning of Wave1 (Tune) at desirable intervals +/- 2
oct up + detuned)
octaves.
• Spread Square: Spread mode with increased oscillator count, ability to blend between
• Fine1: Holding the ‘Shift’ button (or when latched in shift mode) and turning this
the fundamental and detuned oscillators (A) and more comprehensive spread (B) options
encoder allows us to control the fine tuning of Wave1 (Fine) +/- 100 cents.
(e.g oct up + detuned)
• Algorithm2: This encoder allows you to select which algorithm to use for Oscillator
• Spread Triangle: Spread mode with increased oscillator count, ability to blend between
Group 2.
the fundamental and detuned oscillators (A) and more comprehensive spread (B)options
• A2: This encoder allows you to control the Param A for the selected algorithm on (e.g oct up + detuned)
Oscillator Group 2.
• PWM: Classic Pulse Width Modulation with width control (A) and ability to detune the
• B2: This encoder allows you to control the Param B for the selected algorithm on oscillators using spread (B)
Oscillator Group 2.
• PWM Dual: PWM mode where as the width control (A) changes, the pulse width
• Tune2: Holding the ‘Shift’ button (or when latched in shift mode) and turning this increases in the first cycle of the wave and decreases in the second cycle. Oscillators can
encoder allows us to control the coarse tuning of Wave2 (Tune) at desirable intervals +/- 2 be detuned using the spread (B) control
octaves.
• PWM Triangle / Square: Alternating triangle and square waves with control over the
• Fine2: Holding the ‘Shift’ button (or when latched in shift mode) and turning this width of the triangle portion (A) and an asymmetry control (B) that allows every second
encoder allows us to control the fine tuning of Wave 2 (Fine) +/- 100 cents. cycle to have a different triangle width (inverse) to the first
• Glide: Holding the ‘Shift’ button (or when latched in shift mode) and turning this • PWM Saw Eraser: Wave with both a saw and PWM portion, with control over the ratio
encoder controls the speed with which the oscillators change their pitch, ‘sliding’ from between the two portions (A) and the width of the PWM portion (B) relative to parameter
one note to the next one pressed. Positive values control the amount of Auto Glide and A
negative values control the amount of Legato Glide and will only glide if another note is
• PWM Triangle Pinch: Triangle wave with pulse width modulation (A) and an asymmetry
already held.
control (B) which allows every second cycle of the wave to have a different width to the
• Mix: This encoder allows you to balance the volume between each oscillator group. All first (can be wider or narrower)
the way to the left you will hear only Algorithm 1, All the way to the right you will hear
• Hard Sync Saw: Classic hard sync with un-quantised ratio (A) that can be blended with a
Algorithm 2. In the centre you will hear a balanced blend of both waves.
sub oscillator (B) one octave below the fundamental
• Drift: This encoder controls the oscillator drift amount. This is the amount of slop or
• Hard Sync Square: Classic hard sync with un-quantised ratio (A) that can be blended
random detuning of each oscillators phase and tune.
with a sub oscillator (B) one octave below the fundamental
• Free Run: This parameter emulates the behaviour of analogue oscillators by allowing
• Hard Sync Triangle: Classic hard sync with un-quantised ratio (A) that can be blended
them to run freely
with a sub oscillator (B) one octave below the fundamental
26 27
Algorithms Algorithms

• Fractal Saw: Complex sync with un-quantised control over ratio (A) and and an • Ring Mod Triangle: Ring mod applied to two triangle waves, with quantised ratio
asymmetry control (B) that allows every second cycle of the wave to have a different sync control (A) that snaps through a series of useful ratios, and a fine control (B), which cross-
ratio to the first fades between these ratios allowing precise control across the whole range
• Fractal Square: Complex sync with un-quantised control over ratio (A) and and an • Ring Mod Triangle / Square: Ring mod applied to a triangle and a square wave, with
asymmetry control (B) that allows every second cycle of the wave to have a different sync quantised ratio control (A) that snaps through a series of useful ratios, and a fine control
ratio to the first (B), which cross-fades between these ratios allowing precise control across the whole
range
• Fractal Triangle: Complex sync with un-quantised control over ratio (A) and and an
asymmetry control (B) that allows every second cycle of the wave to have a different sync • Ring Mod Saw / Square: Ring mod applied to a saw and square wave, with quantised
ratio to the first ratio control (A) that snaps through a series of useful ratios, and a fine control (B), which
cross-fades between these ratios allowing precise control across the whole range
• Reverse Saw: Periodically reverses the direction of the waveform and changes the
playback rate (A), asymmetry control (B) changes the period length (I.e the switch point • Ring Mod Saw / Triangle: Ring mod applied to a saw and triangle wave, with quantised
within a cycle) ratio control (A) that snaps through a series of useful ratios, and a fine control (B), which
cross-fades between these ratios allowing precise control across the whole range
• Reverse Square: Periodically reverses the direction of the waveform and changes the
playback rate (A), asymmetry control (B) changes the period length (I.e the switch point • Chaos Saw: Un-quantised ring modulation (A) combined with randomisation (B)
within a cycle)
• Chaos Square: Un-quantised ring modulation (A) combined with randomisation (B)
• Reverse Triangle: Periodically reverses the direction of the waveform and changes the
• Chaos Triangle: Un-quantised ring modulation (A) combined with randomisation (B)
playback rate (A), asymmetry control (B) changes the period length (I.e the switch point
within a cycle) • Fold Triangle: Triangle wave-folding (A) with DC offset (B)
• Window Amp Sync: Applies amplitude modulation to a sine wave using a hard synced • Filtered Noise: Noise generator combined with a morphable filter with full control over
waveform. Features an un-quantised sync ratio control (A) and the ability to morph Cutoff (A) and Morph (B)
between multiple window shapes (B)
• FM Saw:Square: Frequency Modulation using a Sawtooth as the carrier and a Square as
• Metal Saw: Creates ring modulation/amplitude modulation like effects by syncing a the modulator with full control over FM Depth (A) and Modulator Frequency Ratio (B)
waveform to two separate signals, one at the base rate and one at the sync rate. Features
• FM Square:Square: Frequency Modulation using a Square as both the carrier and
un-quantised control over sync rate (A) and ability to balance between the base wave and
modulator with full control over FM Depth (A) and Modulator Frequency Ratio (B)
the modulated signal (B)
• FM Tri:Square: Frequency Modulation using a Triangle as the carrier and a Square as the
• Metal Square: Creates ring modulation/amplitude modulation like effects by syncing a
modulator with full control over FM Depth (A) and Modulator Frequency Ratio (B)
waveform to two separate signals, one at the base rate and one at the sync rate. Features
un-quantised control over sync rate (A) and ability to balance between the base wave and • Noise AM Saw: Sawtooth Wave amplitude modulated by a filtered noise source with full
the modulated signal (B) control over AM Depth (A) and Noise filter cutoff (B)
• Metal Triangle: Creates ring modulation/amplitude modulation like effects by syncing a • Noise AM Square: Square Wave amplitude modulated by a filtered noise source with full
waveform to two separate signals, one at the base rate and one at the sync rate. Features control over AM Depth (A) and Noise filter cutoff (B)
un-quantised control over sync rate (A) and ability to balance between the base wave and
the modulated signal (B) • Noise AM Tri: Triangle Wave amplitude modulated by a filtered noise source with full
control over AM Depth (A) and Noise filter cutoff (B)
• Ring Mod Saw: Ring mod applied to two saw waves, with quantised ratio control (A)
that snaps through a series of useful ratios, and a fine control (B), which cross-fades Note: The oscillator spread controls function as follows:
between these ratios allowing precise control across the whole range
• 0 - all oscillators are perfectly in tune
• Ring Mod Square: Ring mod applied to two square waves, with quantised ratio control
(A) that snaps through a series of useful ratios, and a fine control (B), which cross-fades • 1 - 63 - increasing oscillator detune
between these ratios allowing precise control across the whole range • 64 - 127 - oscillators detuned in musical intervals

28 29
Filter Filter

COBALT8 has a wide selection of 31 different filter types to tastefully tailor the sonic content Static Types:
of the algorithms mix.
• 4 pole Lowpass Ladder (with drive)
• Cutoff: This parameter controls the filter cutoff frequency. This affects the cutoff
• 3 pole Lowpass Ladder (with drive)
frequency of the filter, from 0Hz up to 22kHz.
• 2 pole Lowpass Ladder (with drive)
• Reso: This parameter controls the amount of resonance of the filter.
• 1 pole Lowpass Ladder (with drive)
• Morph: This encoder changes the frequency response of the filter. See below for how
this control morphs each of the different filter types. In any static filter types the ‘Morph’ • 4 pole Highpass Ladder (with drive)
encoder is used to control filter drive.
• 3 pole Highpass Ladder (with drive)
• Type: Holding the ‘Patch/Seq’ button and turning the Cutoff encoder selects the current
• 2 pole Highpass Ladder (with drive)
type of the filter. There are 31 filter types in total, including morphable and static filters.
• 1 pole Highpass Ladder (with drive)
• Cutoff Scaling: This Parameter switches the control curve of the Cutoff as well as the
Note > Cutoff behaviour of the filter • 4 pole bandpass Ladder (12dB Lp /12dB Hp) (with drive)
Legacy - The original cutoff control scaling curve and note-to-cutoff tracking behaviour • 2 pole Bandpass Ladder (6dB Lp / 6dB Hp) (with drive)
from firmware prior to version 2.0.
• 3 pole Bandpass Ladder (6dB Lp / 12dB Hp) (with drive)
Relative - A scaling curve that is more balanced and changes the note-to-cutoff tracking
to behave more closely to analogue synths and tracks portamento / glide and pitch bend. • 3 pole Bandpass Ladder (12dB Lp / 6dB Hp) (with drive)
In this mode note-to-cutoff tracks best when the cutoff control is at 0. • 4 pole Bandpass Ladder (6dB Lp / 18dB Hp) (with drive)
Bipolar - The same cutoff control scaling curve as the ‘Relative’ mode, except in this • 4 pole Bandpass Ladder (18dB Lp / 6dB Hp) (with drive)
mode note-to-cutoff tracks best when the cutoff control is at 64.
• Notch Ladder (with drive)

Morphable Types: • Notch Ladder Alt (with drive)

• Lowpass Ladder with Notch (with drive)
Resonant Low Pass - Morphs 4-pole lowpass, through bandpass, to 1-pole lowpass • Lowpass Ladder with Notch Alt (with drive) - notch closes with resonance
The Resonant Low Pass filter type is designed to maximise resonance response. • Lowpass Ladder with Notch and Resonance (with drive)
Balanced Low Pass - Morphs 4-pole lowpass, through bandpass, to 1-pole lowpass • Bandpass Ladder with Notch (with drive) - notch closes with resonance
The Balanced Filter types lose less low end frequencies at high resonance settings, • Bandpass Ladder with Notch and Resonance (with drive)
with the trade off that resonance is reduced when sweeping the cutoff towards lower
frequencies. • Phaser Ladder (with drive)

Balanced High Pass - Morphs 4-pole highpass, through notch, to 1-pole highpass • Highpass Ladder with Notch (with drive) - notch closes with resonance

Balanced Phase - Morph controls the width and depth of the dual notches • Highpass Ladder with Notch and Resonance (with drive)

State Variable BP - Morphs 2-pole lowpass, through bandpass, to high pass • Peaking Filter (with drive)

State Variable Notch - Morphs 2-pole lowpass, through notch, to high pass

30 31
Envelopes Envelopes

COBALT8 provides 3 separate 4-stage Envelope Generators (i.e. envelopes), one for the filter • FILT-EG, AMP-EG, MOD-EG: These buttons selects which envelope generator the above
(FILT-EG), one for the amplifier (AMP-EG) and one for modulations (MOD-EG). With negative controls are representing.
amounts (FILT-EG and MOD-EG) only the attack, decay and sustain levels are inverted, the
Pressing the MOD-EG button again latches the assign mode - you will notice the LED
release phase will still tend to 0.
blinking to indicate you are in assign mode. Press again to exit assign mode.
The envelope generator represented on the encoders can be selected using the 3 dedicated TIP: Holding either the FILT-EG or AMP-EG button and changing the ADSR parameters
buttons to the right of the envelope depth encoder. will alter all three envelopes simultaneously and is a useful shortcut to quickly change all
envelopes at once.
• Attack: This parameter controls the time passing from the moment you press a key (i.e.
‘MIDI Note On’ message) until the sound reaches its maximum value.
• Decay: This parameter controls the time passing for the envelope to drop from its
maximum value to a sustain level (see below).
• Sustain: This parameter controls the level of the sustain phase (i.e. the volume of the
sound while keeping the key pressed for AMP-EG). If there are no modulations active, this
volume keeps constant until you release the key. (The envelope then enters the ‘release’
phase)
• Release: This parameter controls the time passing from the moment you leave a key (i.e.
‘MIDI Note Off’ message) until the sound reaches silence.
• Depth: This controls the envelope depth amount of the selected envelope generator.
This gives bi-polar (FILT-EG and MOD-EG) or uni-polar (AMP-EG) control of the amount of
modulation the envelope has over its destination/s.
• Type: There are 8 envelope types. These types are stored per-patch and each envelope
type is independent so you can have a different type for MEG, FEG and AEG in the same
patch. You can find these settings at the bottom of the AEG, FEG and MEG pages on the
screen.
- Expo - classic exponential curve - suited for most sound types
- Snappy - fast attack and decay time curves - best suited for percussive material
- Soft - smoother attack and release time curves - best suited for pads
- Linear - simple linear ramp for each envelope stage - best suited for modulation
- Expo Long – Expo curve with double the maximum time for each stage of the envelope
- Snappy Long – Snappy curve with double the maximum time for each stage of the
envelope
- Soft Long – Soft curve with double the maximum time for each stage of the envelope
- Linear Long – Linear curve with double the maximum time for each stage of the
envelope
Long variants possess a maximum release time of 10 seconds.

32 33
LFOs Arpeggiator

COBALT8 features three individual low frequency oscillators. LFO1 is global and LFO2 and COBALT8 features an intuitive programmable arpeggiator. The speed of the arpeggiator is
LFO3 are polyphonic. controlled by the current clock which can either be received from the sync in port, external
MIDI or from the internal clock in COBALT8.
All LFO’s can be set to Retrigger, Single and Free mode and have these parameters:
For arpeggiator ‘hold’ functionality please use the Sustain ‘Latch Mode’ as described below.
• LFO1: This button enters and exits assign mode for LFO1
• Arp: The Arp can be enabled / disabled by pressing this button. Holding this and entering
• LFO2/LFO3: This button is used to both toggle between LFO2 / LFO3 (for editing the
notes using the keys or over USB or MIDI connection will input notes to the Arp. Rests
LFOs parameters) as well as for entering and exiting assign mode for LFO2 / LFO3.
can be input by pressing the Arp Rest button while entering notes.
If the edit mode is currently LFO2 (LED off), use this button to enter and exit LFO2 assign
• Division: Turning this encoder allows you to select the clock division of the Arp
mode (LED slow flash) or use ‘Shift’ and this button to toggle to LFO3 edit mode.
• Mode: Holding the ‘Shift’ button and (or when latched in shift mode) turning this
If the edit mode is currently LFO3 (LED constantly on), use ‘Shift’ and this button to enter
encoder allows you to select the octave range and direction of the Arp.
and exit LFO3 assign mode (LED fast flash) or use this button on it’s own to toggle to
LFO2 edit mode. • Swing: Holding the ‘Arp’ button and turning this encoder allows you to dial in swing
to the Arp. This setting is bi-polar allowing us to nudge every other note backward or
Once in an LFO assign mode, simply turning the knob for the parameter that you would
forward in time.
like the LFO to modulate, you will see the LED above the button begin to flash to indicate
you are currently in an assign mode • Arp Gate: Holding the ‘Patch’ button and turning the Arp encoder allows you to set Arp
Gate length.
• Rate: This parameter controls the speed of the LFO.
• Sustain ‘Latch Mode’: Holding ‘Velo’ and holding the ‘Sustain’ button for one second
An LFO in a positive amount is a free rate meaning it will run independently from the
will enable Sustain ‘Latch Mode’ - press and release a note / chord to sustain it, press a
synths tempo / MIDI clock input. In negative amounts it is synced to the synths tempo /
new note / chord to overwrite the existing one. This also provides the classic arpeggiator
MIDI clock input at various subdivisions
‘Hold’ functionality.
• Shape: Holding the ‘Shift’ button and (or when latched in shift mode) turning this
encoder controls the given LFO Shape. The available shapes are Sine, Tri, Sqr, Sawtooth / Note. Programmed patterns in the arpeggiator are temporary and are not saved per patch.
Ramp up, Sawtooth / Ramp down, S+H, Slewed S+H They will remain until reprogrammed or until the unit is power cycled.
• Depth: This parameter controls the depth of the given LFOs modulation.
• Mode: Holding the ‘Shift’ button and (or when latched in shift mode) turning this
encoder selects the Retrigger Mode. The modes are:
Retrigger - In this mode, each new keypress restarts the LFO and it the continues to run -
particularly useful for Unison/Stack sounds.
Free - In this mode the LFO is never reset, so it could be at any phase when a note is
pressed.
Single - In this mode, the LFO will start when a new key is pressed, complete cycle and
stop, but will not retrigger when a new note is triggered and one is already held.

34 35
Sequencer Sequencer

COBALT8 has an extremely powerful sequencer on board, that can be configured in either
• Linked Sequences: This is a screen only parameter that allows you to link a sequence
real-time or step modes. Both modes feature four recordable / editable parameter animation
to a specific patch. This loads this sequence every time its linked patch is loaded. You
lanes, allowing you to add parameter motion to your sequences over time.
can access this easily by pressing the Patch button and using the Page/Param encoder to
scroll all the way to the right. Simply input the desired sequence number for that patch
NOTE: Most screen only sequencer parameters can be found on the Seq page of the screen
or select ‘Off’ for no linked sequence. Like any other patch parameter, the patch must be
menu. To navigate to this, Scroll the Page/Param left screen encoder in Page mode to the Seq
saved in order to retain the linked sequence number.
page. Click the left screen encoder to enter Param mode and scroll through the parameters.
Tip: When selecting a Linked Sequence, hold the Preset/Edit switch to select the current
sequence.
• Play: This button starts and stops the sequencer.
• Record: This button allows you to record enable and disable. See below for record
behaviour in real-time and step modes. Real-time Mode
• Mode: This is a screen only parameter that sets the current sequence to either real-time
The Real-time sequencer boasts a 512-note capacity and will record notes as you have played
(default) or step modes.
them in making this the ideal sketchpad for your musical ideas.
NOTE: switching a sequence from real time to step mode (or vice versa) will initialise the
sequence, as the two modes are not compatible. Once a sequence is saved as a step
• Recording: Pressing record starts the sequencer recording. If the sequencer is not
sequence, it will always load in step mode.
running when this is pressed and pre-roll is disabled, the sequencer will start. By default,
• Mute: This button mutes all notes in the sequence. Hold the ‘Mute’ button to clear all a metronome will play whilst the sequencer is recording.
the sequencer notes in the currently selected sequence.
Up to four parameters can be recorded while recording, one for each animation lane.
• Tempo: Turning this encoder selects the tempo of the internal clock.
Tip: You can enable or disable the metronome in the MODALapp or on-screen on the
• Length: Holding the ‘Shift’ button and (or when latched in shift mode) turning this Settings – Seq page.
encoder allows you to select the length of the selected sequence.
• Length (Shift + Tempo): Allows you to select the length of the selected sequence.
• Quantise: Holding the ‘Arp’ button and turning this encoder allows you to select an
• Quantise (Arp + Tempo): Allows you to select an input quantise value for the
input quantise value for the sequencer.
sequencer. This setting is global and can be found on the screen on the Settings – Seq
• Seq Loop: Allows you to loop certain parts of the sequencer. When the button is first page.
pressed is the loop start point and when it is released becomes the loop end point. When
a loop is active pressing the button again will disable the loop. Holding the Shift button and (or when latched in shift mode) holding the Anim1 / Anim2 /
Anim3 / Anim4 buttons clear their respective animation lanes.
When the sequence is configured in real time mode, the looped portion is quantised to
1/16th of the total sequence length.
The Sequence position LED will always cycle 1 - 16 over the current sequence length. Eg. if
• Seq Hold: Holds the current sequencer step and repeats it, like a beat repeater. When sequencer is set to 4 bars; it will take 4 bars for the sequencer LED to scroll from 1 to 16 (i.e.
the button is released the sequencer carries on from the location it should have been not steps) If sequencer is running, any sequencer length changes will only take affect at the
before the step was repeated so it will still be in time. beginning of a bar.
In real-time mode a ‘step’ is a 16th of the total sequence length, on release, the
sequencer carries on playing from the current position

36 37
Sequencer Sequencer

Step Mode Overdub

The step sequencer is a 64-step, 8 note-per-step sequencer giving you full step-by-step control
• While the sequencer is playing, press Record to allow notes to be overdubbed into the
of your melodies and ideas. It also features a number of Step Modes that add powerful
sequencer.
flexibility to deploy your sequences in a variety of setups and situations. Entering notes into
the step sequencer can be achieved in three ways: • Any animated parameter changed while overdubbing will replace control values on the
current step.
Step Input Mode
• here are two step overdub modes, found on the Seq page of the Screen:
• Replace - Note input will replace notes on a given step when overdubbing.
• Accessed when the sequencer is not playing, but is recording.
• Add - Note input will be added to notes on a given step when overdubbing.
• The first note received will clear all notes in the sequence and reset the number of steps
(great for starting again quickly).
The step sequencer also has the following parameters:
• Sequencer step will progress when no notes are held, you can keep adding notes until all
notes are released.
• Num Steps: Turning the Length encoder on the panel (Shift + Tempo) controls the
• You can also input animation data when in this mode, progressing through the steps by number of steps that are played back without changing any of the step data, so can be
triggering notes or adding rests. used as a performance tool.
• Enter rest steps using the Arp rest button/shortcut. • Step Length: Turning the Quantise encoder on the panel (Arp + Tempo) controls the
length of each step (globally) when the sequencer is running in clock step mode (see
• Exit this mode by toggling record or hitting play.
below).
Step Edit Mode • Step Mode: This is a screen only parameter that controls the way in which the sequencer
steps advance. The modes are:
• Accessed using Patch + Record when the sequencer is NOT recording, exit using the same
combo or pressing Patch (not in Shift mode).
Clock - Step sequencer will follow the same clock as the rest of COBALT, with the clock
• Page mode + left screen encoder allows you to scroll through the notes and animator division set by the Step Length control.
data for each step.
Each step will play until the start of the next step.
• Shift + page mode + left screen encoder allows you to scroll through only the currently
This means you can run the step sequencer and the arp at different clock divisions.
selected page type for each step only (e.g. just notes pages, or, animation).
• Param mode + left screen encoder moves the cursor to change which value is being
edited. Gate - Sequence progresses when a note on is received and no other notes are held.
• Right screen encoder edits the value highlighted by the cursor. Sequencer will play the current step until all notes are released.
• Pressing the right screen encoder triggers/previews the currently displayed step. Only notes from the sequencer are sent to the voices. This means you can play back a
sequence by pressing a single note repeatedly, varying the rhythm.
• Shift + holding the right screen encoder will clear a highlighted note.
You could also play chords and have the sequence progress with each new chord that is
• When the cursor is over a note value, note input (keyboard or MIDI) will set the
played.
highlighted value
Tip: Using the arp with any of the gate modes allows the step sequencer to follow the
• When the cursor is over an animator value, parameter changes (panel or MIDI) will assign
rhythm of the arpeggiator exactly, complete with Swing and Gate Amount.
an animation lane and/or set the highlighted value.

38 39
Sequencer

Gate Thru - The same as ‘Gate’ but all MIDI notes are sent to the voices.
Great for re-harmonising a sequence - record chords into the sequence, then play it back
using a single finger to add a bassline.
Also useful for polyrhythms e.g. programming a 7-step sequence, then playing a 3 note
arpeggio alongside.
Tip: Try gate triggered animation sequences - mute or clear the note lane and play notes
to hear just the animation changes.

Gate Transpose - The same as ‘Gate’ but the sequence is transposed relative to middle C
(note 60 / C4). Pressing note 60 repeatedly will play back the sequence as programmed,
playing note 61 will play the sequence back 1 semitone higher than programmed
Great when used in conjunction with the Arp + Arp octave controls, playing back some
sequence steps a few octaves above or below normal.

Sync Gate - Sequencer timing driven from the sync in port (rising edge). Allows you to
drive the sequencer from external CV sources without affecting timing on the rest of
COBALT.
COBALT will not follow sync timing when this mode is enabled. To use sync as the clock
source for the whole synth, step sequencer will need to be in ‘Clock’ mode.

Sequencer LED’s will cycle in groups of 16 steps, with the first four blue sequencer LEDs
lighting to signify which group of 16 the sequencer is currently playing.

40 41
FX FX

• Delay Mode: The delay mode control unlocks several different variations of delay. This
COBALT8 features 3 incredibly powerful independent and user configurable stereo FX engines.
setting can be found on-screen in the relevant FX slot page that any delay is loaded into.
These 3 slots can be rearranged in any order in series. 1>2>3. Any effect can go in any slot,
The modes are:
but you may only use 1 type of each effect per preset plus any effect with “+” in the name
will take up two slots. - Colour: A classic colouring delay that saturates and smears delay tails slightly.
- Clean: A crystal clear delay with no smear to the feedback tails. Offers the same time
• FX Level: This encoder allows us to control the FX level amount within this patch.This scaling as Standard.
parameter affects the Dry/Wet mix of the of the FX engine’s audio output with the pre-FX
- Long: Our pristine Clean delay with up to 4x Colour or Clean delay times.
signal. When set to minimum, only the dry signal will be heard. When set to maximum,
only the FX engine’s signal will be heard.
• A: This encoder allows us to control the first parameter of the selected effect. FX Presets
• B: This encoder allows us to control the second parameter of the selected effect.
COBALT8 comes loaded with 100 factory FX presets for you to instantly switch up your sound.
Tip: Turn the ‘FX1,2 and 3 B’ encoder into the negative range to access synced delay FX presets range from simple single-FX presets to complex multi-FX presets.
times with delay type FX.
To easily navigate to the FX preset page simply press all thee FX slot buttons (FX1, FX2, FX3)
• C: This encoder allows us to control the third parameter of the selected effect.
at the same time. Loading an FX preset will apply preset FX settings to the currently loaded
• D: Holding the ‘Shift’ button and (or when latched in shift mode) this encoder allows us patch, but you need to save the patch to save the new FX settings to the patch.
to control the fourth parameter of the selected effect.
FX Preset saving can be done on-screen once you have navigated to the FX preset pages.
• E: Holding the ‘Shift’ button and (or when latched in shift mode) this encoder allows us
Saving here will save the FX settings from the currently loaded patch into the selected FX
to control the fifth parameter of the selected effect.
preset slot.
• F: Holding the ‘Shift’ button and (or when latched in shift mode) this encoder allows us
to control the sixth parameter of the selected effect. + FX Types
• FX1: This button allows to select 1st FX slot for control with encoders A-F with a single Some FX types due to DSP limitations will take up two FX slots instead of one. These are
click. With multiple clicks it will cycle through the effect type used in that slot. indicated by using “+” in the FX name.
• FX2: This button allows to select 2nd FX slot for control with encoders A-F with a single
click. With multiple clicks it will cycle through the effect type used in that slot.
• FX3: This button allows to select 3rd FX slot for control with encoders A-F with a single
click. With multiple clicks it will cycle through the effect type used in that slot.

Note: You can hold FX1, 2 or 3 when cycling through FX types to clear that slot.

You can press FX1 + FX2 + FX3 to jump to the ‘FX Preset Load’ page to save or load FX
presets.

42 43
FX List

FX A B C D E F

Chorus Dry:Wet Mix Mod Depth Mod Rate Time Feedback Phase
Chorus V2 Dry:Wet Mix Mod Depth Mod Rate Feedback - -
Phaser Dry:Wet Mix Mod Depth Mod Rate Frequency Feedback Phase
Phaser V2 Dry:Wet Mix Mod Depth Mod Rate Frequency Resonance Pole Count
Flanger (Pos) Dry:Wet Mix Mod Depth Mod Rate Frequency Feedback Phase
Flanger (Neg) Dry:Wet Mix Mod Depth Mod Rate Frequency Feedback Phase
Unisoniser Dry:Wet Mix Detune Stack Count Width Reduce - -
Tremolo Dry:Wet Mix Phase Rate Shape - -
LoFi Redux Amount SR Redux Bitcrush BC Amount Noise -
Rotary Dry:Wet Mix LFO Rate Vibrato Balance Width -
Stereo Delay Dry:Wet Mix Time Feedback HPF LPF -
Ping-Pong Delay Dry:Wet Mix Time Feedback HPF LPF Width Reduce
X-Over Delay Dry:Wet Mix Time Feedback HPF LPF -
Reverb Dry:Wet Mix Time Size Dampening Pre-Delay Modulation
+ Reverb V2 Dry:Wet Mix Time Brightness HPF Modulation Pre-Delay
EQ Low Gain Low Freq Mid Gain High Gain High Freq -
Compressor Dry:Wet Mix Threshold Ratio Attack Release Makeup Gain
Utility Gain Pan Width Bass Mono Low Cut -
Drive-M (Hard) Dry:Wet Mix Drive Makeup Gain - - -
Drive-M (Soft) Dry:Wet Mix Drive Makeup Gain - - -
Drive-M (Rectify) Dry:Wet Mix Drive Makeup Gain - - -
Drive-M (Fold) Dry:Wet Mix Drive Makeup Gain - - -
+ Drive-S (Hard) Dry:Wet Mix Drive Makeup Gain - - -
+ Drive-S (Soft) Dry:Wet Mix Drive Makeup Gain - - -
+ Drive-S (Rectify) Dry:Wet Mix Drive Makeup Gain - - -
+ Drive-S (Fold) Dry:Wet Mix Drive Makeup Gain - - -

NOTE: All of the Drive-M FX are mono - the wet signal of the Drive-M FX will sum the stereo input to a mono output. This means that any stereo elements of the signal that precede a Drive-M FX {e.g.
oscillator width, stereo FX placed in lowered numbered slots) will not retain their stereo width in the wet portion of the signal, however the stereo image of the dry signal will not be affected.

44 45
Modulation Modulation

COBALT8 has a comprehensive Modulation Matrix with 12 Modulation Sources and 55

• Velo: Pressing this button enters and exits the assign mode for velocity.
Modulation destinations. These Mod slots can be used to assign a combination of modulation
sources to destinations, 8 modulation sources can be assigned to a single destination, or • AftT: Pressing this button enters and exits the assign mode for after touch.
any other combination thereof. There are also 4 preassigned slots for common modulation
• Note: Pressing this button enters and exits the assign mode for note / keytracking.
routings. These preassigned modulations are:
• Expr: Pressing this button enters and exits the assign mode for expression pedal.
• Note>Cutoff: Increase or decrease how much key scaling is applied to the cutoff • X+: Holding the ‘Shift’ button and (or when latched in shift mode) pressing this button
frequency. Use the ‘Cutoff Scaling’ parameter to select the behaviour of the modulation enters and exits the assign mode for Joystick X+.
curve.
• X-: Holding the ‘Shift’ button and (or when latched in shift mode) pressing this button
• Y+>LFO1-Depth: Increases LFO1-Depth with Y+ on Joystick, commonly used to set up enters and exits the assign mode for Joystick X-.
vibrato when LFO1 is controlling global pitch.
• Y+: Holding the ‘Shift’ button and (or when latched in shift mode) pressing this button
• AftT>Cutoff: Bipolar control to Increase or decrease filter cutoff frequency with enters and exits the assign mode for Joystick Y+.
aftertouch.
• Y-: Holding the ‘Shift’ button and (or when latched in shift mode) pressing this button
• Velo>AEG-Depth: Increases amount of velocity applied to the AEG-Depth. Commonly enters and exits the assign mode for Joystick Y-.
used as one way to increase velocity sensitivity of patches.
• XYLock: Holding ‘Velo’ and pressing this button locks the Joystick in the position it is
TIP: Try Velo>FEG-Depth for a more consistent, organic sounding velocity sensitivity. held allowing you to let go and continue playing. Pressing this button again will unlock
the Joystick.
The Mod Matrix is additive - Modulation values are added or subtracted from the modulated • Sustain: Holding ‘Velo’ and pressing this button enables MIDI sustain. Pressing this
parameter value and limited to the parameter range. If a parameter is at 0, negative button again disables MIDI sustain. Holding this button for one second when turning
modulation values will not be audible until the parameter value is increased. The opposite is on Sustain will enable Sustain ‘Latch Mode’ - press and release a note / chord to sustain
true for parameters at max value. it, press a new note / chord to overwrite the existing one. This also works with the
arpeggiator and provides the classic arpeggiator ‘Hold’ functionality.
All of the modulation depths are bipolar, meaning sources can be inverted using negative
depths. • ModSlot: Pressing this button navigates to the ModSlot page on-screen. Repeatedly
pressing this button cycles through all mod slot settings pages on the screen.
When multiple mod slots are assigned to the same destination, the modulation from all
assigned slots is summed and limited before being applied. Holding any mod source button and turning the ‘Depth’ encoder allows you to set the
global depth for that mod source (pre-assigned mod routings are not affected by the source’s
LFO1, LFO2, LFO3, MOD-EG, Velo, AftT, Note, Expr, X+, X-, Y+, Y- can all be assigned to global depth value). When the screen is displaying a mod slot ‘Depth’ parameter (most easily
destinations from the front panel by holding their buttons on the front panel and turning the accessed via assigning modulation using the panel or via the ModSlot button), hold the ‘Edit’
desired modulation destination encoder in a positive or negative direction. switch to clear the mod slot assignment.

Note. An LED flashing is used to indicate that the panel is in assign mode for the relative To assign a mod source to an osc’s global frequency destination, use either of the fine tune
function to that LED. controls. ‘Tune1’ will assign to Osc1 tune, ‘Tune2’ will assign to Osc2 tune.

ModSlots can be viewed on-screen by using the Velo + ModSlot combination which also gives
access to screen only ModSlot Status control which allows you to activate or deactivate that
slot.

46 47
Modulation Modulation

Valid combinations are listed here, combinations marked “•” are possible and marked ‘X’ are
not possible:
Parameter LFO1 LFO2 LFO3 EG NOTE VELO EXPR AFTT X+ X- Y+ Y-
Parameter LFO1 LFO2 LFO3 EG NOTE VELO EXPR AFTT X+ X- Y+ Y- MEG Amount • • • X • • • • • • • •
Osc1 A • • • • • • • • • • • • Glide • • • X • • • • • • • •
Osc2 A • • • • • • • • • • • • Global Freq • • • • • • • • • • • •
Mix • • • • • • • • • • • • FX Amount • X X X X X • • • • • •
Osc1 B • • • • • • • • • • • • FX-1 A • X X X X X • • • • • •
Osc2 B • • • • • • • • • • • • FX-1 B • X X X X X • • • • • •
Osc1 Freq • • • • • • • • • • • • FX-1 C • X X X X X • • • • • •
Osc2 Freq • • • • • • • • • • • • FX-1 D • X X X X X • • • • • •
LFO1 Rate X X X X X X • • • • • • FX-1 E • X X X X X • • • • • •
LFO2 Rate • X • • • • • • • • • • FX-1 F • X X X X X • • • • • •
LFO3 Rate • • X • • • • • • • • • FX-2 A • X X X X X • • • • • •
LFO1 Shape X X X X X X • • • • • • FX-2 B • X X X X X • • • • • •
LFO2 Shape X X X X • • • • • • • • FX-2 C • X X X X X • • • • • •
LFO3 Shape X X X X • • • • • • • • FX-2 D • X X X X X • • • • • •
LFO1 Depth X X X X X X • • • • • • FX-2 E • X X X X X • • • • • •
LFO2 Depth • X • • • • • • • • • • FX-2 F • X X X X X • • • • • •
LFO3 Depth • • X • • • • • • • • • FX-3 A • X X X X X • • • • • •
Cutoff • • • X • • • • • • • • FX-3 B • X X X X X • • • • • •
Reso • • • • • • • • • • • • FX-3 C • X X X X X • • • • • •
Morpth • • • • • • • • • • • • FX-3 D • X X X X X • • • • • •
FEG Attack • • • X • • • • • • • • FX-3 E • X X X X X • • • • • •
FEG Sustain • • • X • • • • • • • • FX-3 F • X X X X X • • • • • •
FEG Release • • • X • • • • • • • •
FEG Amount • • • X • • • • • • • •
AEG Attack • • • X • • • • • • • •
AEG Decay • • • X • • • • • • • •
AEG Sustain • • • X • • • • • • • •
AEG Release • • • X • • • • • • • •
AEG Amount • • • X • • • • • • • •
MEG Attack • • • X • • • • • • • •
MEG Decay • • • X • • • • • • • •
MEG Sustain • • • X • • • • • • • •
MEG Release • • • X • • • • • • • •

48 49
Keyboard/Voice Keyboard/Voice

• Oct -/+: These buttons control the key range available along the keyboard. • Chord Invert: Holding the ‘Patch’ button and turning the ‘Drift’ encoder controls Chord
invert. Chord invert looks at the notes that are being played across the voices on the
Tip: You can use this while holding notes to access unavailable notes. Particularly handy
synth, then adds octave offsets to these notes depending on the setting:
when used in conjunction with Sustain and Chord mode.
Oct 1 : n - adds 1 octave to the lowest n notes in the chord, inverting the chords in the
• Transpose: Holding this button enters Transpose mode. Here you can directly transpose
traditional way
the pitch of both oscillators using the keyboard. C2 (directly beneath the Transpose
button) is the default position. Keys below this transpose down 1 semitone per key and Oct 2 : n - adds 2 octaves to the lowest n notes in the chord and 1 octave to all other
keys above transpose up 1 semitone per key. notes
Note: Using transpose will not trigger a new note. If you are using low EG settings you Even 1 : n - adds 1 octave to the lowest n even notes in the chord i.e. the 2nd, 4th, 6th
may not notice the change. This can be used to great effect while sequencing the synth and 8th notes
from its Arp or Seq or from external sources.
Odd 1 : n - adds 1 octave to the lowest n Odd notes in the chord i.e. the 1st, 3rd, 5th
Note. Pressing Transpose without entering any key values will reset transposition to 0. and 7th notes
Transpose is a performance feature and as such is not saved per patch. It will remain until
Shuffle 1 - adds an extra octave to each additional note in the chord up to 3 octaves. i.e
it is either reset, turned off or the unit is power cycled.
1 octave added to the 2nd note, 2 octaves to the 3rd note, 3 octaves to the 4th note, 1
• Chord: Pressing this button while holding a chord (input directly from the keys or via octave to the 5th note
incoming MIDI) stores this chord and enables chord mode. This chord can then be
Shuffle n - the same as shuffle 1 but with different orderings of octave offsets
played from a single note trigger until the chord is changed, or chord mode is disabled.
To change a chord, simply turn Chord mode off and repeat the process holding your Note - Chord invert looks at the state of the synth voices rather than MIDI note input, so
new chord shape. To exit simply press the Chord button again. The Chord function is a pressing a 3 note chord with “Stack-2” voice mode will be counted as a 6-note chord.
performance feature and as such is not saved per patch. It will remain until it is either You can take advantage of this for huge stereo pads by combining Chord Invert, Stack
reset or the unit is power cycled. and Voice Width/Drift settings.
• Mono: This button selects Mono voice mode for the current patch. 4 oscillators will be
stacked into a single voice
• Poly: This button selects polyphonic voice mode for the current patch. 8 voice stereo true
polyphonic path all the way to the stereo FX engine input.
• Unison: This button selects Unison voice mode. Cycle through to choose between
Unison-2, Unison-4 or Unison-8. These are monophonic voice modes where multiple
voices are stacked and detuned, the number reflects the number of voices per note.
• Stack: This button selects Stack voice mode. Cycle through to choose between Stack-2
or Stack-4. These are polyphonic voice modes where multiple voices are stacked. Stack-2
offer 4-note polyphony and Stack-4 offers 2-note polyphony.
• Drift: This encoder controls the oscillator drift amount. This is the amount of slop or
random detuning of each oscillators phase and tune.
• Vintage: Holding the ‘Patch’ button and turning the ‘Mix’ encoder controls Vintage. This
emulates the behaviour of vintage synths by introducing variation between the voices
• Width: Holding the ‘Shift’ button and (or when latched in shift mode) turning this
encoder controls the voice width of the current patch. This sets how far left and right the
alternating pan of the voices is from mono at 0 to hard panned & wide at 127.

50 51
Joystick + Audio Input Audio Output + Gain

Joystick The Gain Boost setting applies to all patches and increases the average output level.

The joystick can be assigned to multiple destinations in any of the X or Y directions. The The Patch Gain control, allows you to balance even the quietest patches, and dramatically
Joystick position can be locked or unlocked using the Velo + XYLock button combination. This improved the audio quality while decreasing noise floor, so adding gain from external sources
locks the joystick at whatever value it was held at while the buttons were depressed. won’t introduce unwanted noise.

The X axis controls pitch bend as standard, but this can be turned off (on-screen: Joystick: Because COBALT8 employs a limiter as the final stage before output in its audio signal path,
Pitchbend status or on MODALapp). It also sends MIDI pitch bend messages to the MIDI headroom for dynamics might be reduced as a result of higher gain levels.
outputs which can be toggled on or off in the global settings.
Note: The main outputs on COBALT are designed to output Line Level signals
Y+ sends MIDI mod wheel data (CC1) which can also be toggled on or off in the global
settings.
• Patch Gain: Per-patch gain adjustment for balancing patches relative to each other.
Values in the range 0-100 should be transparent to use on any patch that needs it,
Audio In
moving the control past 100 can begin to saturate the limiter on some patches. Note that
this can be used creatively.
The audio inputs route audio directly into the 3-slot stereo FX engine although this can also
be bypassed if you want to use the Audio In to only mix in the audio input with the synths • Gain Boost: Global gain boost that increases average output level. There are 3 settings:
output. The Audio In settings (Audio-In Volume, FX Bypass) are temporary and will not be
Off - full dynamic range
saved so will need to be reset when using upon each boot. Audio-In Volume can be accessed
on the front panel by holding the ‘Shift’ button (or when latched in shift mode) and turning Normal - boost to output volume (Default Setting)
the Audio In encoder.
Saturate - a large boost to output volume, potentially saturating the internal limiter. You
may notice that dynamic range is reduced with this setting on, although this has creative
uses.
Gain boost setting will be saved automatically
• Headphone Volume: Headphone output volume can vary dramatically depending on
which model of headphones is connected. This global control adjusts the output range of
the headphone out to compensate for this variance and prevent unsafe listening levels.
• Main Volume: Master output volume of the synth, post limiter. Controls the output
volume of both the headphone out and the main outputs. For best signal to noise, set
this to 127.

Voice Patch Gain Limiter Main Line

Engine Gain Boost Volume Output

H-Phone H-Phone
Volume Output

52 53
Settings Settings

General
• MPE Master Channel: Sets the MPE Master Channel for MPE Mode. Please note that if
using external non-MPE MIDI controllers or software when MPE Mode is enabled, please
• Clock Source: Sets the clock source for the COBALT8 with the following available set their output MIDI channel to match this MPE Master Channel value to ensure correct
options: Internal, MIDI, Sync-In, Auto, Master. If ‘Auto’ is selected then the COBALT8 will behaviour.
automatically use any detected clock source (prioritising Sync-In over MIDI) else it will use
• MPE Number of Channels: Sets the number of MPE member channels to use in MPE
the internal clock. If ‘Master’ is selected then COBALT8 will run from the internal clock
Mode.
and constantly output MIDI clock to USB and DIN MIDI ports (dependant on DIN Out
setting). • MPE Pitch Bend Range: Sets the pitch bend range / sensitivity - in semitones - for MPE
member notes in MPE Mode.
Note: if ‘MIDI’ or ‘Sync-In’ is selected whilst there is no MIDI or Sync-In clock present then
clocked-synced functions (sequencer, arpeggiator, delay FX, LFOs) may not work correctly • DIN In: A set of MIDI filter settings for enabling / disabling the COBALT8 from responding
or at all. to certain types of MIDI-in messages from the MIDI DIN-in port.
• Global Tune: Sets the global tuning of the COBALT8 with a range of +/- 1 semitone. You • DIN Out: A set of MIDI filter settings for enabling / disabling the COBALT8 from
may need to adjust this if using the COBALT8 with other synthesisers that are not tuned transmitting certain types of MIDI-in messages from the MIDI DIN-out port.
to the standard tuning (e.g. old analogue synthesisers).
• DIN Thru: Enables a ‘Soft MIDI Thru’ mode for the DIN ports, where messages received
• Polychain Master: Sets this COBALT8 to be the master in a polychain setup. When by the DIN-in port are forwarded to the DIN-out port.
active any changes on this COBALT8 will be mirrored on the others.
• USB Thru: Enables a ‘Soft MIDI Thru’ mode for all MIDI sources, where messages
• Preset Auto-Load: Toggles if presets are loaded with or without confirming with a press received by the DIN-in port are forwarded to USB-out and messages received by USB-in
of the Preset knob. If enabled when scrolling through presets a preset will be loaded are forwarded to DIN-out.
automatically after a short pause.
• Arp/Seq Out: Enables the COBALT8 arpeggiator and / or sequencer to transmit notes
• Reset: Press the ‘Edit’ switch and follow the confirm instructions to reset all global to the MIDI-out ports. When arp out is enabled the internal keyboard notes will not be
settings to the factory default settings. Please note that this will also reset the Main transmitted to MIDI-out. Please note that MIDI-in notes that are being arpeggiated will
Volume and Tempo parameter values. also be transmitted to MIDI-out if arp out is enabled, which may cause MIDI loop / echo
issues in complex MIDI setups.
MIDI
• In Oct Offset: Enables / disables the Keyboard Octave parameter from transposing MIDI-
in notes
• Channel: Sets the MIDI channel that the COBALT8 uses for both MIDI input (the MIDI-in
messages channel that the device will respond to) and MIDI output (the channel for the
transmitted MIDI messages).
• Omni: Enables the COBALT8 to be configured to ‘Omni Mode’, where it will respond to
MIDI-in message on any MIDI channel.
• Pitch Bend Range: Sets the COBALT8 pitch bend range - in semitones - for both MIDI-in
Pitch Bend messages and the joystick X axes.
Note. If MPE Mode is enabled then this sets the pitch bend range MPE master channel
messages only, where the MPE Pitch Bend Range setting should instead be used for
configuring MPE member channel messages
• MPE Mode: Enables / disables MPE Mode for compatibility with external MPE
instruments. Please note that you cannot enable both MPE Mode and Polychaining
simultaneously.

54 55
Settings Settings

Sequencer
• MIDI-in Monitor: The MIDI-in Monitor is a useful tool to use if needing to verify if the
COBALT8 is receiving MIDI messages. It will display the data of any MIDI message that
COBALT8 can respond to and will ignore the current MIDI channel and filter settings. • Metronome: Enables / disables the metronome click track for sequence recording. Please
note that the sequencer pre-roll (if enabled) will always contain the metronome.
The MIDI monitor will provide the following information for each received message:
• Pre-Roll: Sets the sequence recording pre-roll length to determine how many bars of the
Source - USB or DIN
metronome click track you hear before the recording starts.
Message type - Note-on (NOn”), Note-off (“NOf”), Control Change (“CC”), Program
Note: Metronome and Pre-Roll are only available for realtime sequences
Change (“PC”), Channel Aftertouch (“CAt”), Pitch bend (“PB”), System Exclusive (“Sys”),
Clock Start (“Srt”), Clock Continue (“Con”), Clock Stop (“Stp”) • Quantise: Sets the sequencer note recording input quantise value to ensure that played
notes can be kept in time. Please note that this is an input quantise setting and therefore
Channel
cannot be used to adjust previously recorded notes.
Message data / values
• Transport: Enables / disables the sequencer transport to be controlled by MIDI Clock
Incoming clock timing messages are displayed in the top right corner of the screen, where Start / Continue / Stop messages from USB-MIDI. You may want to disable this behaviour
a “U” indicates it is receiving USB clock messages and a “D” indicates it is receiving DIN if using COBALT8 with an external MIDI sequencer.
clock messages.
Joystick
Please note that it will only display messages that are received whilst the MIDI Monitor
screen is being displayed.
• Mod Wheel Out: Enables / disables the joystick Y+ axis from transmitting MIDI
Press the ‘Edit’ switch to exit the MIDI Monitor.
Modulation Wheel messages (MIDI CC 1) to MIDI-out. You may want to disable this
behaviour if the COBALT8 is connected to other synthesisers that responds to MIDI
Keyboard
Modulation Wheel messages.
• Pitch Bend Out: Enables / disables the joystick X axes from transmitting MIDI Pitch
• Local: Enables / disables the internal keyboard’s connection with the internal sound
Bend messages to MIDI-out. You may want to disable this behaviour if the COBALT8
engine. If you are using COBALT8 with an external sequencer you may need to set the
is connected to other synthesisers that responds to MIDI Pitch Bend messages. Please
Local setting to ‘Off’ to eliminate the double-triggering of notes caused by MIDI loops /
note that if this is disabled the joystick X axes will instead transmit CC messages for
echoes.
MODALapp communication.
• Velocity Curve: Sets the velocity curve / sensitivity for notes from the internal keyboard.
• X+ / X- / Y+ / Y- Calibration: These are manual calibration settings for adjusting the
There are six curve options - Very Light, Light, Normal, Heavy, Very Heavy, Fixed. Select
usable travel range of each axis of the joystick.
‘Light’ or ‘Very Light’ if you play keys lightly but would like the device to respond as
though they were played harder; select ‘Heavy’ or ‘Very Heavy’ if you play keys heavily Increase this value if the joystick axis is not reaching the top modulation / MIDI value
but would like the device to respond as though they were played lighter; or select ‘Fixed’ (especially in the corner positions), however if too large the usable travel range will be
to have a constant velocity value of 127 (maximum velocity). massively reduced. Decrease this value if the joystick axis has a small usable travel range,
however if too small the joystick may not reach the top modulation / MIDI value.
• Aftertouch Curve: Sets the aftertouch curve / sensitivity for the internal keyboard. There
are five curve options - Very Light, Light, Normal, Heavy, Very Heavy. Select ‘Light’ or • Centre Calibration: This is a manual calibration setting for adjusting the centring of the
‘Very Light’ if you want more control over the upper range of values of the aftertouch joystick.
response; or select ‘Heavy’ or ‘Very Heavy’ if you want more control over the lower range
Increase this value if the joystick is not properly returning to the ‘centre’ value (it sends
of values of the aftertouch response.
sporadic values when untouched or is too sensitive in its resting position), however if too
large the usable travel range of each axis will be reduced.
Decrease this value if the joystick doesn’t respond to small movements around the centre
position, however if too small the joystick may not centre properly.

56 57
Settings Settings

Screen Expression Pedal

• Brightness: Sets the brightness / contrast of the COBALT8 screen. • Pedal Type: Allows you to configure the COBALT8 to work with various types of
expression pedals.
• Switch: Sets the screen ‘Page Switch’ / ‘Context Sensitivity’ mode to determine how the
screen responds to certain panel control interactions and MIDI-in messages. There are two main modes here (TRS and RTS) where each mode has three sub modes
(1-3).
There are three main Page Switch modes - Regular, Smart, Off; and the first two modes
contain three sub modes - All, Panel, MIDI. Select a ‘TRS’ polarity mode if you are using a TRS expression pedal (or an expression
pedal with a polarity switch, set to the TRS polarity) - this is the most common polarity of
The ‘Regular’ mode causes the screen to switch to the page of the adjusted parameter
expression pedals. Select an ‘RTS’ polarity mode if you are using an RTS expression pedal
and stay on the page until another parameter is adjusted; the ‘Smart’ mode causes the
which contains no polarity switch. If your pedal does not contain a polarity switch and
screen to switch to the page of the adjusted parameter but then switch back to the
you are unsure of its polarity, if the COBALT8 isn’t responding to your pedal correctly (e.g.
previous page after two seconds, where the ‘previous’ page will be the page accessed via
full modulation range can’t be obtained, modulation curve is skewed), it is likely that you
either the screen ‘Page / Param’ control, the Patch / Seq button, or the FX1 + FX2 + FX3
need to switch the COBALT8 polarity mode. Please note that expression pedals with the
button combination.
TS polarity will not work with COBALT8.
The sub-mode of each mode sets the parameter source - the panel, MIDI-in, or both.
Select the ‘1’ sub-mode for expression pedals with a resistance of 10k; select the ‘2’ sub-
• Saver: Sets the idle time for the screen’s screensaver. A smaller time will increase the mode for expression pedals with a resistance of 20k or 25k, or select the ‘3’ sub-mode
lifetime of the screen. for expression pedals with a resistance of 50k or above. If you are unsure of the resistance
of your expression pedal then select the ‘1’ sub-mode - this will work with the majority
of expression pedals but you may find that the maximum modulation happens before the
LEDs:
pedal completes it movement (but selecting ‘2’ or ‘3’ instead may improve on this).
If you are unable to configure COBALT8 to work adequately with your expression pedal
• Brightness: Sets the brightness of the panel LEDs.
using this setting, you may need to use a TRS Polarity Adapter.

58 59
04
MIDI

MIDI COBALT8 is a fully class-compliant USB-MIDI device, meaning you can plug it into your
computer, no drivers required, and gain access to a huge array of extra features. Simply plug
in COBALT8 synthesiser to a USB port and it will show up as a MIDI input and output device in
any software that supports external MIDI devices.

On macOS, COBALT8 will show up in

‘Midi Studio’, found in Applications
> Utilities > Audio MIDI Setup. (Once
open, select Window > Show MIDI
Studio)

On Windows, COBALT8 will show

up as a sound device in the Device
manager.

Remember to enable the device

input and output in your DAW’s
preferences.

60 61
MIDI MIDI

MIDI Channel Program Change

On COBALT8 the MIDI channel can be set in the on-screen settings, or with the MODALapp. Sending a bank change (0-4) followed by a program change (0-99) to COBALT8 will load the
relevant preset.
You can also change additional MIDI settings in the on-screen settings pages or in the settings
tab of MODALapp. Sync

MIDI Output The analogue sync connections on COBALT8 are configured to use a 3.3v, rising edge, 1 pulse
per 16th note signal. This is used to syncopate any other gear that is CV clock enabled with
COBALT8 can sequence your DAW or any device that can send MIDI notes over USB, MIDI or your device. PLEASE DO NOT EXCEED 5V INPUT AND OUTPUT.
CV clock using the keyboard, sequencer or the arpeggiator.
Any signal received by the SYNC IN connection is automatically forwarded to the SYNC OUT.
The keyboard sends MIDI Channel Aftertouch messages and the Joystick can send MIDI Pitch When running off internal clock or external clock SYNC OUT sends out the received clock.
Bend messages.
Sync auto detects incoming clock / sync signals and will select these in priority order:
All of the encoders on COBALT8 output MIDI messages (The appropriate CC message 1) Sync, 2) Ext MIDI and 3) Internal.
depending on the SHIFT or panel state). This allows COBALT8 to be used as a fully functional
plug and play MIDI controller! Sync will fall back to the next available sync source in reverse priority order after a timeout of
3 seconds.
When a change is detected on any of the parameters, a CC message is sent out. See the MIDI
implementation chart to find which parameters send which CC numbers. The keys also send Din MIDI Filters
the appropriate MIDI notes for the Octave range and scale that they are programmed to.
COBALT8 has app-configurable midi filters on the Din input and output:
MIDI Input
Notes, CC, Program Change, Aftertouch, Pitchbend, Transport, Clock and Sysex.
COBALT8 can be played by sending it MIDI notes. This means you can use your DAW or any
device that can send MIDI notes over USB/MIDI to sequence COBALT8 or control any of the By default Din IN allows all message types, and Din OUT allows all message types except clock.
parameters featured in the CC Implementation List.
MIDI In Omni
MIDI Clock
MIDI can be made omni within the Settings pages or in the Settings tab of MODALapp. Omni
Configure your DAW and MIDI devices to send or receive MIDI clock (Sync) to or from mode makes COBALT8 listen to all midi channels, for all received midi (din or usb). Transmitted
COBALT8 and, when Auto is selected it will automatically configure itself to work in time with midi is still sent out on COBALT8’s current midi channel.
your track tempo. When no clock is detected, the COBALT8 will continue to use whatever
tempo it is internally configured to.

MIDI Soft Thru

COBALT8 has two soft thru settings configurable from the app:

• DIN Thru: Forwards Midi received on din in to din out

• USB Thru: Soft interface mode which forwards midi received on din in to USB out, and
USB in to din out

62 63
MIDI CC Implemention Chart

CC Function CC Function CC Function CC Function

0 Bank Change 32 FEG Amount 64 Sustain Pedal 96 Chord Mode
1 Mod Wheel 33 Morph 65 - 97 -
2 - 34 Cutoff 66 - 98 -
3 LFO3 Rate 35 Resonance 67 Seq Length 99 -
4 - 36 LFO1 Rate 68 Seq Mute 100 ModSlot 1 Source
5 Glide 37 LFO1 Depth 69 Seq Clear 101 ModSlot 2 Source
6 - 38 - 70 Seq Hold 102 ModSlot 3 Source
7 Main Volume 39 LFO1 Shape 71 Seq Loop 103 ModSlot 4 Source
8 40 Octave 72 Seq Record 104 ModSlot 5 Source
9 Voice Mode 41 Delay Mode 73 FX Amount 105 ModSlot 6 Source
10 - 42 Filter Type 74 - 106 ModSlot 7 Source
11 Expression Pedal 43 MEG Attack 75 Transpose 107 ModSlot 8 Source
12 - 44 MEG Decay 76 - 108 ModSlot 1 Dest
13 LFO3 Depth 45 MEG Sustain 77 - 109 ModSlot 2 Dest
14 Osc1 Tune 46 MEG Release 78 Swing 110 ModSlot 3 Dest
15 Osc1 Fine 47 LFO2 Rate 79 Seq Quantise 111 ModSlot 4 Dest
16 Osc1 Param A 48 LFO2 Depth 80 AEG Type 112 ModSlot 5 Dest
17 Osc2 Param A 49 MEG Depth 81 FEG Type 113 ModSlot 6 Dest
18 Osc Mix 50 LFO2 Shape 82 MEG Type 114 ModSlot 7 Dest
19 Osc1 Param B 51 AEG Depth 83 Audio In 115 ModSlot 8 Dest
20 Osc2 Param B 52 LFO1 MIDI Sync 84 All EG Attack 116 Joystick X+
21 LFO3 Shape 53 Arp Gate 85 All EG Decay 117 Joystick X-
22 FEG Attack 54 LFO2 MIDI Sync 86 All EG Sustain 118 Joystick Y-
23 FEG Decay 55 Delay MIDI Sync 87 All EG Release 119 Patch Gain
24 FEG Sustain 56 LFO1 Mode 88 ModSlot 1 Depth 120 All Sound Off
25 FEG Release 57 LFO2 Mode 89 ModSlot 2 Depth 121 Reset All Controllers
26 AEG Attack 58 Arp Status 90 ModSlot 3 Depth 122 -
27 AEG Decay 59 Arp Octave 91 ModSlot 4 Depth 123 All Notes Off
28 AEG Sustain 60 Arp Direction 92 ModSlot 5 Depth 124 Omni Off
29 AEG Release 61 Arp Division 93 ModSlot 6 Depth 125 Omni On
30 Osc2 Tune 62 Osc1 Algorithm 94 ModSlot 7 Depth 126 -
31 Osc2 Fine 63 Osc2 Algorithm 95 ModSlot 8 Depth 127 -

64 65
MPE MPE

MIDI Polyphonic Expression (or MPE) is a method of using MIDI to enable expressive electronic Each MPE dimension is mapped to the COBALT8 sound engine as follows:
musical instruments to control multiple dimensions of sound polyphonically. In MIDI, channel-
wide messages (such as pitch bend, CCs, and channel aftertouch) are applied to all notes
• Left-right / X-axis (sent as MIDI Pitch Bend) – This controls the pitch of the note, with the
being played on a single channel; therefore, in MPE each note is assigned its own channel so
range set using the ‘MPE Pitch Bend Range’ global setting (see above).
that those messages can be applied to each note individually.
• Front-back / Y-axis (sent as MIDI CC 74) – This controls the COBALT8 Y+ modulation
An MPE instrument typically has three dimensions of expression / control – left-right (X-axis); assignments.
front-back (Y-axis); and pressure (Z-axis) – each axis can be mapped to various parameters of
• Pressure / Z-axis (sent as MIDI Channel Aftertouch) – this controls the COBALT8
sound and be applied on a per-note basis.
Aftertouch modulation assignments.
COBALT8 is an MPE-compatible synthesiser, which means any valid MPE instrument / controller
As the MPE Y and Z dimension assignments are built into COBALT8’s existing modulation
can control multiple parameters of COBALT8’s sound engine polyphonically. The majority of
matrix, these assignments are saved and recalled with each patch.
the COBALT8 parameters can be controlled by MPE.
Using MPE on COBALT8
Setting up MPE on COBALT8
If using in conjunction with non-MPE MIDI controllers or software, please set their output MIDI
Enabling COBALT8 to respond to MPE involves the following steps:
channel to match the COBALT8’s ‘MPE Master Channel’ to ensure correct behaviour.

1. Navigate to the MIDI settings controls on the screen COBALT8 MPE limitations:
2. Set ‘MPE Mode’ to ‘On’
• If Y+ or Aftertouch is assigned to any global sound parameters (LFO1 or FX parameters)
3. Set ‘MPE Master Channel’ to match that of your MPE instrument. Your MPE instrument
then these parameters will change for all notes / voices and only the latest / newest MPE
may refer to this as its ‘MPE Zone’ – ‘Lower Zone’ uses channel 1 and ‘Upper Zone’ uses
note will have control of these parameters.
channel 16. Some MPE instruments may not specify a Master Channel / Zone – in this
case the most likely value to use here is ‘1’. Please refer to the MPE instruments settings • MPE is not available in Polychain mode
or documentation for more information.
• MPE expression data cannot be recorded into the COBALT8 sequencer, and any MPE
4. Set ‘MPE Number of Channels’ to match that of your MPE instrument. It is recommended notes recorded into the sequencer are converted in ‘master’ notes.
to set this value as high as possible (on both your MPE instrument and COBALT8) to
• COBALT8 doesn’t support MPE ‘MIDI Mode 4’ (‘one channel per string’ voice allocation).
take full advantage of COBALT8’s polyphony. Some MPE instruments may not specify a
Number of Channels – in this case the most likely value to use here is ‘15’. Please refer to
the MPE instruments settings or documentation for more information.
5. Set ‘MPE Pitch Bend Range’ to that of your MPE instrument. Your MPE instrument may
refer to this as its ‘Pitch Bend Sensitivity’. Some MPE instruments may not specify, or use,
a fixed Pitch Bend Range – in this case use this value to set your preferred semitone range
of the MPE X-axis. Please refer to the MPE instruments settings or documentation for
more information.

66 67
Polychain

You can connect any 2 COBALT models together to give 16 voices using polychain.

First, connect the desired master COBALT DIN MIDI Out to your desired slave COBALT DIN
MIDI In.

On the master COBALT navigate to ‘Settings (General) > Polychain Master’ and turn this on.

The slave device should now be showing all voice mode LEDs lit and ‘Polychain Slave’ on-
screen.

When In Polychain mode, the slave COBALT panel is disabled along with the keyboard.

Polychain mode can be exited by turning off the ‘Settings (General) > Polychain Master’
setting on the master COBALT or by rebooting the synthesisers.

Note: Polychain can only be enabled when not in MPE mode

68 69
05
Update

Update The firmware on COBALT8 can be updated remotely. This means that you will be able to
update your COBALT8 to the latest version each time an update is released.

You can update COBALT8 using the MODALapp.

MODALapp is available for macOS, iOS, Windows, and Android.

To find the app on your platform, visit www.modalelectronics.com/modalapp

DO NOT run any other MIDI software that could be sending messages to COBALT8 during the
update process.

70 71
06
MODALapp

MODALapp MODALapp adds visual feedback for COBALT8 (and other Modal devices) and access to a
handful of extra settings outlined above. All parameters are accessible from a single interface
split into 3 tabs.

• All UI parameters accessible from a single interface

• Preset Manager page for preset management, backup and import
• Modulation page to quickly view and edit the current patch modulation settings
• FX page for selecting and editing the 3 stereo FX engines on COBALT8
• Sequence page for live sequence controls and editing the 4 parameter animation rows
• Keyboard page for playing COBALT8 directly from your device as well as access to other
keyboard settings
• Settings page to configure MIDI settings and update the firmware

MODALapp is available for macOS, iOS, Windows, and Android.

To find the app on your platform, visit www.modalelectronics.com/modalapp

72 73
Getting Started Main Editor

Connecting devices This is the main section for patch design / editing. You will find keyboard/voice, oscillator, filter,
and envelopes here.
MODALapp can be attached to an iPad using a Camera Connection kit, or an Android device
using a USB OTG (On-the-go) adapter. The currently selected preset is shown at the top. There are also options for previous or next
preset, init preset and randomise.
MODALapp can only be connected via USB MIDI and not by MIDI DIN.
To save a preset first click the save button. You can then select the slot you would like to save
Install and open MODALapp. You will see a splash screen until a COBALT8 has been detected, the new preset with the - / + buttons. You can change the name of the preset by clicking on
at which point you will see the Editor page appear. the preset name. Finally click either SAVE again to confirm or EXIT to discard any name / slot
changes.
Playing COBALT8
There is also access to play, record, tempo options as well as sliders for patch gain and volume.
At this point you can play your COBALT8 with any MIDI controller! MODALapp forwards all
incoming MIDI to COBALT8 automatically. Just make sure that your MIDI controller is sending Across the middle there are the 12 modulation slots with 8 user configurable and 4 pre
to the same MIDI channel you’re COBALT8 is assigned to. defined. Only valid modulation destinations for the respective source will be shown in the
drop down menu.

74 75
Preset Manager + Modulation Tab Preset Manager + Modulation Tab

In the Preset Manager Tab there are options to curate, move, backup or import presets. You may also right click on a bank to expose exporting and importing options of the entire
There are 100 presets per bank that can be viewed by scrolling in the preset list. bank (as individual .syx files)

Presets can loaded with a double click and they can be renamed with two slow clicks. To move All actions will display a confirmation window unless the yes to all button has been clicked. In
a preset simply click and drag it into your desired location. Dragging the preset to either edge which case no confirmation window will appear for the rest of the session.
of the preset manager window will start it scrolling in that direction. Different banks can be
accessed by dragging the selected preset over the bank button. On touchscreens a single tap will be the equivalent of a cmd or ctrl click. Holding a selected
preset will start a move action
Multiple presets can be selected by holding shift, ctrl or cmd and clicking. Shift clicking will
select a block of presets and cmd or ctrl clicking will select individual presets. Once multiple In the Modulation Tab there is access to the parameters for LFO-1, LFO-2, LFO-3 and MOD-EG.
presets are selected you can start moving them by clicking on a selected preset and dragging.
Right clicking on a selected preset allows renaming and exposes the exporting or importing There is also an XY pad that will emulate the movements of the Joystick on COBALT8 as well
options. Exporting will copy and send all of the selected presets to the selected folder. as options for pitch bend and XYLock so that the XY pad will not return to zero on release.
Importing will overwrite all of the selected presets in the preset manager with the presets
selected from your computer. Finally there is also access to the global depths of the 8 modulation sources Velo. Aftertouch,
Note, Expression Pedal and the 4 Joystick axes.

76 77
Sequencer Tab Sequencer Tab

In the Sequencer Tab you can choose sequence type, load, initialise and save any of the Seq Draw Mode: To create some notes, ensure the draw button on the top bar is highlighted (this
presets as well access the live sequence controls such as Length, Hold, Loop and Quantise. will be by default) and click or drag on any of the empty slots in the display below. Click on
a note to clear it, click and drag on a note to erase a selected area. There are two modes to
When in Step Seq you can also scroll through steps displayed in groups of 16. change the vertical drag behaviour:

There is a drop down to select the current row and to the right of this a clear button for the Drag: Notes will be created with a default velocity of 63, click and drag vertically to change
current row. There are then the 5 mute buttons for the note row or any of the 4 parameter the pitch of the created note(s)
animation lanes.
Velo: Dragging vertically will change the velocity of the created notes as you drag
NOTE: Editing of notes is only available for step sequences & there is no undo functionality.
Edit Mode: To edit notes, ensure the draw button on the top bar is highlighted.
Assigning some steps: A new sequence won’t have any steps assigned to it and it will
appear greyed out until you assign some steps using the front panel or by adjusting the ‘Steps’ It’s a lot like you’d expect from any old piano roll, clicking on an untoggled note or dragging
control on the panel to the left. over some toggled ones will select them. It is also possible to delete notes by pressing
backspace while you have some notes selected. Selected notes will have a bar through them
Navigation: The visible key range (vertical) can be controlled using the controls to the left of that indicates their velocity. Once they’re selected you can click on one of the active ones you
the piano roll. The +/- buttons can be used to control how many notes are displayed and the just selected and drag it vertically- it’ll do one of two things depending on the mode selected:
slider can be used to set which note range is displayed. You can also move the view up and
down by scrolling. Drag: Will move all of the notes in pitch and step - if you hold down the alt or option key it
will try to copy the notes
If you have a trackpad then the zooming gesture will have the same effect as pressing the +/-
buttons. Visible step range (horizontal) can be changed by clicking the +/- controls on the top Velo: The velocity of all notes will be edited relative to the velocity they had at the start of the
bar or scrolling left/right. operation.

78 79
FX, Keyboard + Settings Tab

In the FX Tab you can load, initialise and save any of the FX presets as well edit any of the
global FX parameters such as Level and Distortion.

The FX preset selection box on the left will display that no preset is loaded if an fx parameter is
altered in any way, e.g. changing an fx parameter on COBALT8 or loading a patch.

Also, on this page you will find the external Audio In parameter that controls the amount of
Audio In signal sent through the 3 stereo FX engines.

Finally, there is access to the 3 stereo FX engines that show the currently selected FX in each
slot and their respective controls.

In the Keyboard Tab there is a MIDI controller that can be used to play notes on COBALT8
from your device. There are pitchbend and modwheels as well as 3 buttons to determine how
many octaves are shown on the screen at one time. The piano keyboard can be scrolled using
the top scroll bar.

There is also access to the Arpeggiator controls and transpose/chord options.

In the Settings Tab there are options for updating your COBALT8 to the latest versions.
MODALapp will notify you when a new update is available.

To have the app update the screen in realtime, the page switch mode needs to be set to one
of the (All) or (MIDI) options.

Finally there is access to the other settings available on COBALT8. For a list of all settings
available please read the Settings section in Synthesis Engine section of this manual.

80 81
Warranty Information Warranty Information

Warranty Statement What is meant by a Manufacturing Defect?

• The Modal warranty period for any product purchased is 12 months from the date of the • We define this as a defect in the performance or specification of the product as described
original purchase. and published by Modal.
• The warranty is not transferable to a second user. • A Manufacturing Defect does not include damage caused by post-purchase shipping,
• Modal products are built using the latest manufacturing technology, tested to the highest storage or careless handling, nor damage caused by misuse.
possible standards and by using premium components this should result in providing you
with reliable performance for many years. Warranty Limitations
• The warranty is return to base, meaning the unit must be returned, carriage paid,
to the Dealer you purchased the unit from or the exclusive territory Distributor • This warranty does not cover damage resulting from accident or misuse.
responsible for the country in which you purchased the product. • The warranty is void unless repairs are carried out by an authorised service centre.
• Some of the products returned under warranty are found not to exhibit any fault at all • The warranty is void if the unit has been modified other than at the manufacturer’s
when they are retested at our Service Centre’s so it’s always useful to contact our Support instruction.
team first to try to avoid inconvenience to you at [email protected] • The warranty does not cover components which have a limited life, and which are
• If you suspect that your unit is suffering from a component or manufacturing defect expected to be periodically replaced for optimal performance.
during the warranty period please contact either Modal support or the dealer that you • We do not warrant that the unit shall operate in any other way than as described in this
purchased the Modal product from. manual.
• In the event of a component or manufacturing defect becoming evident during the
warranty period, Modal will ensure that the product is repaired free of charge or replaced. For further details please contact: [email protected]
• Whilst this warranty is provided by Modal, the warranty obligations are fulfilled by the
exclusive territory Distributor responsible for the country in which you purchased the
product.
• The Dealer will advise you of the appropriate procedure for resolving the warranty issue.
• In every case it will be necessary to provide a copy of the original invoice or Dealer
purchase receipt to the Distributor.
• In the event that you are unable to provide proof of purchase directly then you should
contact the Dealer from whom you purchased the product and attempt to obtain proof
of purchase from them. The Dealer | Distributor will then advise the procedure to follow.
• This limited warranty is offered solely to products purchased from an Authorised Modal
Dealer (defined as a Dealer which has purchased the product directly from Modal in
the UK, or one of our Authorised Distributors outside the UK). Please note that if you
purchased the product from outside of your country of residence you must return the unit
to the original point of purchase for repair.
• The Modal warranty term is additional to any statutory rights in the country of purchase
or as offered by the dealer at the time of purchase.

82 83