User Manual

20 June 2023, 15:45

Requirements • 

Requirements

Software and hardware requirements:

Windows PC

OS version Windows 7 or newer

CPU Intel x86 / AMD x86
Software VST2 / VST3 /AAX compatible host application (32bit or 64bit)

Apple Mac

OS version OS X 10.13 or newer

CPU Intel x86 / Apple Silicon
RAM 8 GB (16 GB Recommended)
Software AU / VST2 / VST3 / AAX compatible host application (64bit!)

Hardware requirements / recommendations are based on estimates performed on available computers at D16 Group HQ,
and therefore cannot cover all possible configurations available on the market. CPU usage may vary widely depending on the
manner in which the product is used. Factors that may contribute to variance in CPU usage include particular patch and its
complexity, the global quality setting, project sample rate. In order to form a better understanding of how a plug-in will behave
within your current setup, we highly recommend downloading the demo and giving it a try.

2
Preliminary information • 

Preliminary information

This chapter contains general advice for using the plug-in’s interface.

To do a right-click on macOS with single button mice:

Either use your mouse click while holding the CTRL key on your keyboard or use two fingers on your touchpad.

Checking the value of a parameter

Right-click on any parameter to check its value in its context menu:

A parameter’s context menu

Note: It’s currently not possible to enter a precise value in the input box; it’s just to check the value.

Fine-tuning continuous parameters

Tweak a control (knob) while holding the CTRL key (on Windows) or Apple CMD key (on macOS) - this will make
the tweaking more precise while moving the mouse pointer up and down.

Double-click to reset a continuous parameter’s value

Double-clicking on a parameter restores its value to the initial state, either default (right after loading
the plug-in / loading it along a project file) or from the most recently loaded preset.

3
Preliminary information • 

Enabling parameters for automation

Lush 2 synthesizer has thousands of sound parameters and VST/AU/AAX host automation allows only a handful
of automatable parameters so by default all parameters are disabled for automation.

Using the parameter’s context menu (described above), you can enable automation for parameters you wish to
control externally:

A parameter’s context menu

Lush 2 works only with specific sample rate values

Lush 2 works only with the following sample rate values [Hz]:
• 44100
• 48000
• 88200
• 96000
• 192000
If you try to use any other custom sample rate, the plug-in will switch into 44 kHz mode, which may cause it to
sound differently or cause audio artifacts to appear.

4
Introduction to Lush • 

Introduction to Lush

Lush 2 is a polyphonic subtractive synthesizer. Its structure is based on 8 layers. Each Layer is an independent synthe-
sizer with its own parameters and polyphony.

Each of the layers can listen to a different MIDI channel and respond to a different keyboard zone. Therefore, the
synthesizer works as a multi-timbral instrument where each Layer is controlled via a different MIDI channel. It is
also possible to conveniently split a MIDI keyboard into sections, where different Layers listen to different keyboard
sections of the same MIDI channel. You can also create complex sound textures by overlapping Layers, where more
than one layer listens to the same keyboard zone on the same MIDI channel.

Lush 2 allows for convenient mixing of Layers within a custom-designed, built-in Mixer, where we can add final touch-
es through parametric equalizers, compressors (one per channel) and 3 built-in send effects. Each of the tracks corre-
sponding to one Layer or each of 3 available effect tracks corresponding to 3 send effects can be sent to any of 11
available plug-in outputs.

A diagram showing the general signal flow

5
Introduction to Lush • 

The plug-in GUI looks as follows:

The Graphical User Interface

At the top of GUI, there is a bar called the Control section:

The Control section

And below it, we can see the part of the GUI responsible for editing a single Layer (this is the default view, after opening
Lush 2 in a host application).

The Synthesis view containing a Layer’s parameters

6
Control section • Options

Control section

The Control section occupies the top bar of the GUI.

The Control section

In the Control section, we can distinguish the following groups of controls:

Options
The Options button allows access to an Options menu. All plug-in settings can be configured from here.

The Options button

Global preset browser

The Global Preset section can load and save Global Presets (this preset type is described later) and adjust
Global Preset settings:

The Preset Management section for Global Presets

Here, we have the following controls:

• Global Preset - The text box containing the name of the currently loaded Global Preset. Clicking the display
opens a browser to load and manage presets (more on that in the Preset Management part of the manual).
• Cog (icon) - Opens the Global Preset Settings window.
• Save - Stores current parameter settings of Lush 2 as a new preset.

7
Control section • Layer selector

Layer selector
The Layer Selector contains three rows of buttons to select a Layer for editing (first row - Select), turn the Layer on/off
(second row - Enable) and mute / solo the Layer (third row - Mute).

Above this, there is a row of Padlocks for locking individual Layers, preventing overwrite of selected Layer parameters
when a Global Preset is loaded.

The Layer Selector

View selector
Buttons for switching the View:

The View (tab) selector

• Synth - Edits a selected Layer’s sound parameters.

• Modulation Matrix - Edits a selected Layer’s modulation matrix.
• Mixer - Mixes and combines the sound from all Layers together.

Master volume
Master Volume knob - controls the overall volume of the output sound coming from Lush 2.

Global preset settings

This panel contains specific settings for the Global Preset that are not necessarily at hand when you edit a sound.

Global Preset Settings are stored with a Global Preset.

To open the Global Preset Settings panel, you need to use the Cog icon in the Global Preset section on the GUI:

Opening the Global Preset Settings panel

8
Control section • Global preset settings

This window will appear:

The Global Preset Settings window

Here, you can manage the MIDI Zones and transposition (MIDI tab), and choose how Arpeggiators interact with each
other across the Layers (Arpeggiator tab).

MIDI tab

Zone editor
In the MIDI tab, we can easily and conveniently edit which MIDI zones different Layers will respond to. Each keyboard
Zone is defined as a complete range between two notes. The lower note defines the beginning and the higher note
defines the end of the Zone. The Zone editor is arranged in rows, where each row represents a single Layer.

The MIDI Zone editor

When you hover over a zone, two small dots will light up on either side:

Editing a Zone

You can drag the dots using the mouse pointer and set the beginning or end of each zone.

You can also hold the rectangle in the middle using the mouse pointer and move an entire zone left and right.

9
Control section • Global preset settings

Zone learn
Additionally, the Zone Learn function is available:

The Zone Learn function

We can use it to define a Zone directly from the MIDI keyboard:

1. Press the Zone Learn button.

2. Click to select a row in the Zone Editor, which will turn orange.
3. The plug-in is now ignoring Channel settings in Options, instead listening to all MIDI channels and waiting for
two MIDI note messages.
4. When you press two keys on your MIDI keyboard, either simultaneously or one by one, the plug-in will automati-
cally set the beginning and end of a Zone, taking the lower note as the beginning and the higher note as the end.
5. You can repeat steps 2 – 4 if you want to set up MIDI Zones for more than one Layer.
6. Press Zone Learn again to deactivate the function.

Transposition
Next to the Zone Editor, the Transpose column can perform transposition for each Layer:

The Layer Transposition column

This column lists the Transposition parameters from all Layers in single place for convenience, so changes here will be
reflected as changes in the synthesis view also:

The Layer transposition parameter

10
Control section • Global preset settings

Arpeggiator tab

The Arpeggiator tab - Global Preset Settings

This section contains only one setting: Arpeggio Sync Mode.

If we use the Arpeggiator on more than one Layer, Arpeggio Sync Mode defines how the Arpeggiators communicate
or synchronize across Layers. The timers for Arpeggiators in Layers can work independently or together according to
specific criteria. If the timers of two or more

Arpeggiators are joined together, the first Arpeggiator triggered (Master) generates a master timing signal simultaneous-
ly while generating its sequence of notes. The other Arpeggiators will be synchronized to this. In other words, subse-
quent triggered Arpeggiators (Slave) will generate a note sequence(s) quantized / synchronized with a timing signal
generated by the Master Arpeggiator. Arpeggio Sync Mode defines the criterion by which Arpeggiators in Layers are
grouped together. Within a single group, the first Arpeggiator triggered becomes the Master. We can select one of the
following criteria:

• Common MIDI Channel - Arpeggiators set on the same MIDI channel (Options panel) are grouped together and
the first triggered Arpeggiator synchronizes other Arpeggiators in the group. Any two Arpeggiators in different
Layers listening to the same MIDI channel are grouped together and one of them becomes a Master. Any two
Arpeggiators in Layers listening to different MIDI channels will be in separate groups.
• All together - All 8 Arpeggiators (from all 8 Layers) are grouped together; when one of them is triggered, the
other Arpeggiators adjust their timers to the first.
• Each independent - All Arpeggiators work completely independently and none affect the others.

11
Layer parameters • Global preset settings

Layer parameters

We access Layer parameters by clicking the Synth button in the Control section:

The View (tab) selector

They are displayed in the main part of GUI:

The Synthesis view, containing a Layer’s parameters

From the 8 available, we can select the Layer we want to edit using the Layer selection buttons in the Control section:

The Layer selector

12
Layer parameters • Global preset settings

In a single Layer, we can distinguish between the following groups of controls:

• Layer [No.] - Browse presets for individual Layers and transpose them

The Layer Presets browser

• Voices - Polyphony management

The Voices section

• FX Rack – For processing the Layer’s outgoing signal through two insert effects

The FX Rack section

• Layer Out - To make final touches before the signal goes into the Mixer

The Layer master

• A set of sound parameters to generate the sound

The Layer’s sound parameters

• Arpeggiator - A set of parameters controlling the Layer’s Arpeggiator

The Layer’s sound parameters

13
Layer parameters • The layer’s top bar

The layer’s top bar

At the top of Layer parameters, you will find this section:

The Layer control parameters

You can find there:

Layer preset browser

The Layer Preset Browser section:

The Layer Preset Browser

Presets in Lush 2 can be created and stored on a few levels of hierarchy, either for specific groups of parameters or for
all parameters; they can be created for a single Layer or for a combination of all 8 Layers, and they can also be created
for additional parameters such as Mixer send settings. Single Layer presets are called Layer Presets and presets for a
combination of Layers are called Global Presets, and because these are stored in hierarchy, a Global Preset can load up
Layer Presets within it.

In the Layer Preset Browser section, we have the following controls:

• Preset - The text box containing the name of the currently loaded Layer Preset. Clicking the display opens a
browser to load, save and manage presets (more on that in the Preset Management part of the manual).
• Copy (icon) - Copies parameters from the currently selected Layer into a buffer.
• Paste (icon) - Pastes parameters from the buffer onto a selected Layer.

Layer transposition

The Layer’s transposition setting

This allows for transposing a layer by 24 half-tones up or down in 1 half-tone steps.

Polyphony and unison

Polyphony settings

Voices - Polyphony settings

14
Layer parameters • The layer’s top bar

In this section, we can edit Polyphony and Portamento settings for the Layer:

• Polyphony - Choose up to 32 voices of Polyphony for the selected Layer. If the number of voices is equal to 1
then the Layer will play in Mono mode.
• Portamento - Only available with Mono mode (Polyphony = 1). Turn the knob to control Portamento time, which
is the time of smooth pitch slide between two successive notes. The radio group to the right controls the Porta-
mento mode and it has three values:
• Off - Portamento is off.
• Always - Portamento is always on (for overlapping and non-overlapping MIDI notes).
• Legato - Portamento works only for overlapping MIDI notes.

Unison

Voices - Unison settings

Unison mode makes the Layer play a single note with a few voices of Polyphony at the same time, in which each voice
has slightly varied settings (for Tune, Panorama and/or its Filter’s cutoff). By default, Unison mode is turned off (value of
Unison at 1). Increasing the value of the Unison LED display turns on Unison, and the Spread knobs become active.

• Tune - The volume of detuned voices in Unison.

• Pan - The spread of voices in Unison.
• Filter - The strength of Filter cutoff spread among the voices of Unison.

A Unison spread diagram

Please note that Unison mode “steals” Polyphony, e.g. when we set Unison to 2, we will not be able to set the polypho-
ny greater than 16 because it would exceed 32 voices in total (Unison voices multiplied by Polyphony).

Voice settings
Clicking the Cog icon next to the Voices label…

Accessing Voice settings panel

… allows access to the Voice settings panel.

15
Layer parameters • Sound synthesis

Voice settings panel

Polyphony mode - Polyphony for the Layer is limited by the number of voices allocated; if Polyphony is too small then
previously played and sustained sounds will be stopped by new incoming MIDI notes. This will be most noticeable for
sustained phrases and/or for sounds with longer release times. In Lush 2, we can choose how notes should be distribut-
ed among available voices of polyphony; that is to say, the order in which voices should be assigned to incoming notes
and later released. There are two modes built-in:

• First played first released - (Default value) This is analogous to a queue of notes where the first note in a sustained
sequence will be also the first one released - a method inspired by Korg’s analogue synthesizers.
• First played last released - Voices management is done in a way similar to a stack, where the note previous to any
new note will be the first released - this method was inspired by Roland’s analogue synthesizers.

Sound synthesis
Lush 2 is a subtractive synthesizer and the signal flow control does not differ substantially from most compact hardware
or software synthesizers on the market. It encompasses all the elements and components widely used in modern
synthesizers.

The Synthesis parameters

Oscillators
Lush 2 has four oscillators:

• Square with adjustable pulse width and a Hard Sync option.

• Sawtooth with Hard Sync and SuperSaw options.
Note: The supersaw oscillator mixes a few sawtooth waveforms together, each slightly detuned.
• Suboscillator with 5 different waveforms to select from.
• Noise generator with three different colors to select from.

16
Layer parameters • Sound synthesis

Oscillators mixer
Oscillators can be mixed together proportionally, set by sliders placed in the Voltage Controlled Oscillator (VCO)
section:

Synthesis - VCO mixer

Starting from the left side, sliders in this section are responsible for:

• Volume of Square oscillator with adjustable pulse width

• Volume of Sawtooth oscillator
• Volume of Suboscillator
• Volume of Noise generator

A VCO diagram

17
Layer parameters • Sound synthesis

Oscillator’s independent Voltage Controlled Amplifier (VCA)

Clicking the Envelope icon in the VCO section:

Accessing the Independent VCA

We get access to the Independent VCA panel.

An individual VCA panel

It’s possible to modulate the volume of individual oscillators with a modulation Source; the source browser box above
the oscillator faders allows you to choose one of either two available Envelopes or two available LFOs. The Volume
Mod buttons below it select which oscillators should be affected.

A diagram showing the oscillators’ independent amplitude modulation by selected Source

18
Layer parameters • Sound synthesis

The oscillators’ waveform options

Clicking the sine wave icon in the VCO section:

Accessing the VCO modifiers panel

We get access to the VCO Waveform Options panel.

The VCO modifiers panel

SuperSaw
The SuperSaw mode is controlled by one button and two knobs.

SuperSaw mode

• Super - Activates and deactivates SuperSaw mode and the following parameters:
• Amt - Sets the effect strength; the bigger the value is, the more saw oscillators are added.
• Detune - Sets the detune value between additional saw oscillators.
Note: Please note that SuperSaw and Hard Sync cannot work simultaneously. If you turn on Hard Sync mode, SuperSaw will
be automatically disabled.

19
Layer parameters • Sound synthesis

SuperSaw is a function of the Sawtooth oscillator, therefore the amplitude of SuperSaw is controlled by Sawtooth’s
volume fader in the VCO section.

The VCO’s sawtooth volume

Suboscillator waveform
The Wave display:

The Suboscillator’s waveform

This chooses one of the five available waveforms for the Suboscillator:

• Square with 50 / 50 pulse width, one octave below base frequency

• Sawtooth, one octave below base frequency
• Square with 50 / 50 pulse width, two octaves below base frequency
• Sawtooth, two octaves below base frequency
• Square with 25 / 75 pulse width, two octaves below base frequency

Noise type
The Type display:

The Noise type selector

This selects from the following noise types for the Noise generator:

• White
• Pink
• Brown

20
Layer parameters • Sound synthesis

Oscillators’ hard restart option

Oscillators’ hard restart

The Osc Reset (Oscillators Hard Restart) option is turned off by default. If activated, a given Layer’s oscillators’ phases
(VCO) are reset each time a new note is played. The Legato (overlapping notes) in monophonic mode is an exception,
where a new incoming note does not reset oscillator phases, even with OSC Reset activated.

VCO settings
Clicking the Cog icon next to the VCO label, you can access the VCO Settings panel.

The Cog icon in the VCO section

The VCO settings panel

From here, you can control the Pitch Drift option, which is a random, wandering pitch change that affects each oscilla-
tor independently. It gives the characteristic of an unstable vintage analog synth. The greater the value, the bigger the
drift; a value of 0 (default) means no drift at all.

21
Layer parameters • Sound synthesis

Pulse width modulation

The Pulse section

The three parameters in the Pulse section are responsible for controlling the pulse width of the first oscillator in the
VCO section:

• Width - Controls the pulse width of the square wave.

• Mod - Decides the amount of pulse width modulation by a modulation source.
• Source - Selects the modulation source: LFO1, LFO2, ENV1, ENV2.

A PWM diagram

Hard sync
Usually, Hard Sync requires two oscillators; one of them restarts the period of the second one. The Master oscillator
has a constant frequency based only on a MIDI note’s frequency; the Slave oscillator has a frequency based on note
frequency, varied by additional modulation sources (like Envelope or LFO). In Hard Sync mode, the Master oscillator, as
it reaches the end of its phase, also restarts the Slave oscillator’s phase. In Lush 2, Hard Sync is achieved using a second
hidden oscillator for Pulse and Sawtooth generators. Hard Sync can be controlled and activated in the Hard Sync
section of the GUI.

The Hard Sync section

22
Layer parameters • Sound synthesis

• Sync - Activates and deactivates Hard Sync.

• Offset - Decides frequency offset of the slave oscillator.
• Mix - Crossfades between the Slave oscillator, and the mixed 50 / 50 Slave and Master oscillators.
When Hard Sync is enabled, the pitch modulation (Mod fader in Pitch section) affects the Slave’s oscillator frequency
only.

Envelope generators - ENV1 and ENV2

Envelopes can be used for controlling the signal amplitude, filters, sound pitch or pulse width. We have two generators
at our disposal in the Layer parameters section. Their controls are located in sections: ENV1 and ENV2.

ENV1 and ENV2 sections

These are classic ADSR generators with four parameters:

• A - Attack time
• D - Decay time
• S - Sustain level
• R - Release time
There are two additional parameters:

• Reset
• Invert

Reset
This parameter decides when the Envelope is re-triggered.

The Reset parameter

23
Layer parameters • Sound synthesis

We have the following values to choose from:

• Trig - Each incoming note to Lush 2 re-triggers the Envelope.

• Gate - A note re-triggers the Envelope if no other note is currently playing. Therefore, overlapping notes do not
re-trigger (Mono only).
• LFO1 - The Envelope is re-triggered when a new period of LFO1 starts.
• LFO2 - The Envelope is re-triggered when a new period of LFO2 starts.
Trig and Gate affect played notes differently in Mono mode (Polyphony = 1); however, in Poly mode (Polyphony > 1)
there is no difference between the practical operation of Trig and Gate.

A diagram demonstrating the retriggering of an Envelope

Invert
The Envelope can be inverted on its y-axis using the Invert option.

A diagram for positive (straight) and negative (inverted) envelopes

24
Layer parameters • Sound synthesis

Depending on the Invert button’s state, the envelopes are straight or inverted.

The envelope’s Invert button

LFO1 and LFO2

In the Layer parameters section, there are two multipurpose Low Frequency Oscillators, with control parameters for each
located in sections LFO1 and LFO2 of the GUI:

LFO1 and LFO2 sections

Both LFOs can be used for controlling sound pitch, filter parameters, pulse width or sound amplitude. There are two
main parameters for an LFO:

• Waveform - Clicking the display we can choose one of 5 available waveforms:

• Triangle
• Square
• Sawtooth
• Random
• Noise
• Rate - Defines the frequency of the LFO, except for the Noise waveform which isn’t affected by frequency.

Further parameters controlling the LFO work mode:

• Reset - Decides what conditions reset the LFO (set on the beginning of each period) - see the next manual
section for details.
• Sync - (Tempo synchronization) Selects an LFO’s synchronization with the tempo. By default, the LFO is inter-
nally timed (Sync is set to off). When we set Sync to any other value, the frequency of the LFO will depend on
the tempo set in a host application and the Rate becomes a discrete parameter that sets the rate relative to the
tempo, in notation values.
• Track (Keyboard tracking) - Lets the frequency of the note affect the LFO frequency when turned on. With this
feature, we can achieve a simple FM synthesis (modulating a frequency of VCO with an LFO).
• Mono (mode) - (Turned off by default) In Poly mode with Mono switched on, all voices in the Layer have LFOs
synchronized together in phase, giving the impression of a single LFO controlling all Layer voices at once.

25
Layer parameters • Sound synthesis

Tempo synchronization
By default, the Sync parameter is set to Off.

An LFO’s Sync parameter

With Sync set to off, the LFO’s Rate is expressed in Hz (tempo independent units). If you set the Sync parameter to any
other value, the Rate will be expressed in notation values relative to the host application tempo: 32, 16, 8, 4, 2, 1 bars,
1/2 , 1/4 , 1/8 , 1/16 and 1/32, and the Sync parameter will select the rhythmic modifier for the Rate:

• Full note
• Dotted note
• Triplet note

Reset
The Reset parameter decides what conditions reset the LFO (set on the beginning of each period).

An LFO’s Reset section

We have 4 possibilities:

• Trig - Each new incoming note resets the LFO.

• Gate - Incoming note resets the LFO if no other note is currently being sustained in incoming MIDI (Mono only).
• Arpe - This works only when the Arpeggiator is active. The LFO is reset when the Arpeggiator starts generating a
sequence, i.e. when we release all the keys on the MIDI keyboard and press them (or one of them) again.
• None - The LFO does not reset.

26
Layer parameters • Sound synthesis

In Poly mode (Polyphony > 1), the behavior of Trig or Gate is the same, because in both cases the LFO is reset for every
incoming note.

A diagram demonstrating the retriggering of an LFO

Extra parameters
Clicking the Wave icon or Waveform display, we get access to an LFO’s additional parameters:

Accessing an LFO’s extra parameters

27
Layer parameters • Sound synthesis

Once we open the panel, here’s what we see:

An LFO’s extra parameters

We can adjust the LFO with the following controls:

• Waveform - Clicking the display, we can choose one of 5 available waveforms:

• Triangle
• Square
• Sawtooth
• Random
• Noise
• Invert - Inverts the LFO’s waveform.
• Phase - Adjusts the LFO’s phase shift from 0 to 360 degrees.

Filters
Lush 2 has two serially connected filters.

• The first is a multi-mode resonant filter (Low-pass, Band-pass and High-pass).

• The second is a High-pass filter with a characteristic RC analogue filter.
In the HPF section, we have only one parameter and this controls the second of those two filters (High-pass); FRQ –
the cutoff frequency of the High-pass filter.

The High-pass filter

28
Layer parameters • Sound synthesis

In the Filter section, we have access to parameters that control the multi-mode resonant filter:

The multi-mode resonant Voltage Controlled Filter (VCF)

From the left, respectively:

• Type - We have three available filter types to select from:

• LP - Low-pass,
• BP - Band-pass,
• HP - High-pass.
• 101 Mode - When disabled, the overall peak volume of the filter output is constant across the Cutoff Frequency
and Resonance domain and the Filter itself is softer in comparison to SH-101 characteristics. When enabled, the
Filter is more unstable and analogue, like with faithful emulation of self-oscillations appearing in SH-101.
• FRQ - Sets the filter cutoff frequency.
• ENV1 - Sets the depth of modulation for the cutoff frequency by Envelope 1.
• ENV2 - Sets the depth of modulation for the cutoff frequency by Envelope 2.
• LFO1 - Sets the depth of modulation for the cutoff frequency by LFO1.
• LFO2 - Sets the depth of modulation for the cutoff frequency by LFO2.
• KBD - (Keyboard tracking) Applies Pitch frequency on the Cutoff frequency of the filter. The KBD parameter
controls the amount of this effect. When the KBD is set to minimum, the cutoff frequency remains unchanged in
relation to VCO frequency, causing higher notes to be duller with the low pass filter turned on. When the KBD
is set to maximum, the cutoff frequency is perfectly tuned with the VCO’s Pitch, tracking the pitch exactly; the
brightness of the sound will stay the same throughout the keyboard range.
• RES - Sets filter resonance level.
• ENV2 - Sets the depth of modulation for resonance level by Envelope 2.
• LFO2 - Sets the depth of modulation for resonance level by LFO2.
The diagram below shows the manner in which parameters from the Filter, Bend + Wheel and the Pitch sections affect
the Filter:

A Filter diagram

29
Layer parameters • Sound synthesis

Pitch parameters and modulation

In the Pitch section on the GUI, we have a set of parameters that control the influence of the Envelopes or LFOs on the
frequency of oscillator in the VCO section.

The Pitch section

Starting from the left, the first two parameters control pitch tracking:

• Freq - Sets the absolute frequency of the VCO (from 20 Hz to 8 kHz); this parameter works only when Track is
turned off (described below).
• Track - (Turned on by default) Takes the pitch of incoming midi notes into account when a sound is generated. If
we turn off the Track, the pitch of incoming midi notes is ignored by Lush 2 and the frequency is constant
(controlled by the Freq parameter). In consequence, no matter what key we press on the keyboard, the sound will
have exactly the same frequency.

A pitch frequency tracking diagram

Next, we have a column with another two parameters:

• Range - Pitch transposition by whole octaves:

• 16’ - Pitch not transposed.
• 8’ - Pitch transposed by +1 octave.
• 4’ - Pitch transposed by +2 octaves.
• 2’ - Pitch transposed by +3 octaves.
• Filter Track - Sets the filter keyboard tracking to take Range and Freq (when Track is turned off) into account
when active.

A diagram showing filter track effect on the filter

30
Layer parameters • Sound synthesis

Amplitude modulation – VCA

The VCA section selects the way amplitude is modulated.

The VCA section

The Source switch is responsible for selecting the generator:

• ENV1 - Selects ENV1 to control sound amplitude.

• ENV2 - Selects ENV2 to control sound amplitude .
• Gate - Selects the Gate signal to control sound amplitude, i.e. an incoming MIDI Note On message generates
positive slope (sound amplitude has maximum value) and MIDI Note Off message generates negative slope (sound
amplitude is zero).
• Product - Selects the product of two modulators to control sound amplitude. We can select which modulators are
used in the displays below:

Product sources
Each display allows you to select one of the following modulators: LFO1, LFO2, ENV1, ENV2.

A VCA amplitude modulation diagram

31
Layer parameters • Sound synthesis

Wheel and bend sections

These two sections allow you to change the effect of the modulation wheel and/or pitch bender on the filter’s and/or
oscillator’s frequencies.

The Wheel and Bend sections

• Bend - Sets the pitch bender to control the oscillator’s frequency and/or filter cutoff frequency. There are two
parameters:
• VCO - Sets the range across which the pitch bender will affect the oscillator’s frequency (independently for
bender up and down positions, expressed in half-tones.cents).
• VCF - Sets the range across which the pitch bender will affect the filter cutoff frequency (independently for
bender up and down positions, expressed in half-tones.cents).
• Wheel - Allows the modulation wheel to control the depth of effect of LFO1 on the oscillator frequency and/or
filter cutoff frequency. We have the following parameters:
• VCO - Sets the depth of modulation for the oscillator’s frequency by LFO1’s output - gives a vibrato effect
controlled by the modulation wheel.
• VCF - Sets the depth of modulation for the filter frequency by LFO1’s output.
Note: Please note that the Waveform of the LFO1 output for the wheel section is always triangular. The Waveform
parameter in the LFO1 section is ignored here.

The diagram below presents the manner in which VCO parameters in Bend and Wheel sections influence the oscillator
frequency:

A diagram showing how wheel and bender affect VCO parameters

This diagram presents the way VCF parameters in Bend and Wheel sections affect the filter cutoff frequency:

A diagram showing the effects of wheel and bender in the filter section

32
Layer parameters • Insert effects

Insert effects
Two insert effects (working in-chain) can be used per Layer:

The FX Rack

We are able to select one of the available FX Algorithms:

• Chorus
• Flanger
• String Ensemble
• Phaser
• Vowel Filter
• Distortion
• Decimator
• Tremolo
Or just turn off the insert effect (for Layer) - by selecting None as an Algorithm.

To choose the effect you need, pull down the menu by clicking the Algorithm box.

Each of the insert effects has its own set of parameters to control. To access those parameters, pull down the FX Rack
panel using the button with three dots in the header:

Opening the FX Rack panel

The FX knob in each of two insert effects controls the mix between processed and unprocessed signals leaving the
effect:

The FX knobs

It’s also possible to swap the effect’s position in the chain using the swap button in the header:

Swapping insert effect slots

33
Layer parameters • Insert effects

Chorus

Insert effect – Chorus

• Rate - Controls the rate of the LFO for the chorus’ delay line.
• Depth - Controls the amplitude of the LFO for the delay line.
• Fat - Uses a single delay line when disabled. While enabled, another delay line is added to the effect (two delay
lines) to get a richer sound.
• Stereo - Controls the LFO for the stereo phase shift on delay lines between left and right channels.

Flanger

Insert effect - Flanger

• Rate - LFO frequency

• Depth - Depth of flanger effect
• Feedback - Flanger feedback
• Invert - Inverts flanger feedback (negative loop instead of positive)

String ensemble
This is a combination of chorus and phaser effects.

Insert effect - String Ensemble

34
Layer parameters • Insert effects

• String Mode – Chorus work mode:

• Light – Low depths of LFOs controlling delay lines.
• Heavy – High depths of LFOs controlling delay lines.
• Stereo - Sets phase shift between stereo channels.
• Phaser - Turns on/off the Phaser in String Ensemble.
• Rate - Rate of the Phaser LFO.
• Depth - Amplitude of the Phaser LFO.
• Color - Turns resonance on and off for the Phaser effect.

Phaser

Insert effect - Phaser

• Rate - LFO frequency.

• Depth - LFO amplitude.
• Double LFO - Selects whether the Phaser is controlled by one or two LFOs. When disabled, the Phaser is
controlled by a single LFO and when enabled, by two LFOs. Note that the second LFO has constant fixed
frequency and lesser amplitude.
• Stereo - Stereo phase shift between the channels.
• Feedback - Phaser feedback level.

Vowel

Insert effect - Vowel Filter

35
Layer parameters • Insert effects

• Vowel Stack - Controls the position of the Vowel Filter in a vowel list; the LFO oscillates around this position.

A vowel set diagram

• Above the fader, we see a vowel list with five elements, which can be modified by the user. You can cycle through
each vowel element with mouse clicks. Each position can choose between five vowels: A, E, I, O, U.
• Vocal Tract - Selects one of the available vocal timbres.
• Rate - Sets the frequency of the LFO controlling the Vowel Filter.
• Depth - Sets the depth of the LFO controlling the Vowel Filter.
• Reso - Resonance.

Distortion

Insert effect - Distortion

• Dynamics - Sets the amount of compression before distortion. Higher values mean more compression and a less
dynamic signal.
• Preamp - Sets signal amplification before the clipper.
• Shape - Sets the clipping curvature.
• Threshold - Sets the threshold value for the clipper.

Bit crusher

Insert effect - Bit Crusher

• Preamp - Sets input signal amplification before it is crushed; the parameter ranges between [0 - 48 dB].
• Resolution - Decides quantization to a given number of bits [1 - 16]; if the display is set to -- value, the input
signal is not quantized and only resampling is performed.
• Frequency - Sets the resampling frequency [0 - 44 kHz].
• AA Filter - Turns the anti-alias low-pass filter on and off; filter cutoff frequency is linked to the resampling
frequency (set by the Frequency knob).

36
Layer parameters • Master section

Tremolo

Insert effect – Tremolo

• Waveform - Selects the tremolo’s LFO waveform (Sine or Triangle).

• Rate - Sets the rate of the tremolo effect.
• Depth – Sets the depth of the tremolo effect.
• Stereo - Sets the tremolo stereo phase shift between Left and Right channels.

Master section
There are three available parameters:

A Layer’s master section

• Fine - Allows precise (fine) pitch tuning of oscillators in the Layer.

• Volume - Adjusts Layer output volume.
• The 440 Hz button generates a test signal - a sine wave with 440 Hz frequency (middle A key).
The Level VU meter indicates the Layer’s output signal level.

Arpeggiator
Lush 2 has a very advanced Arpeggiator section. Just like other modules in the Layer, this also works independently for
each Layer. This means that for every Layer, the Arpeggiator can be activated or not. The Arpeggiator section is located
on the right side of the Synth view.

37
Layer parameters • Arpeggiator

An Arpeggiator section

In the top area, there is a preset management system for the Arpeggiator. You can store your own settings for this
section or load prepared ones:

Arpeggiator - Preset Management

Here, we can distinguish the following set of controls:

• Preset - Shows the name of the currently loaded preset. Clicking the display opens a browser to load, save and
manage presets (more on that in the Preset Management part of the manual).
• Copy (icon) - Copies parameters from the currently selected Layer’s Arpeggiator into a buffer.
• Paste (icon) - Pastes parameters from the buffer onto the selected Layer’s Arpeggiator.
The parameters below control the Arpeggiator:

• Rate - Sets the rhythmical value of a single step in the Arpeggiator sequence: 1 bar, 1/2 , 1/4 , 1/8 , 1/16 , 1/32
and 1/64. Additionally, with the help of three radio-button LEDs, Full / Dot / Tri, we can modify the rhythmical
value of the Rate parameter:
• Full - Full note,
• Dot - Dotted note,
• Tri - Triplet.
• Chords Mode - When Chords Mode is turned off, the Arpeggiator behaves regularly (it generates a monophon-
ic sequence accordingly with other settings), but if Chords Mode is turned on, the Arpeggiator acts as a gater.
Pressing a chord on the MIDI keyboard will cause the Arpeggiator to play all sounds at once in a single step.
Please note, using the Chords Mode requires an adequate polyphony.
• Mode - Selects the Arpeggiator’s work mode (run mode):
• Off - Arpeggiator turned off.
• Up - Upward sequencing.
• Down - Downward sequencing.
• Up and Down - Upwards and downwards, beginning from the top of the sequence.
• Down and Up - Downwards and upwards, beginning from the bottom of the sequence.
• Random - Random order sequencing.
• Manual - Sequencing according to the order of keys pressed on the MIDI keyboard.
• Octaves - Arpeggiator range expressed in octaves.
• Repeat - Number of repetitions of the Arpeggiator sequence in each octave.

38
Layer parameters • Arpeggiator

• Hold Mode - Typically, Hold Mode causes an Arpeggiator sequence to constantly play even if MIDI keys are
no longer held on the keyboard. Successively pressed keys will be added to the Arpeggiator sequence; in other
words, incoming MIDI Note off messages are ignored. In Lush 2, we have a few Hold Modes to select from:
• Toggle - In this mode, the MIDI keyboard works in Toggle Mode; pressing one key adds a corresponding
note to the Arpeggiator’s sequence and pressing the same key once again removes the note from the
sequence.
• Trigger - When keys are pressed on the keyboard, their corresponding notes are added to the sequence.
When we press and hold, for example, two keys, they are added to a sequence, even if we release one of
them, and two notes are still in-queue (playing). Even if we release all pressed keys, the sequence will still
play; however, if we press any notes again on the MIDI keyboard, the notes previously played are removed
from the sequence, and the new ones pressed will be added to the sequence immediately.
• Normal - Hold Mode works regularly (as described above).
• Off - Hold Mode is inactive.
• Clear Keys - Removes all notes from the Arpeggiator sequence which were added earlier with Hold Mode,
irrespective of the chosen Hold Mode. Using the Clear Keys button while holding CTRL performs the action for
all Layers in Lush 2.
• Shuffle - Sets the swing strength for a generated sequence.
• Gate - Sets note length for a single step in a generated sequence. If the Gate is set to 100%, notes generated in
an Arpeggiator sequence will overlap each other (Legato).
In the bottom part of the Arpeggiator section there are two rows of LEDs. Each column accords to a single step of the
Arpeggiator sequence - although that single complete cycle of the Arpeggiator can be much longer, because of Octaves
and Repeat values and/or the number of keys pressed on the MIDI keyboard simultaneously.

Arpeggiator - Step editor

The 16 LED columns correspond to 16 steps. When the 16th step is reached, the Arpeggiator returns to the 1st step.
LEDs work in toggle mode, and therefore:

• The first row (Gate) displays whether a step is played or not. If an LED is set, the step is played. If an LED is unset,
then a pause is generated and the note that should appear in this place is omitted.
• The second row (Tie) is used for tying notes together. If an LED is set, the step corresponding to that LED is tied
together with the next step. Setting the adjacent LEDs will tie all the notes into a single longer one.
Obviously, the maximum length is 16 steps, but you may decrease it using the Length display.

Padlock
There is also a Padlock icon in the upper right corner of the Arpeggiator section:

The Arpeggiator’s Padlock

It is used for locking all parameters within the Layer’s Arpeggiator, preventing overwrite of their values when the Layer
Preset or Global Preset is loaded. To read the details, go to the Preset Management chapter.

39
Layer parameters • Arpeggiator

Arpeggiation examples
Let’s assume the following values for the Arpeggiator’s parameters:

• Octaves = 1 oct
• Mode = Up
• Repeat = 1x
• Rate = 1/16 (full)
To get an Arpeggiator that sounds regularly, we have to set all the LEDs in the Gate row and disable all the LEDs in the
Tie row. For a C-min chord pressed on the MIDI keyboard, the sequence will look as follows:

Arpeggiator - example 1 diagram

We can slightly modify the Gate row and as a result get the following sequence:

Arpeggiator - example 2 diagram

If we instead slightly modify the Tie row, we will receive this sequence:

Arpeggiator - example 3 diagram

40
Modulation matrix • Arpeggiator

Modulation matrix

Modulation Matrix is a tool that increases the expressivity of the sound by allowing the user to alter Layer sound
parameter values using MIDI events. Each Layer in Lush 2 contains its own independent Modulation Matrix.

To edit the Modulation Matrix, click the Modulation Matrix button in the Select View section.

The Select View section

After doing so, you will see the Modulation Matrix view in the front panel of Lush 2:

A Layer’s Modulation Matrix

As you can see, the Control section in the top part of the GUI is still visible and accessible, making it possible to switch
between Layers and edit the Modulation Matrix for each without leaving the Modulation Matrix view.

The Modulation Matrix in Lush 2 is displayed in a tabular form, in which the following columns can be distinguished:

The Modulation Matrix row

• Sources - Input controllers responsible for modifying the destination parameter. There are 9 modulation sources
available starting from the left:
• Mod Wheel - MIDI CC #01 (range [0 - 1]),
• Pitch Bend - MIDI Pitch Bender (range [(-1) - 1]),
• Expression Pedal - MIDI CC #11 (range [0 - 1]),
• Sustain Pedal - MIDI CC #64. Sustain (has one of two values; {0,1}),
• Aftertouch - Or Channel Pressure. MIDI Channel Aftertouch (range [0 - 1]),
• Velocity - MIDI Note velocity (range [0 - 1]),

41
Modulation matrix • Arpeggiator

• Pitch Table - Values (range [0 - 1]) of Pitch Table (see the Pitch Table chapter) assigned to each and every
MIDI note,
• Arp Gate - Gate step sequence from a Layer’s Arpeggiator (sequence has two-state steps and, because of
that sequence, each step can have one of two values; {0,1}),
• Arp Tie - Tie step sequence from a Layer’s Arpeggiator (sequence has two-state steps and, because of that
sequence, each step can have one of two values; {0,1}).
• Destination - The destination parameter to be modified.

Each Source -> Destination assignment is represented by a user-assignable Modulation Amount value ranging from
-100% to 100%.

A Modulation Amount dial

Operating a Modulation Matrix is based on a formula:

Destination + Source * Modulation Amount

Where:

• Destination and Source - Have values (in most cases) in the range of [0 - 1],
• Modulation Amount - Has a value within the [-100% - 100%] range scaled down to [0 - 1].
Clicking the Destination’s parameter name, we can select one of the sound parameters of the Layer. Almost all are
available to be selected.

Choosing a Destination

It should be remembered that Velocity and Pitch Table have fewer available Destination parameters as they are both source
controllers working per voice and some of the Destination parameters affect all Layer voices (e.g. Insert Effects parameters);
therefore, Velocity and Pitch Table sources cannot be assigned to these kind of Destination parameters.

To add a new row to the Modulation Matrix, use the Plus button in the Destination column:

Modulation Matrix - adding a row

42
Modulation matrix • Voice volume - a special destination parameter

To remove a row, use the adjacent X button:

Modulation Matrix - removing a row

When you hover over a row with the mouse pointer, you will see up and down caret icons that you can use to reorder
rows:

Modulation Matrix - reordering rows

Voice volume - a special destination parameter

In the Destination column, we have a specific parameter available which can be selected, namely Voice Volume (almost
at the bottom of the pulldown list). This parameter has no equivalent in any of the GUI parameters. It controls the
volume of a single voice generated by the synthesizer. Using it as the Destination in the Modulation Matrix enables
a dynamic response between the incoming MIDI velocity and the volume of the plug-in’s sound. This parameter works
according to a slightly different formula than other Destinations in the Modulation Matrix. When the Modulation
Amount value is set to 0, the Voice Volume is not modified at all (voices will lack volume dynamics). When Modulation
Amount is set to 1, the MIDI Note Velocity affects the Voice Volume to full extent (maximum volume dynamics) in
accordance with a principle: the greater the Velocity of a MIDI note, the louder the generated sound. But if we set the
Modulation Amount to -1, then the note Velocity is inversely proportional to the sound volume (Voice Volume); the
greater the velocity value of a MIDI Note, the quieter the sound generated.

Arp gate, arp tie - special modulation sources

In regard to Sources in the Modulation Matrix, most of them are simply external MIDI events that come in from an
active port redirected to Lush 2. The Arp Gate and the Arp Tie are two exceptions to this rule, because they are both
generated internally by the Layer Arpeggiator. Moreover, these are not continuous parameters but binary sequences
generated by the Arpeggiator based on the states of Gate and Ties steps. If the step is set, then the generated value is
1, otherwise it is 0.

Gate and Tie step values

43
Modulation matrix • Arp gate, arp tie - special modulation sources

The diagram below shows an example of how settings of the Arpeggiator Gate and Tie rows correspond to sequences
of Arp Gate and Arp Tie Sources in the Modulation Matrix:

Modulation Matrix - Arp output example diagram

Note: Arp Gate and Arp Tie Sources work even if the Layer Arpeggiator is turned off (Arpeggiator Mode parameter set to
Off). Regardless of whether the Arpeggiator is turned on or off, the tempo of the generated sequence is controlled by the Rate
parameter in the Arpeggiator section.

Arpeggiator - Rate and Mode

44
Modulation matrix • Velocity curve

Velocity curve
Next to the Modulation Matrix table, you can find the Velocity Curve selector:

The Velocity Curve selector

This allows you to select between seven different dynamic curves to be taken into account in the Modulation Matrix
(Velocity Source).

• Convex 3
• Convex 2
• Convex 1
• Linear
• Concave 1
• Concave 2
• Concave 3
Linear is selected as default.

Sustain pedal mode

Below, you can find the Sustain Pedal toggle button:

The Sustain Pedal mode switch

Apart from its basic task of sustaining the played notes, the Sustain Pedal can also be used as a Source in the Modula-
tion Matrix. Therefore, we might want to disable the effect of the sustain pedal for played notes, limiting its influence to
the Modulation Matrix only. It is possible to perform this action using the Sustain Pedal mode switch pictured above,
which has two modes of operation:

45
Modulation matrix • Pitch table

• Disabled - (Note not sustained) Sustain pedal works in the Modulation Matrix only.
• Enabled - (Note sustained) Selected by default; sustain pedal fulfills its basic function and sustains played notes
when pressed and can also be used as a Source for the Modulation Matrix.

Pitch table
Switching to the Pitch Table tab in a Modulation Matrix will bring up the Pitch Table editor:

The Pitch Table tab

There is a graph situated in the Pitch Table tab that assigns a certain value in the range of [0 - 100%] to each MIDI Note
coming into the Layer. This set of values is used in the Modulation Matrix as the Source: Pitch Table.

The Pitch Table column in Modulation Matrix sources

Depending on the MIDI Note received by Lush 2, a corresponding value is returned as a Pitch Table value in the
Modulation Matrix.

Editing the Pitch Table values can be performed in two ways:

• Freehand drawing using the mouse while holding the left button.
• Linearly interpolated drawing using the mouse and clicking the right button. The first click starts a line and a
successive click starts another line at the end of the first one, and so on. If you are done, just finish with a left
mouse click.

46
Mixer • 

Mixer

In Lush 2, we have 8 independent Layers; each of them is actually an independent synthesizer with its own set of
parameters, completely separated from the others. You can combine and mix the sound from all the Layers together in
the Mixer view.

The View selector

After clicking the Mixer button, the Mixer view appears on the front panel of Lush 2:

The Mixer view

The first 8 channel strips represent the synthesizer Layers. The three following channel strips are the effect (FX)
channels with three send effect algorithms permanently assigned to them (one each):

• Reverb
• Delay
• Chorus
Each of those send effects has its own set of parameters and a preset management system.

Each Mixer channel (Layer or FX) can be routed to one of the eleven available plug-in outputs.

A diagram showing signal flow through the Mixer

47
Mixer • Layer channel strip

Layer channel strip

Before the outgoing signal from a Layer is mixed with signals from other Layers, it passes through a channel strip.

Mixer – a Layer’s channel strip

Starting from the top of the channel strip, we can distinguish the following controls:

• Display with Layer preset name - Displays the name of the loaded Layer preset. Clicking the display opens a
browser to load, save and manage presets (more on that in the Preset Management part of the manual).
• Edit - Opens a panel with additional parameters for the strip.
• Output - Selects the output channel the Layer’s outgoing signal is routed to after processing.
• Pan - Controls a Layer’s stereo balance.
• Level - Controls the output volume of the channel strip; the adjacent VU meter shows current outgoing signal
level.
• EQ - Enables or disables parametric EQ (hidden in the strip’s Edit panel).
• Comp - Enables or disables a compressor (hidden in the strip’s Edit panel).

At the bottom, in the Sends section of the strip, there are parameters to control the amount of signal that’s sent to FX
channels.

• Reverb - Sets the send value for the Reverb channel.

• Delay - Sets the send value for the Delay channel.
• Chorus - Sets the send value for the Chorus channel.
• Pre Level - Decides whether the signal sent to effect channels takes the Level fader into account.

Edit panel
Clicking the Edit button in the channel strip:

Accesing Edit panel

48
Mixer • Layer channel strip

Opens up the Edit panel with additional parameters for the channel strip:

Strips’ Edit panel

Here, we have parameters controlling a dedicated compressor and parametric EQ:

• Compressor
• ENV - Selects one of the three available fixed envelopes using a radio group of three LEDs:
• Fast - Fast attack, slow release.
• Mid - Medium attack, medium release.
• Slow - Slow attack, fast release.
• Ratio - Selects one of three available fixed compression ratios using a radio group of three LEDs:
• 1:2
• 1:4
• 1:10
• Threshold – Sets the compressor threshold.
• Parametric EQ
• Hi - Sets high-shelf gain from -24 dB to +24 dB for frequencies >= 8 kHz.
• Mid Frq - Sets position for the peak of middle frequency EQ from 100 Hz to 10 kHz.
• Mid - Adjusts gain value for the peak of middle frequency EQ from -24 dB to +24 dB.
• Low - Sets low-shelf gain from -24 dB to +24 dB for frequencies <= 100 Hz.
• Pre Comp. - Controls the sequence of processing by the Compressor and EQ sections. Pre Comp. has the
following settings:
• Off - The signal is processed first by the Compressor and then the EQ.
• On - The signal is processed first by the EQ and then the Compressor.

49
Mixer • FX channel strips

Channel strip signal flow per layer

The diagram below depicts the signal flow through a channel strip:

A diagram showing signal flow through a layer’s channel strip

FX channel strips
Send knobs control the amount of signal from each Layer that is sent to each FX channel; they can be found in the
Sends sections of Layer channel strips. The input of an FX channel is a sum of all parts from all sent Layers. Each FX
channel is assigned to one effect algorithm (Reverb, Delay or Chorus) and then it goes through any further EQ or
compression specific to the send.

The 3 FX channel strips

The FX channel, apart from having an assigned effect algorithm, contains few other (common) elements affecting
the sound:

The common FX channel controls

50
Mixer • FX channel strips

• Preset name - Displays the name of the loaded preset for a particular effect (each FX channel has its own preset
management system to store effect algorithm presets). Clicking the text box opens a browser to load, save and
manage presets (more on that in the Preset Management part of the manual).
• Edit - Opens the Edit panel for the FX channel. In each strip, only the most commonly-used parameters are
exposed. Opening the Edit panel shows all parameters available.
• Output - Sets the plug-in output number to route the FX channel output to (1 - 11).
• Pan - Panorama.
• Level - Controls the amplitude of the FX channel output signal.
• EQ - Enables and disables parametric EQ (hidden in the strip’s Edit panel).
• Comp - Enables and disables the Compressor (hidden in the strip’s Edit panel).
• Enable [effect name] - (The button at the bottom) Enables and disables the effect algorithm associated with
a particular FX channel.

Edit panel
Clicking the Edit button in an FX channel strip:

Accessing Edit panel

Opens up an Edit panel with additional parameters for the channel strip:
Specific General

Opening the Edit panel for an FX channel

The edit panel has two parts:

• Specific settings - Holds parameters associated with a particular FX channel strip. These settings vary from one
channel to another.
• General settings - Holds parameters featured on all 3 FX channels, such as EQ.

51
Mixer • FX channel strips

The general part of an edit panel

In the general part of an Edit panel for FX channels, we can see the following set of parameters:

The common parameters in an Edit panel for FX channels

Here, we have parameters controlling a dedicated Compressor and parametric EQ:

• Compressor
• Attack - Selects one of the three available fixed envelopes using a radio group of LEDs:
• Fast - Fast attack, slow release.
• Mid - Medium attack, medium release.
• Slow - Slow attack, fast release.
• Ratio - Selects one of three available fixed compression ratios using a radio group of LEDs:
• 1:2
• 1:4
• 1:10
• Threshold - Sets the compressor threshold.
• Parametric EQ
• Hi - Sets high-shelf gain from -24 dB to +24 dB for frequencies >= 8 kHz.
• Mid Frq - Sets the position for the peak of middle frequency EQ from 100 Hz to 10 kHz.
• Mid - Adjusts gain value for the peak of middle frequency EQ from -24 dB to +24 dB.
• Low - Sets low-shelf gain from -24 dB to +24 dB for frequencies <= 100 Hz.
• Pre Comp. - Controls the sequence of processing by the Compressor and EQ sections. Pre Comp. has the
following settings:
• Off - The signal is processed first by the Compressor and then the EQ.
• On - The signal is processed first by the EQ and then the Compressor.

52
Mixer • FX channel strips

Reverb
The first FX channel is Reverb; its parameters are located in a strip on the right side of the channel.

The Reverb parameters in the FX channel strip

Only a handful of settings are exposed and the rest can be accessed by pressing the Edit button.

The Reverb parameters accessible from the Edit panel

Here, we can distinguish the following groups of parameters:

• Early reflections:
• Size - Sets the room size for early reflections only.
• Diffusion - Sets the reflecting surface’s ability to spread the echo out. If this parameter is set to its lowest
value, the reflecting surface is perfectly flat and does not distort the reflected wave. If set to its highest
value, the reflecting surface distorts waves and spreads them out in different directions.
• Attenuation - Changes the characteristic of the wall’s surface - its absorption of high frequencies.

53
Mixer • FX channel strips

• Late reflections:
• Size - Sets the room size for late reflections only.
• Diffusion
• Attenuation
• Feedback - Controls how much wave energy is consumed by reflection. The smaller the value, the more
energy is consumed, meaning the feedback is weaker.
• Modulation - Controls the reverb delay lines’ continuous variation.
• Mix:
• Pre delay - Sets the delay between the dry signal and reverberation.
• ER / LT - Cross-fades between early reflections output and late reflections output.

Delay
The second FX channel is Delay; its parameters are located in a strip on the right side of the channel.

The Delay FX channel strip

Only a handful of settings are exposed and the rest can be accessed by pressing the Edit button.

The Delay parameters accessible from the Edit panel

The following parameters control the Delay effect:

54
Mixer • FX channel strips

Loop section
Sync - Turns on/off synchronization with the host application. When off, the delay time is set by a Delay knob, other-
wise it’s set using the two LED displays (Delay L and Delay R):

• Delay - Sets the delay time in milliseconds. This control works only when Sync is turned off (non-tempo synchro-
nized delay).
• Delay L / Delay R - Sets the delay by note values (relative duration), when in tempo synchronization mode (Sync
turned on). We can set these values separately for left and right channels:

The tempo-based delay time panel

There are separate LED displays for both left and right channels (L, R). The numbers on the top are numerators; on
the bottom - denominators. The entire fraction represents a note value, which is a delay time between the taps.
The denominator is a rhythmic scale (e.g. 16 means it’s a 16th note), the numerator is a multiplier; for example,
3/16 is a duration time of three 16th notes:

A 3/16th delay time diagram

• Join - Links both Delay L and Delay R controls.

• Full / Dot / Tri - Lets you select between three rhythmical modifiers according to each LED (for left and right
channel independently):
• Full - Full note,
• Dot - Dotted note,
• Tri - Triplet note.
Example: On the left channel, we set a delay value of 5/16; on the right channel, of 3/16. Additionally for the right
channel, we select a Dot modifier. These are the resultant delays:

Delay – Example diagram

The function of the remaining parameters is as follows:

Spread - Sets a linear (additional) delay between the left and right channel. Therefore, if:

• Sync is Off - When the Delay effect is not synchronized with a host application, the maximum delay between
the left and right channels is 50% of the Delay time knob value.
• Sync is On - When the Delay effect is synchronized with a host application, the maximum delay between left
and right channels is 50% of the rhythmical value set in Delay L.

55
Mixer • FX channel strips

Filter section
• Feedback - Sets feedback value of the Delay effect.
• Cutoff - Sets the cutoff frequency of the filter in the delay loop.
• Resonance
• Filter Type - OFF (no filter), LP (low-pass filter), BP (band-pass filter), HP (high-pass filter).

Chorus
The third FX channel is Chorus; its parameters are located in a strip on the right side of the channel.

The Chorus FX channel strip

All Chorus parameters are accessible and none are hidden in an Edit panel. We can distinguish the following set of
parameters:

• Offset - Sets the offset between the dry signal and the closest LFO oscillations controlling the delay lines,
expressed in milliseconds.
• Depth – Sets the amplitude of LFO oscillations, expressed in milliseconds.
• Rate - Controls LFO frequency [0.01 Hz - 20 Hz]. The LFO waveform is triangular.
• Mode - Sets the volume of the second delay line, making the chorus sound fuller.
• HP - Controls high-pass filter cutoff frequency on the output from the Chorus.
• Stereo - This is the stereo phase offset of the LFO controlling the delay line.

56
Options • MIDI and parameter automation

Options

This chapter concerns all the additional plug-in settings that aren’t stored with any preset type. These settings are exclu-
sively stored within a DAW session but can also be saved and loaded using the options described later in this chapter.

MIDI and parameter automation

This chapter describes everything about communication between the DAW (host) and the plug-in regarding MIDI
or parameter automation options.

MIDI

MIDI channels
MIDI messages from different channels can be sent to specific Layers in Lush 2. To set which MIDI channels each Layer
within Lush 2 responds to, just click the Options button and go to MIDI -> Channels Setup:

Opening the MIDI Channels Setup window

When you do so, the Channels Setup window will appear:

The MIDI Channels Setup window

Using combo boxes, you can choose whether a Layer should respond to Any MIDI channel or to a particular one (1-16).
This setting is stored within a DAW project.

MIDI output
By default, Lush-2 bypasses the MIDI messages it receives, meaning every MIDI event that goes into the plug-in is also
sent out from the plug-in (which you can use to feed another MIDI track). If this functionality causes issues with your
DAW (such as creating unwanted MIDI loopbacks) you can disable Lush-2 MIDI Output by clicking the Options button
and unchecking the MIDI -> Enable MIDI Out option.

57
Options • MIDI and parameter automation

The Enable MIDI Out option

MIDI learn
Right-click any plug-in parameter to open the context menu:

A context menu

Left-clicking outside the menu area closes it automatically.

Clicking the bottom arrow expands the menu and displays all available options:

An expanded context menu

Linking a parameter to MIDI CC

The Learn function enables a quick assignment of physical controllers (from a MIDI controller) to plug-in parameters.

1. Click the Learn button to put the plug-in into a pending state before moving any MIDI CC controller.
2. Once the CC is recognized, click OK to save the change or click the Cancel button to restore the previous setting.

Linking a parameter to MIDI CC

58
Options • MIDI and parameter automation

Unlinking a parameter from MIDI CC

You can also delete a MIDI CC code attributed to a parameter from the context menu:

1. From the context menu, click the Clear button:

The Clear MIDI CC button

2. Then confirm using the OK button.

Loading / Saving a MIDI CC Map

These options are available in the MIDI submenu, accessible under Cog icon in the left-upper corner:

The Load Map and Save Map options

• Save Map - Saves the current MIDI CC map to a file.

• Load Map - Loads a MIDI CC map from a stored file.

Parameter automation
By default, all internal Lush 2 parameters are disabled for external automation; this is because Lush 2 has thousands
of sound parameters and VST/AU/AAX technologies don’t allow so many automatable parameters.

If you right click on a parameter in the Lush 2 UI, you will see a context menu that allows you to enable automation
for a given parameter and control it externally:

Enabling a parameter for automation

Note that not all parameters can be externally automated. Only parameters directly involved in sound generation have
this option present.

59
Options • MIDI and parameter automation

Loading and saving an automation template

Once you enable the desired parameters for automation, you can save the automation map as a template to load later
on in another plug-in instance.

The Host Automation options

Click the Options button and go to the Host Automation menu to see the following options:

• Load Template - Loads an automation map from a file.

• Save Template - Saves current plug-in state as a new automation map file.

MIDI / automation summary

Once you have enabled some parameters for automation or assigned them (using MIDI Learn) to MIDI CC, you can
check the current status of that assignment using MIDI / Automation Summary option in Options menu:

The MIDI / Automation Summary menu option

Using this option will bring up the MIDI / Automation Summary window:

The MIDI / Automation Summary window

This shows the list of parameters enabled for automation (with the respective IDs they are assigned to) and/or the MIDI
CC numbers they are assigned to.

60
Options • GUI

GUI
The Size, System Scale and Theme options are accessible from the GUI submenu under the Options menu in the upper-
left corner of the plug-in. With these, you can adjust the look of the plug-in to suit the pixel density and resolution
of your screen, and make some tweaks to the look.

The GUI Size and look options

Size
This option lets you choose one of several default skin sizes to best match the plugin to the resolution of your computer
monitor.

System Scale
System Scale controls the rescale factor for the whole plug-in. For the best visual results, you should set it to the exact
value from your system settings (screen properties).

Theme
The Theme allows you to choose skin color variant according to your preference

Hide Keyboard
The GUI -> Hide Keyboard option allows you to hide the music keyboard, which saves more space on the screen:

The Lush 2 music keyboard

61
Options • Quality settings

Quality settings
The Quality submenu under Cog icon in upper-left corner allows to choose sound quality for Real-time
or Offline modes.

Quality settings

The higher the quality, the bigger the impact on the CPU.

Processing
Under the Options -> Processing submenu we can find two items:

The Processing submenu in Options

• Multi Core Support - Increases performance on multi-core processors.

• Retrigger Mode - Decides how the Reset parameter works for Envelopes with monophonic sounds.

Multi core support

According to most plug-in format specifications, plug-ins process sound using a single thread unless multithreading
is enabled in the host DAW. Plug-ins with a large demand for processor resources can significantly use it up, so Lush
2 allows you to activate multi-core support; this lets the host DAW generate sound using the many processor cores
available in most systems. Enabling the Multi Core Support option activates multi-thread processing in the plug-in and
allows the available processor cores to evenly share the workload, removing bottlenecks in the general processor’s use.

A multi-core processor is a necessary prerequisite for using this option, otherwise the processor’s load may even
increase.

Retrigger mode
This allows you to switch the envelope retrigger mode while Polyphony = 1 (monophony) and within the envelope
Reset mode on Trig.

• Normal - (Default) Every new MIDI note resets the Envelope even if previous notes are still sustained, as is
characteristic of the Trig Reset mode. As Polyphony = 1 voice, only one note is played; if we release a key and
a previous note is still sustained through MIDI, the earlier note will be played but the envelope will not be reset.
• SH-101 - This envelope retrigger mode was inspired by the manner in which the envelope worked in the SH-101
synthesizer; if we release a key and a previous note is still sustained through MIDI, the earlier note will be played
and the envelope will be reset.

62
Options • Default settings

Default settings
You can save your current settings so that the plug-in will default to them for each new instance, or restore the plug-
in to load with its factory settings.

Changing default settings

1. Click the Cog icon in the left-upper corner of the plugin.
2. Go to the Default State submenu and choose the Save current option.

Changing the default state of the plug-in

With this option, the current plug-in state will be saved as the default / initial state for when you insert a new instance
of the plug-in.

The plug-in state includes: sound parameters (default preset), views, preset filters, sound quality settings,
loaded / created MIDI CC map and GUI settings.

Restoring factory defaults

To return the default state for new instances to factory settings:

1. Click the Cog icon in the left-upper corner of the plugin.

2. Go to the Default State submenu and choose the Restore factory option.

63
Preset management • Preset storage

Preset management

Preset storage
Presets, both from Factory content and User ones, are stored as files in proper locations on the disc. Each time a plug-in
instance is loaded into a project, these locations are scanned and the presets found there are consolidated into a single
linear structure (list) in the Preset Browser.

Preset structure
The presets structure in Lush 2 is hierarchically organized; there are five kinds of presets, which store different groups
of parameters.

• Layer presets - Stores the following parameters:

• Voices section,
• FX Rack section,
• Layer Out section,
• All parameters from the Synthesis section,

• Modulation Matrix,
• Arpeggiator.
• Arpeggiator Preset
• Reverb Preset - Reverb settings in the Mixer tab.
• Delay Preset - Delay settings in the Mixer tab.
• Chorus Preset - Chorus settings in the Mixer tab.
• Global Preset - (also simply called Preset) stores the state of the whole synthesizer, including:
• All layers (see the Layer preset),
• Mixer settings and send effects,
• Master volume,
• Global Preset Settings:
• Transpositions and keyboard Zones for all Layers.
• Arpeggio Sync Mode.
In general, a Global Preset aggregates presets from all Layers + Delay preset + Reverb preset + Chorus preset +
additional parameters.

64
Preset management • Padlocks

A diagram showing preset structure in Lush 2

Padlocks
Padlock is a functionality that lets you lock a certain set of parameters when a preset is loaded; values of locked param-
eters will not be altered. There are two kinds of Padlocks in Lush 2, with a different range of effect:

• Layer Padlock - a Layer Padlock covers all Layer parameters (including the Arpeggiator in a particular Layer) and
locks them only when loading Global Presets. This kind of Padlock will not work if we try to load a Layer Preset
or an Arpeggiator Preset.

The Layer Padlocks

To activate Padlocks for selected Layers, click on the Padlock icons (in the Control section) that correspond to
any Layers you want to lock. Padlock icons work in toggle mode.
• Arpeggiator Padlock - This kind of Padlock covers all Arpeggiator parameters in a single Layer and locks them
when loading Layer Presets or Global Presets, but it will not work on Arpeggiator Presets.

The Arpeggiator Padlock

To activate the Arpeggiator Padlock, use the Padlock icon in the Arpeggiator’s top bar.

65
Preset management • Browsing presets

Browsing presets
The Preset management section (no matter what kind of preset it concerns) enables quick navigation and browsing
of the preset structure:

The Preset management section

• PRESET - Displays the name of the currently loaded preset. Clicking the display opens the Preset Browser panel,
allowing you to browse factory / user presets.
• Prev / Next - Hovering over right side of the Preset display exposes the Prev / Next buttons:

They allow for linear browsing of the presets list (depending on currently set filters - see sections below).
• Save - Saves current parameters as a new preset or allows for overwriting of the existing one (see sections
below).

Right-clicking over the Preset display opens a context menu with two or three additional options:

• Init - Restores initial settings of plug-in parameters.

• Reload - Reloads the most recently loaded preset.
• Save – See description above.

The Preset Browser looks as follows:

The Preset Browser

There are four main parts:

• Sources - Situated in the left column, filter content Sources for displayed presets.
• Filter - Below Sources, a preset Filter that uses the Tags system.
• Results - List of presets (shown in the middle column) from Sources that meet criteria set in the Filter.
• Info pane - The right column shows information about the currently selected preset(s), divided into several
subsections.

If available - For some preset types this button can be hidden and accessible from the contextual menu (accessible via right mouse-click on Preset display)
If available

66
Preset management • Browsing presets

Sources
In this section, you can choose a Source / Source(s) that you want to browse presets from.

Preset Sources

There are two resources to choose from:

• Factory - Delivered together with the plug-in and cannot be modified (read-only).
• User - Created by the user and can be freely modified or shared with other users.

Choosing any of them will cause the results to narrow to the presets from one resource.

Filter
The section below is the Filter, which represents a preset filtering system using Groups and Tags to browse the content.

The Filter section

Groups and tags

Each Preset is described by a few common Groups. Within each of them there may be one or more Tags from a particu-
lar set.

The Filter group

Presets from the Factory resource were assigned Groups and Tags when they were created.

Groups and Tags describe the content clearly, taking into account the plug-in’s purpose.

Editing of the Groups and Tags for Factory content is limited. User presets can be described with the same Groups and
Tags as Factory content, or you may define additional Tags within factory Groups and even create your own Groups
with your own Tags to describe your own presets.

The only limitation is that a user cannot remove factory Groups or Tags from Factory content.

67
Preset management • Browsing presets

Results
This is a list of presets from chosen Sources that meet the filtering criteria. The basic function of this section is to
browse and load presets. It can also be used for editing, which is described later.

The Results list

• Click any name to choose and load the preset.

• Double-click the name to choose, load the preset and close the browser.

Hitting the OK button confirms loading a preset and closes the browser. Using Cancel closes the browser but reverts all
parameter changes that loading a new preset might have caused.

The OK and Cancel buttons in the browser

Using the X icon has the same effect as the OK button:

Close Browser window

68
Preset management • Browsing presets

Preset filtering using Groups and Tags

The Filter section contains Groups of Tags. Each Group is represented by a rectangle with the Group name + set of Tags
inside.

Group 2 with two tags set (Tag 2 and Tag 3)

The filtering process cascades from top to bottom. This means that all presets available in the selected Sources are
filtered by selected Tags from the first Group (uppermost one), then the Group below and so on, until filtered by the last
active Group (the bottom one).

Preset Filtering with the use of Groups

The result of the cascade filtering process is listed in the middle column, the Results / presets list section. You can also
consider the Results list as an intersection of preset sets, found by filtering through every individual Group.

Basic Actions
Tags work as toggle buttons. Click to activate / deactivate a Tag; a gray background color means that the Tag is inactive,
and orange means that the Tag is active.

Group 2 with two tags set (Tag 2 and Tag 3)

If at least one Tag in a Group is active, then the Group (filter) also becomes active, otherwise the Group chosen doesn’t
affect the filtering process at all.

Group operator
When a single Tag is active in a Group, only presets having that Tag set are displayed in the Results.

If two or more Tags in a Group are active, the Results depend on the Operator chosen for the Group:

A Group operator

69
Preset management • Browsing presets

The Operator button works in toggle mode and offers a choice of two alternative Operators for the Group:

• Any - Means that a preset is shown in the Results when the preset includes at least one of the active Tags
from the Group.
• All - Means that a preset is shown in the Results only when the preset includes all active Tags from the Group.

Filter enable / disable

You can quickly enable / disable the Filter using the toggle switch in the top-most section of the Filter:

An On/Off switch for a Group Filter

Other types of filtering

Searching by name
Alternatively, you can look for a preset by entering its name or just a piece of its name into the Find preset field:

The Find preset input

The Results are refreshed on-the-fly and they work together with the other filters.

Using the X icon clears the entire field:

Clearing the search field

Filtering Favorite presets

You can mark presets as a Favorite by clicking the Heart icon while hovering on preset name . You can unmark
presets by clicking the icon again (toggle mode):

Setting a preset as a Favorite on the list

Logical OR between Tags in the Group

Logical AND between Tags in the Group
It’s allowed for every source (factory or user)

70
Preset management • Browsing presets

The flag is stored globally, meaning that a Favorite preset will be accessible as such from every other instance of the
plug-in .

Once you have your Favorite presets flagged, you can quickly filter them using the toggle button with a Heart icon on it:

Favorite presets filtering

If the button is active, then only Favorite presets will be shown (considering all remaining filters).

Filtering Pinned presets

You can Pin one or more presets using the Pin icon while hovering over a preset name . You can unpin a preset by
clicking the icon again (toggle mode):

Pinning a preset on the list

Unlike Favorites, this flag works locally and it’s stored with the project file (not global config), so Pins are stored individ-
ually for every instance (with total recall, so a plug-in state is recalled if saved in the context of a project).

But, similarly to Favorites, you can easily filter presets using the toggle button with the Pin symbol on it:

Pinned presets filtering

If the button is active, then only Pinned presets will be shown (considering all remaining filters).

Sometimes project or plug-in reload may be required

It’s allowed for every source (factory or user)

71
Preset management • Browsing presets

Info pane
The column to the right shows information about the selected preset or presets. It also provides access to some of the
preset editing functions.

The Info pane

There’s a preset name at the top.

The Preset name in the Info pane

Additionally, if you’ve selected more than one preset there’s information about how many more have been selected:

Selecting more than one preset

72
Preset management • Browsing presets

Below the preset(s) name there are few common sections describing selected presets:

• Tags
• Author
• Description

Browser’s visual adjustments

Folding sections
If you don’t need to see the contents of every section / subsection, you can fold some of them up using the Caret icons:

Sections folded up

Resizing columns
You can use the three-dotted handles to change a column’s width to your preference.

Resizing Browser columns

73
Preset management • Editing presets

Editing presets
You can perform certain actions on presets, such as adjusting Groups and Tags, deletion, renaming the presets as well
as their export or import. One should bear in mind, however, that some operations are only allowed on user presets but
not on Factory content.

Preset selection for Edit

Some operations can be done on more than one preset, so you’re allowed to select more than one preset at once; in the
Results section, you can choose a preset or a set of presets in the following ways:

• Click a preset - Selects (and loads) one preset from the list.
• Win ( Ctrl + Click the preset ), Mac ( Cmd + Click the preset ) - Adds another preset to an already chosen
preset or a set of presets.
• Shift + Click the preset - Selects a range of presets from the last chosen preset to the preset clicked with the Shift key.
• Right-Click on any Preset in the Results section and choose the Select All option - this selects all presets:

Selecting all presets

Preset renaming
On a selected preset , right-click to open the context menu and select the Rename option:

Preset renaming

The option is available only for individual presets and won’t work on a selection of two or more presets.

74
Preset management • Editing presets

Preset deletion
Once you have selected one or more presets, right-click to open the context menu and select the Delete items option:

Deleting presets

Alternatively, you can use the Trash bin button in the Info pane to delete selected presets:

The Trash bin button

Tags editing
When you select a preset or presets to change their tags, click the Pencil button next the Tags section in the Info pane
to enter Edit mode for the Tags:

Entering the Tag edit mode

Or Delete option (depending on how many presets have been selected).

75
Preset management • Editing presets

With the Edit mode enabled, you will see all possible Groups and Tags available for the preset(s):

The Tag Edit mode

Tag buttons work in toggle mode, much like filtering. Clicking them either sets or erases a Tag for a chosen preset. If a Tag
is set for a preset, it is indicated by an orange background color, whereas if a Tag is not set, it has a gray background color.

If you choose multiple presets with existing tags, Tag buttons will appear orange if a specific Tag appears in all selected
presets, and gray if it appears in none.

When a specific Tag is set only for a few of the selected presets, it appears as half-gray and half-orange.

Tags appearing only in part of selection

Changing the Tag status for one or more chosen presets sets or erases this Tag in all these presets. A status change
is signaled by an Asterisk to the left of a Tag.

A Tag with a status change

Tag buttons highlighted in half-gray and half-orange color (where Tag values across the highlighted presets aren’t all the
same) workin a three-state system when switching between states; they turn gray if you erase the Tag for all selected
presets, orange if you set the Tag for all selected presets, and return to half-gray and half-orange if the selected items
remain unchanged or are returned to their initial state.

Potential changes have to be confirmed using the OK / Cancel buttons at the top part of the Tags section:

Confirmation buttons in the Tags section

76
Preset management • Editing presets

Author editing
When you select a preset or presets to change the Author, click the Pencil button next the Author section in the Info
pane to enter the Edit mode for the Author field:

Editing Author

Once you’ve finished editing the field, confirm the operation using the OK / Cancel buttons:

Confirming Author editing

This operation is possible for user content only.

Description editing
When you select a preset or presets to change the Description, click the Pencil button next the Description section in
the Info pane to enter the Edit mode for the Description field:

Editing Description

Once you’ve finished editing the field, confirm the operation using the OK / Cancel buttons:

Confirming Description editing

This operation is possible for user content only.

77
Preset management • Editing presets

Setting presets as Favorites

As described in the chapters above, you can mark a preset as a Favorite by clicking the Heart icon while hovering over
the preset name:

Setting a preset as a Favorite

The flag is stored globally, meaning that a Favorite preset will be accessible as such from every other instance of the
plug-in .

It’s also possible to perform the operation for a selection of presets. After you select the desired presets in the Results
window, right-click on the presets to open a context menu:

Setting Favorite presets from the context menu

And select the Set favorite option.

To clear Favorite flags for the selection of presets, use the Clear favorite option instead.

Pinning presets
You can Pin one or more presets using the Pin icon while hovering over the preset name:

Pinning a preset

Unlike Favorites, this flag works locally and it’s stored with the project file (not globally). This means the Pins are stored
individually for every instance (with total recall, so a plug-in state is recalled if saved in the context of a project).

Sometimes a project or plug-in reload may be required

78
Preset management • Editing presets

It’s also possible to perform the operation for a selection of presets. After selecting the desired presets in the Results
window, right-click on the presets list to open the context menu:

Pinning presets from selection

And select the Pin option.

To clear the Pin flag for a selection of presets, use the Unpin option instead.

Preset exchange
If you want to make a backup, or exchange a preset with a collaborator, you can export / import selected presets.

Export
Select a preset or presets that you’re going to export and drag-and-drop them outside your DAW into a location you’d
like to store them:

Exporting presets

The presets will be saved as individual files (one per preset) in the plug-in’s native format.

79
Preset management • Creating custom Tags and Groups structure

Import
If you’d like to import preset files, you can drag-and-drop preset files from where they’re stored, into the preset browser:

Importing presets

They will be automatically imported as user presets.

Creating custom Tags and Groups structure

Adding custom Tags

Users are allowed to add their own custom Tags to both their own content and factory content. To add a new Tag to an
existing filter Group, click over the Group’s name to pull down a menu and select the Add Tag option :

Adding a new Tag

You can do this either in the Info Pane (right column, while the Tag edit mode is enabled) or Filter (left column).

This operation is allowed for a user’s Groups only

80
Preset management • Creating custom Tags and Groups structure

Editing custom Tags

There are a few edit options available for a user to perform on their own Tags, which are available by right-clicking
a Tag’s name in the Filter section:

The Filter section

You will see a context menu with all the available options:

Editing options for a user Tag

• Rename - Changes the name of a Tag.

• Move to - Moves a Tag to another Group.
• Remove - Deletes a Tag.

The menu is accessible only for a user’s own Tags.

Adding custom Groups

You can add a custom filter to Groups by clicking the Filter label and selecting the Add Group option from
the pull-down menu:

Adding a user Group

From here, you can add Tags to that newly created Group (see above), or move Tags from other Groups.

You can also add a custom filter to Groups in the Info Pane (right column) or Filter (left column).

You can only move user Tags

81
Preset management • Creating custom Tags and Groups structure

Editing custom Groups

There are a few edit options available for a user to perform on their own Groups. Click on a Group’s name in the Filter
section:

The Filter section

You will see a context menu with the following options:

Edit options for a user Group

• Add Tag - Adds a new tag to the Group (described earlier).

• Rename - Changes the Group’s name.
• Remove - Deletes the Group, possible only when all Tags in the Group have also been removed.
• Move up - Moves a Group up in the Filter. Possible unless the Group is already the topmost one.
• Move down - Moves a Group down in the Filter. Possible unless the Group is the last one.

These operations are possible only on user Groups.

Groups in the Filter are ordered with Groups from Factory content first, then user groups below.

You can edit user Groups in either the Info Pane (right column, while Edit mode for Tags is enabled) or Filter (left column).

Unassigned Tags
When you receive content from a collaborator who uses different Tags and Groups, some Tags may show as
Unassigned. This happens if the filter structure made by a preset’s author is different.

Unassigned Tags

You can move the Tags across your Groups to make them fit your scheme, or re-tag the collaborator content entirely.

82
Requirements...................................................................................................... 2 The general part of an edit panel............................................. 52
Preliminary information.................................................................................... 3 Reverb............................................................................................ 53
Introduction to Lush.......................................................................................... 5 Delay.............................................................................................. 54
Control section................................................................................................... 7 Loop section.......................................................................... 55
Options......................................................................................................... 7 Filter section......................................................................... 56
Global preset browser............................................................................... 7 Chorus ........................................................................................... 56
Layer selector.............................................................................................. 8 Options................................................................................................................. 57
View selector............................................................................................... 8 MIDI and parameter automation............................................................ 57
Master volume............................................................................................ 8 MIDI....................................................................................................... 57
Global preset settings................................................................................ 8 MIDI channels.............................................................................. 57
MIDI tab................................................................................................ 9 MIDI output.................................................................................. 57
Zone editor................................................................................... 9 MIDI learn..................................................................................... 58
Zone learn.............................................................................. 10 Linking a parameter to MIDI CC.............................................. 58
Transposition................................................................................ 10 Unlinking a parameter from MIDI CC............................. 59
Arpeggiator tab.................................................................................... 11 Loading / Saving a MIDI CC Map..................................... 59
Layer parameters............................................................................................... 12 Parameter automation....................................................................... 59
The layer’s top bar...................................................................................... 14 Loading and saving an automation template........................ 60
Layer preset browser.......................................................................... 14 MIDI / automation summary............................................................ 60
Layer transposition............................................................................. 14 GUI................................................................................................................. 61
Polyphony and unison........................................................................ 14 Size......................................................................................................... 61
Polyphony settings...................................................................... 14 System Scale........................................................................................ 61
Unison............................................................................................ 15 Theme.................................................................................................... 61
Voice settings............................................................................... 15 Hide Keyboard..................................................................................... 61
Sound synthesis.......................................................................................... 16 Quality settings........................................................................................... 62
Oscillators............................................................................................. 16 Processing.................................................................................................... 62
Oscillators mixer.......................................................................... 17 Multi core support.............................................................................. 62
Oscillator’s independent Voltage Controlled Retrigger mode.................................................................................... 62
Amplifier (VCA)............................................................................ 18 Default settings........................................................................................... 63
The oscillators’ waveform options........................................... 19 Changing default settings................................................................. 63
SuperSaw............................................................................... 19 Restoring factory defaults................................................................. 63
Suboscillator waveform...................................................... 20 Preset management........................................................................................... 64
Noise type............................................................................. 20 Preset storage............................................................................................. 64
Oscillators’ hard restart option......................................... 21 Preset structure.......................................................................................... 64
VCO settings................................................................................. 21 Padlocks........................................................................................................ 65
Pulse width modulation..................................................................... 22 Browsing presets........................................................................................ 66
Hard sync.............................................................................................. 22 Sources.................................................................................................. 67
Envelope generators - ENV1 and ENV2........................................ 23 Filter....................................................................................................... 67
Reset............................................................................................... 23 Groups and tags........................................................................... 67
Invert.............................................................................................. 24 Results................................................................................................... 68
LFO1 and LFO2................................................................................... 25 Preset filtering using Groups and Tags........................................... 69
Basic Actions................................................................................ 69
Tempo synchronization.............................................................. 26
Group operator............................................................................ 69
Reset............................................................................................... 26
Filter enable / disable................................................................. 70
Extra parameters......................................................................... 27
Other types of filtering...................................................................... 70
Filters .................................................................................................... 28
Searching by name...................................................................... 70
Pitch parameters and modulation................................................... 30
Filtering Favorite presets........................................................... 70
Amplitude modulation – VCA.......................................................... 31
Filtering Pinned presets............................................................. 71
Wheel and bend sections.................................................................. 32
Info pane............................................................................................... 72
Insert effects................................................................................................ 33
Browser’s visual adjustments........................................................... 73
Chorus................................................................................................... 34
Folding sections........................................................................... 73
Flanger................................................................................................... 34
Resizing columns......................................................................... 73
String ensemble................................................................................... 34
Editing presets............................................................................................. 74
Phaser.................................................................................................... 35
Preset selection for Edit.................................................................... 74
Vowel..................................................................................................... 35
Preset renaming.................................................................................. 74
Distortion.............................................................................................. 36
Preset deletion.................................................................................... 75
Bit crusher............................................................................................ 36
Tags editing.......................................................................................... 75
Tremolo................................................................................................. 37
Author editing...................................................................................... 77
Master section............................................................................................ 37
Description editing............................................................................. 77
Arpeggiator.................................................................................................. 37
Setting presets as Favorites.............................................................. 78
Padlock.................................................................................................. 39
Pinning presets.................................................................................... 78
Arpeggiation examples...................................................................... 40
Preset exchange.................................................................................. 79
Modulation matrix............................................................................................. 41
Export............................................................................................. 79
Voice volume - a special destination parameter.................................. 43
Import............................................................................................ 80
Arp gate, arp tie - special modulation sources.................................... 43
Creating custom Tags and Groups structure........................................ 80
Velocity curve.............................................................................................. 45
Adding custom Tags............................................................................ 80
Sustain pedal mode.................................................................................... 45
Editing custom Tags............................................................................ 81
Pitch table.................................................................................................... 46
Adding custom Groups...................................................................... 81
Mixer..................................................................................................................... 47
Editing custom Groups...................................................................... 82
Layer channel strip..................................................................................... 48
Unassigned Tags.................................................................................. 82
Edit panel.............................................................................................. 48
Channel strip signal flow per layer.................................................. 50
FX channel strips........................................................................................ 50
Edit panel.............................................................................................. 51