OS
4.1.0
MORE THAN JUST A MANUAL
Guidebook - Reference - Notebook
The Ofcial Guidebook
II Deluge Ofcial Manual
III
Deluge Ofcial Manual
IV Deluge Ofcial Manual
VI Deluge Ofcial Manual
OVERVIEW
1
2Deluge Ofcial Manual
Overview1
1.1 How to Use This Manual
This book is a formal reference to the Deluge, bringing together a comprehensive guide along with
your own notes. Some pages are intentionally left blank and may contain wide margins enabling you
to make your own notes on the specic topics covered.
The conventions used in this guide are:-
(OUTPUT LEVEL)
Curved parentheses / brackets represent the context sensitive rotaries indicated on Deluge in black
or gold colour. These controls adjust parameters based on the specic context. The upper control
for the parameters is referred to as (UPPER) likewise for lower control. Commands such as rotate -
TURN or press - PRESS will accompany the command within the instructions.
[LEVEL / PAN] or [GRID]
Square parentheses and standard text contain functions that are selectable by the circular buttons
on the upper control area. Grid buttons are shown with italic font within square parenthesis.
[SHIFT] + [BROWSE]
Functions which require multiple button selections simultaneously are shown with a + symbol
between each button command. Some functions operate with a SHIFT button. These as labelled on
the Deluge faceplate within a ‘box’ and are located under the primary function label or when
representing a shortcut on the grid:-
Where multiple labels are attached to a control for the primary or the [SHIFT] + secondary function,
only the command name / label relevant to the context of the instruction will be used, for example
SAVE or DELETE.
SHIFTSHIFTDeluge Faceplate
[SONG] [TREBLE]
[CLIP]
Deluge Manual [SHIFT]
BROWSE
[BROWSE]
+
+
3
Deluge Ofcial Manual
1.2 What’s in the Box
Deluge is supplied with:-
Deluge is not supplied with:-
Deluge
1 x 32GB SD
card populated
with presets and
samples.
9-12v DC PSU. The supplied USB cable provides a charging option for Deluge.
An optional external DC supply, centre-negative (not centre-positive), 500mA or greater can
also be used. Using an incorrect power supply may cause damage to the Deluge.
Hardcopy version of the producer guide is available from the Synthstrom store and the latest
PDF version as a free download from the Synthstrom site.
1 x USB cable
type USB-B to
USB-A
This guidebook.
PDF located on the
SD Card
Overview 1
4Deluge Ofcial Manual
Overview1
5V 12V
Zoom & Scroll
Horizontal (SCROLL◄►) and vertical
(SCROLL▼▲) navigation through the grid.
Press and turn (SCROLL◄►) will zoom in
and out of the grid.
Alpha Numeric Keyboard
Pads are used for text entry for example
when entering names using the QWERTY
keyboard.
Keyboard Mode
Switches synth, MIDI, or CV clip view from the
normal grid to an isomorphic keyboard
[KEYBOARD] representation.
Select Control
(SELECT) rotary control used for
selecting patches, parameters and
navigating menus.
Song or Clip View
Select between song, arranger and
clip view. Also enables parameter
changes to ‘affect all’ functions
within the context selected.
1
6
5
9
8
4
2
7
1 3 4
2
2
3
5
6
7
9
8
5
Power LED
Illuminates yellow for charging, green when
charge is complete or red for low-battery.
USB 9 12v
+
Parameter Controls
Adjusts and affects the selected parameter,
as labelled above the button (UPPER) in
context with the clip type: kit, synth etc
Adjusts the selected parameter, as labelled
below the button (LOWER) in context with
the clip type kit, synth etc...
Parameter Selection
Select the parameter to be adjusted. The
label above and below the selection can be
controlled by the (UPPER) & (LOWER)
rotaries. Other parameters can be congured
in the sound editor.
Pad Grid
16 x 8 grid for sequencing. Also contains
shortcuts using [SHIFT] + where columns
represent Deluge function groups and row
pad represents a parameter.
1.3 Hardware Overview
5
Deluge Ofcial Manual
Overview 1
Modulation Section
Grid area where modulation sources
are located and can be selected.
SD Card Slot
Clip Type
Used to select the clip type
between [SYNTH], [KIT],
[MIDI] and [CV].
Navigation Group
Navigates through the menus,
saves, loads and also assigns
controls.
Cross Screen Edit mode
[CROSS SCREEN] ensures any
changes to the grid view will be
reected in the grid areas that are
not in view.
Tempo & Timing Group
[TAP] to set tempo by tapping or
turn (TEMPO) to set the tempo.
Internal Microphone
Main Output
(LEVEL) to adjust main output
volume and headphone volume.
Mode Group: Transport Controls
Sequencer [PLAY] and STOP. Also
[RECORD], loop and resample.
Shift
Used in conjunction with pads and
buttons to select the secondary
[SHIFT] function.
Audition / Section
Column of pads are manually
playable individually across 1
octave or as chords to play each
of the designated sounds. Also to
launch a [SECTION].
Mute / Launch
Pads are manually selectable to
[MUTE] or unmute clips / rows
and [LAUNCH] clips.
22
21
10
11
14
13
412
19
18
17
16
15
20
10 11
13
12
14
15
16
17
18
19
20
21
22
Scale
Sets the scale [SCALE] mode and locks
clips to the major scale or can be used to
change scales.
6Deluge Ofcial Manual
Overview1
External Microphone
3.5mm / 1/8th inch input
Gain
Microphone (external and
internal) Low / Hi switch
On/Off
Power on/off switch
Headphone Output
3.5mm / 1/8” input
MIDI In/Out
5-pin MIDI Din
SD Card Slot
SD card used for presets, streaming
samples, rmware updates and storage. Any
size, formatted to FAT32. Insert pins-up.
Internal Speaker
PSU Input
Primary power and charging
source. 9-12V DC. Centre
negative, 500mA
USB
USB-B connector and
charging source. USB
MIDI Connection
Line In
6.35mm / 1/4” input
Stereo (congurable)
Rear Panel
Front Panel
CV Out
2 x, 0-10v congurable 0.01-2v
V/Oct or Hz/V
Gate / Trigger Out
4 x, switchable 5-12v congurable v-
trig or s-trig. Trigger clock adjustable
PPQN out / 192 PPQN out
Clock In
Line Out
2 x 6.35mm / 1/4 inch
outputs
Right Left / Mono
+
2 4 21 3 1
7
Deluge Ofcial Manual
Overview 1
USB
The Deluge’s USB type-B connection enables several functions. This can
be used as a connection to your computer as a USB MIDI device, for use in
any software that supports MIDI. The Deluge may also be powered by its
USB connection - either from a computer, or from a USB wall adaptor with
an appropriate cable. The Deluge may draw up to 500mA from its power
source. Deluge also can be used as a USB Host. This requires Deluge to
be DC powered, a USB device connected and then Deluge to be powered
up.
DC Power Socket (9 - 12V)
The Deluge may be powered by any centre-negative 9 - 12V DC power
supply which can provide at least 500mA. It can be a shared power supply
with other units in a typical daisy chained pedal conguration only if the
power supply can provide adequate current. The Deluge contains circuitry
to minimise ground loop noise in such a setup, although some noise may
still be introduced. DC and USB power may be connected simultaneously,
in which case the Deluge will draw its power from the DC power supply
rather than USB.
It is important to remember that the 9 - 12V DC power supply must be
centre-negative, not centre-positive. Using the incorrect power supply may
cause damage to the Deluge.
Battery
The Deluge has an internal Li-ion battery, providing 6+ hours of life. The
battery charges any time a power source is connected to the USB or DC
power socket, regardless of whether the Deluge is switched on. The battery
status LED illuminates yellow for charging, green for charge-complete, or
red for low-battery.
The Deluge’s battery is an “18650” 3.7V Li-ion, and may be replaced by the
user. These batteries are readily available from stores everywhere. A
“protected” or “unprotected” type may be used. A battery of any mAh rating
may be used - higher mAh ratings simply mean longer battery life.
Please note that your Deluge will be shipped with very little charge in the
battery. You will need to plug it into a power source to use it and begin
charging the battery.
NOTES
8Deluge Ofcial Manual
Overview1
SD card slot
The Deluge uses SD (or SDHC) card storage to load and record audio
samples, store presets and save songs. Typically a 16GB or 32GB is
recommended, but any size can be used, formatted to FAT32. The Deluge’s
rmware can also be updated via the SD card.
L / MONO and R outputs
The Deluge’s main audio outputs are two quasi-balanced (that is, resistor-
balanced but not differential) 1/4" connectors. They will work with non-
balanced cables too. For best noise rejection, use balanced cables when
connecting the Deluge’s outputs to balanced / differential inputs. Output
impedance: 47 ohms.
Deluge will detect if only the “L / MONO” output has a cable inserted (but
not the “R” output or headphone output), and will output all sound in mono.
In this case all panning and ping-pong delay will be deactivated, and stereo
samples will be condensed to mono. This allows you to work on your music
on a stereo setup, but not necessarily need to change anything if you are
faced with a mono setup.
Headphone output
This can drive headphones, or can be used to connect other equipment
with a 3.5mm / 1/8” connector - perhaps computer speakers or a car stereo.
Line input
For recording from another device’s line output. The line input uses TRS
1/4” / 6.35mm connector, which may accept a single-ended / unbalanced
signal, a differential / balanced signal, or a stereo signal. Input impedance:
4k.
Mic input
For recording with an external microphone use the 3.5mm / 1/8” jack. Gain
is set via the “mic gain” switch, which also affects the internal microphone.
Stereo and mono microphones are supported. 4.5V plug-in power is
supplied on the tip and ring of the connector, each through a 3.9k resistor.
CV, gate, and trigger clock (“CLK IN”) connectors
These all have the signal on their “tip”, ground on their “sleeve”, and their
“ring” connected to ground via a 10k resistor.
NOTES
9
Deluge Ofcial Manual
Overview 1
1.4 System Architecture
Deluge high level overview of the system conguration.
Subtractive, Wavetable
and FM Synthesizers Audio Clips
& Sampling Kits consisting of multiple
elements
MIDI & CV Cong
Arranger
Keyboard
Song
Clip
4 Main Views
MODULATION
Sound Editor
Sound Editor
SONG CLIPS
Sequenced Clip
SYNTH
ENGINE KIT
SYNTH
ENGINE AUDIO
ENGINE
EFFECTS
CHAIN
Effects Send / ReturnModulation
EFFECTS
CHAIN
EFFECTS
CHAIN
Osc 1 or WAV Osc 2 or WAV
Deluge: Audio & Synth Engine
Song
Song Effects
64MB of Internal Working Memory.
Native sample format 16/24 bit /
44.1kHz, and up to 32 bit / 96kHz
using le formats of AIFF or WAV
This is an illustration of the general architecture and functions of the Deluge and is not intended as a detailed schematic diagram
Sequenced Patterns are Stored with the Song
SD CARD
Audio Samples Streamed to Deluge
AUDIO IN
MIDI
CV
SEQUENCER
10 Deluge Ofcial Manual
NOTES
BASIC OPERATION
2
12 Deluge Ofcial Manual
Basic Operations2
2.1 Factory Library
The Deluge is supplied with a formatted SD card loaded with the factory
library. Samples are streamed directly from the SD card when in use, making
it an integral part of the device. Ensure the card is inserted in Deluge when
in use.
File Structure
Deluge’s SD card contains the presets for kits and synths in XML format
which stores the parameter settings and for kits points to the specic
samples used.
KITS
000 TR-808.XML
000 Rich Saw Bass.XML
ARTISTS
DRUMS
RECORD
RESAMPLE
CLIPS
Kit presets
Synth presets
User songs. Folder initially empty
Supplied artist samples
Supplied drum samples
User les. Folder initially empty
User les. Temp folder*
*TEMP Sub folder within CLIPS is managed by the
system and is not accessible directly within Deluge.
User les. Folder initially empty
042 Phil Elverum.XML
170 Sitar.XML
SAMPLES
SONGS
SYNTHS
NOTES
SD CARD
Formatted to FAT32. Any size card can be
used. Factory library is held on the SD Card.
Insert the SD card with the power on or off and
the card ‘pins’ facing up.
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Deluge Ofcial Manual
Basic Operations 2
# Name Artist # Name Artist
0 Rich Saw Bass 44 8-Bit Lead
1 Sync Bass 45 Square Sync
2 Basic Square Bass 46 Saw Sync
3 Synthwave Bass Marcel Bellve 47 Basic Dirty Bass
4 Dubby Bass 48 Thin Pulse Bass
5 Sweet Mono Bass Marcel Bellve 49 Basic FM
6 Vaporwave Bass 50 FM Basic Bass
7 Detuned Saw Bass 51 FM Rich Bass
8 FM Rich Distorted Bass 52 Soft Synth
9 Hoover Bass 53 Detuned FM Horns 3
10 Gravel Basscamp NJM 54 Ghostly Sines 6
11 Dubstep Bass Guilherme Gomes 55 FM Theremin 6
12 Blunt Sync Bass 56 FM Bell Modulation 10
13 Trap Bass 1 57 FM Lead
14 Trap Bass 2 Steve Swisher 58 FM Rising Attack
15 Resonant Filter Bass 59 Distorted Guitar Lead
16 Dark Saturated Bass Marcel Bellve 60 Bass Guitar
17 Impact Saw Lead 61 Blown / Staccato / Panpipes Marcel Bellve
18 Rich Saw Lead 62 Trumpet
19 Fizzy Strings Marcel Bellve 63 Tuba
20 Soft Saw Lead 64 Reeds / Flute / Oboe Marcel Bellve
21 80’s TV Lead 65 Cello
22 Rich Filter LFO Lead 66 Violin
23 Analog Mono Wow Marcel Bellve 67 Marimba
24 Warble Bass Pluck Marcel Bellve 68 FM Bells 1
25 Soft Synth Organ 69 FM Bells 2
26 PW Organ 70 Glockenspiel
27 PW Envelope 71 Rhodes
28 PWM 72 Kyoto Phono NJM
29 Chiptune Trill Stephen Scoeld 73 Piano
30 Distant Porta Luke Rowell 74 Electric Piano
31 Nasal Choir 75 Electric Piano with Strings
32 Bandpass Choir 76 Organ
33 Rich Square 77 FM Perc / Organ Matt Bairstow
34 Square Choir Ron Cavagnaro 78 House 1
35 Bell Lead & Bass Guilherme Gomes 79 Phased Arper Jeremy Blake
36 Analog Ambient Square Marcel Bellve 80 House 2
37 Echo Chord Jeremy Blake 81 Xylophone Big Bass Guilherme Gomes
38 Vapor Arp Joey Esposito 82 Short Sharp Delay
39 Detuned Retriggering
Saws 83 Dark Chorus
40 Spacer Leader NJM 84 FM Narrow Band
41 Zithar - Vibed Marcel Bellve 85 Deep Fizz Jani Hakala
42 High Triangle 86 Techno Organ Pawel Czubak
43 Square Porta 87 Dene Leader NJM
Synth Presets ver 2.1
14 Deluge Ofcial Manual
Basic Operations2
# Name Artist # Name Artist
88 Yelp Chords Matt Bairstow 132 Organ Strings
89 Degraded Retro Lead Jeremy Blake 133 80s Strings Guilherme Gomes
90 FM Organ 134 Melody Strings Ron Rapprich
91 FM Ricochet 135 Soothing Growth Pad Stephen Scoeld
92 Degraded Tremolo 136 Synthwave Pad Marcel Bellve
93 FM Distorted Bells 137 Epic Saw Modulation Pad Marcel Bellve
94 Ambient Occlusion Lead Jeremy Blake 138 Brassy Pad
95 Harsh FM Feedback 139 Detuned Saw Pad
96 FM Guitar Power Chord 140 Slow Aural Swells Daniel Stern
97 Saturated Filter 141 Ringmod Pad
98 Saturated Sync 142 Phaser
99 Overdrive Reese Sync Pawel Czubak 143 Chillout Pad Ron Rapprich
100 Noise Lead Matt Bairstow 144 Sweep Chords Matt Bairstow
101 Atebit Jani Hakala 145 Eerie High Pad
102 Harsh 5th 146 Atmosphere Squares Pad Brad Antone
103 Sci-Fi Chaos NJM 147 Resonant Filter Pad Brad Antone
104 Alien Vomit 148 Warm 5th Pad
105 Attack Bass Pawel Czubak 149 Cold 5th Pad Travis Hampton
106 Hang Drum Marcel Bellve 150 Vaporwave Pad Jeremy Blake
107 FM LPG Percussion Neil Baldwin 151 Radiant FM Pad
108 Robo Arp Marcel Bellve 152 Small Jet Pad NJM
109 Talking Arp Marcel Bellve 153 FM Modulation Pad Ron Rapprich
110 Crystalline Ringmod Brad Antone 154 Rich FM Pad 1
111 Satellite Drum Franz Keller 155 Rich FM Pad 2
112 Hard Tech Beat Franz Keller 156 Rich FM Pad 3
113 Bio Lab Franz Keller 157 Rich FM Pad 4
114 Sootheerio Jani Hakala 158 Tempo-Synced LFO
115 Sounds Like After Take Off Daniel Stern 159 80s Bass Rhythm Stephen Scoeld
116 Evolving Frequencies Daniel Stern 160 Synthwave Bass Arp Marcel Bellve
117 Belledy Jani Hakala 161 Synthwave Vibrato Arp Marcel Bellve
118 Small Bridge Pad NJM 162 Busy Arp Marcel Bellve
119 Stars Of The Bin Pad Jeremy Blake 163 Crisp Pop Arp Marcel Bellve
120 High Harsh Pad Marcel Bellve 164 Study Arp NJM
121 Tiny Lights Michael Bath 165 Acid Arp
122 Majestic Synth Orchestra Franz Keller 166 Harpsichord Cyborg Franz Keller
123 Space Dust 167 FM Metallic Bass Arp Pawel Czubak
124 Filter Modulation Pad 168 Hang Drum Leonard Ludvigsen
125 Evolving Pad Guilherme Gomes 169 Double Bass Leonard Ludvigsen
126 Dark FM Pad 170 Sitar Michael Bulaw
127 Alien Larvae
128 Lunar Landing Brad Antone
129 Sci- Scenic Brad Antone
130 Dark Strings Guilherme Gomes
131 Warm Strings
Synth Presets ver 2.1 (cont)
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Deluge Ofcial Manual
Basic Operations 2
# Kit Artist Kit # Kit Artist Kit
0 TR-808 21 <<hodeur>>
1 DDD-1 22 <<hodeur>>
2 SDS-5 23 <<hodeur>>
3 TR-909 24 James R Closs
4 R-50 25 James R Closs
5 R-100 26 amiga909
6 LD 27 Reciprocal Sound
7 HR-16B 28 Danny Taurus
8 SCDT 29 Danny Taurus
9 RX-5 30 Chaz Bundick
10 XV-5080 31 Reuben Winter
11 KR-55 32 Kody Nielson
12 HR-II 33 Alfred Darlington
13 AT Rhythm 34 Travis Egedy
14 CR-78 35 Sjionel Timu
15 Andrew Stirton (Frugal) 36 Stefanie Franciotti
16 Electronisounds 37 Stephanie Engelbrecht
17 Electronisounds 38 Jonathan Snipes (FX)
18 Electronisounds 39 Campbell Kneale
18 Electronisounds 40 John Atkinson
19 Fairburg 41 Jonathan Snipes (Waterfalls)
20 Leonard Ludvigsen 42 Phil Elverum
Kit Presets ver 2.1
16 Deluge Ofcial Manual
Basic Operations2
2.2 Power Up
▌CHARGING / POWERING DELUGE
1. Connect the USB cable to Deluge and ensure it is connected to a
powered USB device or the 9-12V (centre negative) external supply is
connected. The power / USB led will illuminate to indicate power status.
▌POWERING UP DELUGE
1. Ensure the device is charged or connected to a USB or external PSU.
2. Ensure the SD card is installed (pins / connectors facing up) using the
SD card slot at the front of the unit.
3. Turn the unit on by switching the ON/OFF switch located at the rear of
the device to ON.
4. Deluge will power up in ‘clip view’ with a blank song and one blank clip
with an assigned synth preset ‘000 Rich Saw Bass’ as shown on the
display.
5. Although the sequence can be played, the clips and song are blank at
this stage.
6. The synth can be played manually using the right ‘audition / section’
pads where the notes are played chromatically (when SCALE is off) or
by default C Major, 7-Note scale. The display will indicate the note as its
played.
Red: battery is low, when operating on
battery, and requires charging
Yellow: unit is being charged and PSU /
powered USB is connected
Green: unit is fully charged. Battery lasts
approx 6 hours from a full charge
Off: when Deluge is switched on and is
charged and operating from the internal
battery source.
NOTES
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Deluge Ofcial Manual
Basic Operations 2
NOTES 2.3 General Operating Controls
More in-depth details of the controls will come later. Some of the basic and
fundamental controls are summarised here.
▌ADJUSTING THE MAIN VOLUME LEVEL
1. In any view, turn the (OUTPUT LEVEL) gold coloured rotary control.
2. This control adjusts the main output audio and headphone output
levels. Care should be taken when adjusting as there is no display or
indicator of the current level.
▌ADJUSTING THE TEMPO
1. In any view, turn the (TEMPO) black coloured rotary control.
2. Tempo changes in incremental BPM Steps. For ner resolution of +/-1
BPM press & turn (TEMPO) control.
3. The display will indicate the tempo change.
▌PLAYING AND STOPPING A SONG
1. In any view, press [PLAY] the button illuminates green when playing.
2. To stop the sequencer press [PLAY] while its running. The button will be
unlit and the sequencer resets to the beginning when play is resumed.
18 Deluge Ofcial Manual
Basic Operations2
NOTES
2.4 Views
There are four main views which presents the user environment and toolkit
for specic functions. Clip view concentrates on individual instruments,
MIDI, CV, audio and their associated sequences. Song view is where a
collection of clips are managed into a full song. Arranger enables the
chaining of clips to develop a longer, linear arrangement. The fourth view is
keyboard view, utilizing the grid as a live melodic instrument.
CLIP VIEW
Single synth, kit, audio, MIDI or CV clips
congured as individual sequences, Clip view
presents for example 1xsynth or 1xkit.
SONG VIEW
Presents the overview of all clips collectively.
Rows represent clips.
KEYBOARD VIEW
Enables playing melodic scales with
the synth or for MIDI / CV.
ARRANGER VIEW
Presents the view where clips can be chained
together in series making a longer arrangement
from the perspective of an instrument, MIDI, CV or
audio track.
CLIP VIEW
Clip button lit blue
SYNTH CLIP VIEW
Synth button lit red
KIT CLIP VIEW
Kit button lit red
MIDI CLIP VIEW
MIDI button lit red
AUDIO CLIP VIEW
All buttons off / unlit
External Gear Instruments
CV CLIP VIEW
CV button lit red
SONG VIEW
Song button lit blue
ARRANGER VIEW
Song button ashes blue
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Deluge Ofcial Manual
Basic Operations 2
2.5 Synths and Kits
Deluge has the ability to sequence patterns arranged using kits or based on
the synthesizer engine.
Synthesizer engine clips
• Deluge synth engine allows
sound design by conguration
of subtractive or FM synthesis,
or the playback and
manipulation of samples.
• Synth clips are typically used to
create a melody for both lead
and bass-style instruments.
• Notes are populated across the
pad grid with the pitch affected
by the up / down position on the
grid rows.
• A colour is indicated for the
notes on a synth clip and set by
pitch. Colour can be edited.
• Synthesizer is selected by
pressing the [SYNTH] button - lit
red.
• Saving a synth preset only
saves the synth setting data. No
patterns are stored with synth
presets.
Kit clips
• Kits consist of unique sounds
per row. Typically based on
samples but also may be
synthesized sounds, or MIDI or
CV outputs.
• While the obvious and common
use of kits is to trigger drum
sounds such as a kick or snare,
longer loops and non-
percussive samples can also be
used within kits.
• Kit sounds are mapped across
rows of the sequencer - each
individual sound is represented
on its own row.
• Each row of the clip is coloured
independently. Colour can be
edited.
• Kit is selected by pressing the
[KIT] button - lit red.
• Saving a kit preset only saves
the kit setting data and sample
links. No patterns are stored
with kit presets.
NOTES
20 Deluge Ofcial Manual
Basic Operations2
2.6 Clip View: Overview
In clip view the pad grid is laid out with 16 x 8 physical pads which represents a piano roll style view.
Clip view is the default mode which is available on start-up and is indicated by the blue lit [CLIP]
button.
Sequence plays left to right
Grid Basics : Clip View
First steps
Lower
notes
Higher
notes
Time
Audition pads enable the synth
notes or kit samples to be
played manually allowing the
sound to be checked prior to
programming it in a sequence.
Notes or kit sounds can be programmed in the
sequencer at the desired column step for its time
position and row for synth pitch or kit sound by
pressing a pad to toggle it on (lit) / off (unlit).
In play mode, pressing pads will silently select the step. When
not in play mode pads will trigger the sound when selected.
Navigate the grid using the up /
down (SCROLL▼▲) and left /
right (SCROLL◄►) scrolling and
zooming rotaries.
The undo / redo commands can be
used when editing notes.
For example: press [BACK / UNDO]
to undo the last note placement and
[SHIFT]+[REDO] to restore it.
Synth: pitch is represented by the rows of
the grid. Lower rows are the lower notes and
increases in pitch as the rows increase.
Kit: each row represents an individual
sound, for example a drum / percussion
sound such as a kick on the bottom row,
snare second bottom row, etc...
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Deluge Ofcial Manual
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NOTES
Audition & Mute Pads : Clip View
Mute [MUTE] status is shown
on the mute / launch pads
located at the right of the
Deluge interface.
The pads in the audition / section
column are located far right of
the Deluge interface and provide
manual play out of sounds.
Press [AUDITION] to trigger a
sound.
[SHIFT] + [AUDITION] to select a
kit sound silently.
Unmuted rows / sounds
can be heard and are
indicated by a green
illuminated pad button. Synth root note may show
two lit pad buttons if the full
octave is in focus on the grid.
Muted rows / sounds are
silent and are indicated
by a yellow illuminated
pad button.
Synths indicate the root note
by the illuminated pad button.
Pressing the mute pads
toggle mute status on and
off in clip view.
Kit sounds are selected by the
row and hence only this row /
sound is affected by parameter
changes unless [AFFECT
ENTIRE] is selected.
The undo / redo commands can be used when muting /
unmuting. For example: press [BACK / UNDO] to undo the
last mute command and [SHIFT]+[REDO] to restore it back
22 Deluge Ofcial Manual
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NOTES
▌SELECTING A SYNTH PRESET
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Press [SYNTH] button to select synth. Synth button illuminates red.
3. Rotate the (SELECT) rotary control to select a synth preset. The
selected preset is indicated by the number or name on the display.
4. Press an [AUDITION] pad to listen to the sound and the note played.
This enables auditioning of the sounds for selection.
5. Once selected, the sound displayed will be ready for use on the current
clip. Synth presets are only the instrument - not a pattern.
▌SELECTING A KIT PRESET
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Press [KIT] button to select a kit. Kit button illuminates red.
3. Rotate the (SELECT) rotary control to select a kit preset. The selected
preset is indicated by the number on the display.
4. Press an [AUDITION] pad up / down the pad row plays out each sound
from the kit collection. This enables the auditioning of the individual
sounds on each row prior to selection.
5. Once selected, the sound displayed will be ready for use on the current
Clip. Kit presets are only the kit instrument and sounds / samples - not a
pattern.
Preset selected.
Preset type.
Tag indicates a
saved preset.
(SELECT)
Control selects the
respective synth or kit
preset when in clip view.
[SYNTH] or [KIT]
selection buttons
SYNTH
000 RICH SAW B
23
Deluge Ofcial Manual
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NOTES
▌SELECTING A SYNTH PRESET WITH SELECTION MENU
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Select synth by pressing [SYNTH] if not already selected. The synth
button illuminates red.
3. Press [LOAD] + [SYNTH] to open the load menu.
4. The alphanumeric keyboard will appear to enable searching for a preset
name or turn (SELECT) to choose a preset.
5. Press an [AUDITION] pad to listen to the sound and the note played.
This enables auditioning of the sounds for selection.
6. Press [LOAD] to load the preset.
7. Once selected, the sound displayed will be ready for use on the current
clip. Synth presets are only the instrument - not a pattern.
▌SELECTING A KIT PRESET
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Press [KIT] button to select a kit. Kit button illuminates red.
3. Press [LOAD] + [KIT] to open the load menu.
4. The alphanumeric keyboard will appear to enable searching for a preset
name or turn (SELECT) to choose a preset.
5. Press an [AUDITION] pad up / down the pad row plays out each sound
from the kit collection. This enables the auditioning of the individual
sounds on each row prior to selection.
6. Press [LOAD] to load the preset.
7. Once selected, the sound displayed will be ready for use on the current
Clip. Kit presets are only the kit instrument and sounds / samples - not a
pattern.
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NOTES
▌SAVING A SYNTH PRESET IN CLIP VIEW / KEYBOARD VIEW
1. To save current preset sound, press [SAVE] + [SYNTH]. The buttons
SAVE, SYNTH and BACK/UNDO plus the display will ash.
2. The display will indicate the next available iteration of patch number i.e
patch 171, if patch 171 exists, Deluge will show 171A, then 171b etc.
This avoids accidentally overwriting existing patches. Turning (SELECT)
allows the option to select existing patch to overwrite.
3. The alphanumeric keyboard appears to allow a preset name to be
entered.
4. Press [SAVE] button to conrm saving or press [BACK / UNDO] to
cancel. A PRESET SAVED message will be displayed when complete.
5. The patch is stored in the SYNTH folder on the SD card, named by the
patch number selected i.e. for patch 171A: SYNT171A.XML.
▌SAVING A KIT PRESET IN CLIP VIEW
1. To save current kit, Press [SAVE] + [KIT]. The buttons SAVE, KIT and
BACK/UNDO plus the display will ash.
2. The display will indicate the next available iteration of patch number i.e
kit 0, if kit 0 exists, Deluge will show 0A, then 0b etc. This avoids
accidentally overwriting existing patches. Turning (SELECT) allows the
option to select an existing kit to overwrite.
3. The alphanumeric keyboard appears to allow a preset name to be
entered.
4. Press [SAVE] button to conrm saving or press [BACK / UNDO] to
cancel. A message will be displayed when complete.
5. The kit is stored in the KIT folder on the SD card named by the kit
number selected i.e. for kit 0A; KIT000A.XML.
Any new presets saved are available in the library for selection when loading. This
means the numbering may vary from the listed factory library i.e. instead of the
original kits 3, 4, 5, 6 for example the list may now read 2, 3, 4, 4A, 4b, 5, 6 as well
as the manually named presets.
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NOTES
▌CREATING A PRESET FOLDER
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Press [SYNTH] or [KIT] button to select.
3. Press [SAVE] + [SYNTH] or [KIT] to open the save menu.
4. The alphanumeric keyboard will appear. Type a name of the folder to
create.
5. Press and hold [SAVE] until CREATE FOLDER appears.
6. Press [SAVE] to create the folder. This folder will be visible when
loading and also will be available to save presets.
7. If required, type in the preset name or number to save or press [BACK/
UNDO] to exit.
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NOTES
2.7 Transferring Presets Between Deluge Devices
Presets can be transferred between devices when the preset has been
packaged in the correct format for Deluge to import. This needs to be setup
manually as there is no automated preset export function. Part of this
function would be performed on a PC or Mac on the SD card folders.
▌TRANSFERRING PRESETS (SD CARD TO SD CARD)
1. Insert the source SD card into the PC/Mac card reader.
2. The preset XML le to export should be identied on the SD card. This
can be copied to a folder on the PC / Mac. For example a kit preset
found in the KITS folder and lename breakbeat.xml.
3. Identify any audio les that are associated with the preset. These
should be also copied to the PC/Mac within a sub-folder with the same
name as the XML le. For example name the sub-folder ‘breakbeat’.
4. Eject the source SD card from the PC/Mac card reader and insert the
destination SD Card.
5. Copy the XML le from the PC/Mac folder into the appropriate folder on
the destination SD. For example into the KITS folder.
6. Copy the folder named after the XML and which contains the audio from
the PC/Mac to the SD Card. Copy this folder to the same location, next
to the XML le.
7. Insert the SD card into Deluge.
8. Deluge will identify the audio les when loading the ‘imported’ the
preset. The imported preset can be then saved.
Any imported presets will be retained in their original audio folder location and are
not transferred elsewhere when saving the preset or a song containing it. This
means the original folder should always be retained and not changed for the preset
to be functional.
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Basic Operations 2
2.8 Clip View: Parameter Affect Group Changes
In clip view some quick access sound / synth parameters are immediately available and can be
adjusted using the ‘parameter affect’ controls. These are quickly accessible using the two gold
rotary controls and associated buttons and enable changes of parameters on the currently selected
sound, whether synth or kit.
Parameter Affect Group : Clip View
(LOWER) Control
Affects the selected parameter
labelled below the parameter
selection buttons.
Secondary parameters are accessed
by pressing the lower or upper
control. The options are shown on
the screen when pressed.
Custom 1, 2, and 3 are mapped based on the preset chosen. These custom controls can mapped to other settings. Labels
therefore on the control buttons are defaults only. Parameters can be remapped to the 8 controls, mapped for external MIDI
control or existing settings edited by using the sound editor.
[AFFECT ENTIRE]
Affects ALL sounds when a kit is
selected irrespective of the row
selected by the audition / section pads.
This is always on for synths.
Multi-option buttons select the
parameter set to be in focus and
which can be adjusted by the
associated rotary control.
(UPPER) Control
Affects the selected parameter labelled above
the parameter selection buttons. Press to
change button primary to secondary functions.
LED meters indicates the levels
associated with the selected in
focus sound parameter.
[BACK / UNDO] & [REDO]
The undo / redo commands can
be used when editing affect
group parameters.
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Parameter Affect Group Reference : Clip View
Button + Upper
/ Lower Primary Parameter Function Secondary & Other Parameter Functions
Press [UPPER] [LOWER] Control
B1 Upper Level
Sound Level adjustment
B1 Lower Pan
Panning of the sound
B2 Upper Cutoff / FM
Cutoff frequency of the selected lter.
In FM Mode Modulator 1 amount
Selects which lter is affected by the control LPF
is default, HPF or EQ for Bass/Treble amount
B2 Lower Res / FM.
Filter Resonance
In FM Mode Modulator 2 amount
Selects the lter slope for the LPF between 12dB /
Octave, 24dB/Octave or Analog modelled DRIVE
Filter (24dB/Oct + Saturation).
B3 Upper Attack
Env 1 Envelope Attack Time
B3 Lower Release
Env 1 Envelope Release Time
B4 Upper Delay Time
Effect delay time Selects Ping-Pong style delay On (PING-PONG)
or Off (NORMAL)
B4 Lower Amount: amount of delay applied to
the sound.
Selects ANALOG or DIGITAL delay simulation.
Analog is high in CPU Usage and will lower the
voice count if necessary.
B5 Upper Sidechain Selects the synchronisation for fast speed with
32nd notes or slow speed with 8th notes.
B5 Lower Reverb Selects the song applicable reverb preset
between SMALL, MEDIUM and LARGE
B6 Upper Mod Rate
Modulation rate
Only used when in ‘Affect Entire’ mode for songs
and kit clips where Mod rate and depth are
controlling a modulation effect i.e. chorus, anger
or phaser. This selects the next in the list
B6 Lower Depth
Modulation depth
Only used when in ‘Affect Entire’ mode for songs
and kit clips where mod rate and depth are
controlling a modulation effect i.e. chorus, anger
or phaser. This selects the control between depth,
feedback and offset depending upon the active
effect.
B7 Upper Stutter:
Enacts the stutter effect when pressed and stops
when released. Length and speed are controlled
by turning the control. Speed stutter loop up by
pressing and turning the control.
B7 Lower Custom 1 Congurable. Typical synth presets set to
portamento and pitch for sample based sounds
B8 Upper Custom 2
Congurable. Typical kit presets set to decimation
When Osc1 is set as a wavetable synth, Custom 2
is set to control the wave position
B8 Lower Custom 3
Congurable. Typical kit presets set to bitcrush
When Osc1 is set as a wavetable synth, Custom 3
is LFO2 modulation depth of wave position.
When Osc2 is set as a wavetable synth, Custom 3
is set to control the wave position.
NOTES
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NOTES
▌ADJUSTING A PARAMETER IN THE AFFECT GROUP
1. Press [CLIP] to select clip view This is indicated by the clip button
illuminated blue.
2. Selected SYNTH or KIT by pressing [SYNTH] or [KIT]. The selected
button illuminates red.
3. Audition the synth or kit sound manually with the [AUDITION] Pads.
This enables adjustments to be heard and for kits selects the target
sound to edit.
4. To adjust parameters for ALL kit sounds select [AFFECT ENTIRE]
which will be lit orange when selected. This is automatically selected to
on for Synths as technically there is only one sound.
5. Select the affect group parameter to change. For example envelope 1
‘attack’ time. This is button 3 from left and the parameter is labelled
above the button. The button will be lit orange.
6. Adjusting the (UPPER) will adjust the attack time. The LED meter
indicates the level / position of the parameter setting within its range.
7. The (LOWER) will affect the ‘release’ of envelope 1 as the button
selections are for two default set parameters.
8. Continue to audition the sound as changes are made or play a
sequence to hear adjustments during playback.
9. The preset will automatically change to a new sub slot number when
saving after a parameter is adjusted e.g. from 52 to 52A to enable
saving without overwriting the original if required.
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NOTES
2.9 Alphanumeric Keyboard & Grid Layout.
Deluge has an alphanumeric keyboard function within the 16x8 pad grid.
This enables text entry for naming of songs, clips, etc. The default setting is
QWERTY mode (can be changed in settings) and the keyboard is
highlighted on the grid and available automatically when text entry options
are available such as when saving, le browser, etc. Tapping a pad when
loading or saving will bring the keyboard into view and automatic predictive
text entry is provided based on Deluge analysing existing le names.
(SCROLL◄►)
Navigate left & right to move
cursor across the display position.
The shift, enter, backspace buttons are coloured and double up on pads for the function.
Spacebar is the bottom row of 6 pads. Once the name has been typed in it is conrmed /
saved by pressing ‘RETURN’ i.e. ‘amount’ or ‘note’ pads lit green.
[SHIFT] or [AUDITION] + [NAME] to rename a sound selected within a kit.
[AUDITION] + [NAME] to rename a track in arranger view.
SONG3
LOAD SONG
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NOTES
▌SETTING THE ALPHANUMERIC KEYPAD STYLE
1. Press [SHIFT] + press (SELECT) to open the settings menu.
2. Turn (SELECT) to choose the PADS option.
3. Press (SELECT)
4. Turn (SELECT) to choose KEYBOARD FOR TEXT.
5. Press (SELECT)
6. Turn (SELECT) to choose the desired keyboard style from.
• QWERTY - Default to match grid layout.
• AZERTY
• QWERTZ
▌SETTING THE SHORTCUT VERSION PAD LAYOUT
1. Press [SHIFT] + press (SELECT) to open the settings menu.
2. Turn (SELECT) to choose the PADS option.
3. Press (SELECT)
4. Turn (SELECT) to choose SHORTCUTS VERSION.
5. Press (SELECT)
6. Turn (SELECT) to choose the desired shortcut style based on the
rmware versions.
• 1.0
• 3.0
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NOTES
SEQUENCING
3
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NOTES
3.1 Sequencing Workow
An example of high level workow on setting up a sequence.
S
E
1
2
3
4
5
6
7
8
9
10
11
SequenceAdditional features
Choose type of clip
[SYNTH], [KIT], [MIDI], [CV] or audio
Adjust swing & velocity per note
Could be different per instrument clip
Set tempo
Can be adjusted later
Step sequence or record a live clip
Clip view for instruments
Adjust note settings
Length, probability, automation etc
Add modulation & effects
Clip or kit Level
Repeat cycle for other clips
Example, bass, lead, MIDI, drums
Build structure of song in song view
Build structure and assemble clips
Flesh out arrangement in arrangement view
Build linear structure
Save song
Play
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3.2 Playing a Sequence
Playing the sequence is a simple process using the mode group transport
controls. The default direction is forwards, but reverse and ping-pong are
also available as selectable options.
▌PLAYING A SEQUENCE
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Press [PLAY] to start playback. Button is lit green. Press [PLAY] again
to stop the sequence. Button is off.
3. Press (SCROLL◄►) + Press [PLAY] to start playback from the
beginning of the grid / zoom position that is in focus instead of from the
sequence start position.
Press [PLAY]
To start sequencer playback.
Button illuminates green.
Press [PLAY]
A second time to stop playback.
Button is unlit / off.
When playing the white column cursor will move
left to right across the time range and can be
seen in the respective pad grids.
Press & hold (SCROLL◄►) + press [PLAY]
to start the sequencer playback from the start of
the current in focus grid scroll position instead of
starting at the start of the full grid.
16x8 16x8 16x8
NOTES
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▌SETTING THE SEQUENCER PLAY DIRECTION
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue. For a KIT clip*, select the row, press [AUDITION].
2. Press [SHIFT] + [DIRECTION] to open the setup menu options. The
button will ash and the display will indicate the current play direction.
The default is FORWard.
3. Turn (SELECT) to choose the desired direction from the three available
options.
• FORWARD. Will play the sequencer from the start - left to right. This
is the normally expected playback behaviour.
• REVERSE. Will play the sequencer in reverse where the start will
be the end of the sequence - right to left.
• PING-PONG. Will play the sequencer rstly from the start - left to
right, then at the end will reverse back right to left.
• NONE. Only available for KIT rows* when AFFECT ENTIRE is OFF.
This sets the current row direction to operate based on the global kit
clip direction setting.
4. Once the direction is selected, press [PLAY] to start playback. Button is
lit green. Press [PLAY] again to stop the sequence. Button is off.
DIRECTION
Note: The ‘direction’ shortcut button label may
not be printed on faceplates.
*Note: Kit rows can be set to have independent direction control settings. Independent
direction for rows are set in a KIT and when [AFFECT ENTIRE] is set to OFF. To set the
global direction for all rows in a kit clip, set the direction setting while the [AFFECT
ENTIRE] option is set to ON. This will therefore apply the direction to all rows.
NOTES
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Play direction.
Sequencer 3
FORWARD
Plays from the start to end of length and then loops back to the start
Plays from the end to the start i.e. in reverse and then loops back to the end
Plays from the start to the end, then back to the start and loops in this pattern
PING-PONG
REVERSE
Play
Play
Play
Play
NOTES
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NOTES
3.3 Tempo & Swing
Tempo can be set manually or a tap tempo option is available.
▌MANUALLY SETTING THE TEMPO
1. Turn (TEMPO) control to adjust the BPM. Higher increments of change
will occur at higher BPM settings than when changing lower BPM
settings.
2. For 1 BPM increments, press + turn (TEMPO) to adjust the BPM.
3. The display will show tempo settings when adjustments are being
made. Press (TEMPO) to quickly check the current setting.
▌SETTING THE TEMPO USING TAP TEMPO
1. Tap the [TAP TEMPO] button two or more taps. The button will ash
green while tapping.
2. Tempo will adjust automatically and more accurately as more taps are
captured.
3. The display will show tempo settings when tapping.
▌SWITCHING THE METRONOME ON/OFF
1. Press [SHIFT] + [TAP TEMPO] button. The button will illuminate green
to signify that the metronome is turned on.
2. The metronome will sound out when the sequence is in play and
running. A higher pitch at each bar start and lower pitch on the beat.
3. (OUTPUT LEVEL) will adjust the entire volume output and headphone
output. This will also affect the metronome volume.
4. Press [SHIFT] + [TAP TEMPO] button when metronome is on to turn it
off. The button will be unlit to signify that the metronome is turned off.
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NOTES
▌ADJUSTING SWING
1. Press [SHIFT] + turn (TEMPO) button. A swing % value between 1-99
can be dialled in to adjust the swing and shift.
▌ADJUSTING THE SWING INTERVAL SETTING
1. Open the settings menu by pressing [SHIFT] + press (SELECT).
2. Turn the (SELECT) control to navigate the menu top level and select
SWING INTERVAL
3. Press (SELECT)
4. Turn (SELECT) to choose between 2 bar, 1 bar, 2nd, 4th, 8th, 16th, 32nd,
64th, 128th note intervals. 16th is the default setting.
5. Press [BACK / UNDO] to back out of the menu when the parameter
has been changed or at any time in the menu to back up.
6. The swing interval setting is saved as part of a song. New songs revert
to default while saved and reloaded songs will retain the swing interval
setting.
Example 1
Timing on grid
50 = Off
16th Grid Intervals (8th note Swung)
Example 2
Swing
51 - 99 = notes late
Example 3
Swing
1 - 49 = notes early
Swing feature provides a rhythmic adjustment that brings a more natural and
organic feel to songs and operates generically and not at an individual note level.
40 Deluge Ofcial Manual
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NOTES
3.4 Recording Pattern Sequences
The recording of note events can be performed manually using the step
sequencer or live recording using the audition pads.
▌STEP RECORDING A BASIC SYNTH / MIDI / CV PATTERN
1. Press [CLIP] to select clip view. Clip button illuminated blue.
2. Select SYNTH by pressing [SYNTH] if not already selected. The synth
button illuminates red. Also applies to MIDI & CV.
3. Select a preset for a synth or channel for MIDI & CV by turning the
(SELECT) rotary. Auditioning the synth selections is available with the
[AUDITION] pads which plays the scale.
4. Program a pattern on the grid by pressing one or more [PAD] buttons.
The arrangement is made across columns for the time line from left to
right. The note pitch is dependant on the row selected.
5. To extend the note length hold the rst [PAD] + press end [PAD] which
will extend the note between the two pads. The rst pad is lit with the
additional pads of the note dimly lit. Repeat to deselect.
6. The grid by default is in 1/16th Note intervals across 1 bar of the
physical horizontal grid. The [PAD] buttons lit will trigger the synth when
the sequence is playing. The actual grid environment can be bigger
than just the physical 16 x 8 pads and therefore may be out of view.
7. Press [PLAY] to play out the synth sequence and observe the white
cursor bar scrolling left to right and cycling across the grid.
8. Patterns can be edited during playback.
• Press an unlit [PAD] to select it and press a lit [PAD] to deselect it.
• Press [BACK / UNDO] to undo a note step placement action and
[SHIFT] + [BACK / UNDO] to restore, redo the note step action
• Use the mute / launch column to mute (yellow) or unmute (green) a
selected row’s notes from the pattern.
• Saving synth presets in clip view will only save the synth settings.
Patterns are stored with songs not in synth presets.
• The lit audition / section pad indicates the root note by the lit button
or buttons if a full octave is in view.
• The colours will change dependant upon the pitch by row
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NOTES
▌STEP RECORDING A BASIC KIT PATTERN
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Selected kit by pressing [KIT] if not already selected. The kit button
illuminates red.
3. Select a preset by turning the (SELECT) rotary and auditioning the
individual sound selections available with the [AUDITION] Pads.
4. Program a pattern on the grid by pressing one or more [PAD] buttons.
The arrangement is made across columns for the time line from left to
right. The individual sounds i.e. drum hits are dependant on the rows
selected.
5. The grid by default is in 1/16th intervals across 1 bar of the physical
horizontal grid. The [PAD] buttons lit will trigger the kit sounds when the
sequence is playing. The actual grid can be bigger than just the 16 x 8
pads and therefore may be out of view.
6. Press [PLAY] to play out the kit sequence and observe the white cursor
bar scrolling left to right and cycling across the grid.
7. Patterns can be edited during playback.
• Press an unlit [PAD] to select it and press a lit [PAD] to deselect it
from the pattern.
• Press [BACK / UNDO] to undo a kit step placement action and
[SHIFT] + [BACK / UNDO] to restore, redo the kit step action.
• Use the mute / launch column to mute (yellow) or unmute (green) a
selected row’s notes from the pattern.
• Saving kit presets in clip view will only save the kit settings. Patterns
are not stored in kit presets, they are stored with songs.
• The lit audition / section pad indicates the selected row and hence
the selected kit sound.
• Colours are assigned to the unique kit sound on each row.
42 Deluge Ofcial Manual
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NOTES
▌LIVE RECORDING A BASIC PATTERN USING AUDITION PADS
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Selected SYNTH or KIT by pressing [SYNTH] or [KIT] if not already
selected. The synth or kit button illuminates red.
3. Press [RECORD] to put the sequencer into armed record mode ready
for play. Record button is lit red.
4. Press [PLAY] to start the sequencer playing. Play is lit green.
• Fixed length mode. If notes exist in the clip a white cursor will play.
The notes are recorded for the length set, eg: 1 bar.
• Auto extend mode: If the clip is fully empty, no notes or sounds on
the grid, the cursor will play red. Notes will be recorded as the
sequencer records with an ‘unlimited’ length.
5. Play the notes, chords, melody in real time using the eight [AUDITION]
pads. The pattern will be recorded as played including a predened
velocity, timing, length and note. Notes are displayed for each of the
audition pads when played.
6. Press [PLAY] to stop playing the sequencer. Press [RECORD] to
deselect record mode.
7. Overdubs can be created by repeating step 3 - 6.
8. Patterns can be edited during playback.
• Default quantization for recording live is 32nd notes. Quantization
sets how accurately the notes are placed onto the grid
• Press an unlit [PAD] to select it and press a lit [PAD] to deselect it.
• Press [BACK / UNDO] to undo phases of the recording and [SHIFT]
+ [BACK / UNDO] to restore, redo the recording.
• Use the mute / launch column to mute (yellow) or unmute (green) a
selected row’s notes from the pattern.
• The lit audition / section pad indicates the root note by the lit button
or buttons if a full octave is in view for synths. Lit pad for kits
indicates a selected row.
• The colours will change dependant upon the pitch by row.
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NOTES
▌LIVE RECORDING A BASIC SYNTH PATTERN USING KEYBOARD
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Select SYNTH by pressing [SYNTH] if not already selected. The synth
button illuminates red. Keyboard view is not available for kits.
3. Press [KEYBOARD] to select keyboard view. Pads illuminate to
represent keyboard scale to be played. Semitones horizontally and
rows represent 4th intervals per row. This is similar to a guitar fret-board.
4. Press [RECORD] to ‘arm’ the sequencer in record mode ready for a
play request. Record button is lit red.
5. Press [PLAY] to start the sequencer playing. Play is lit green and the
red grid cursor steps through the sequence on the top row.
• Fixed length mode. If notes exist in the clip a white cursor will play.
The notes are recorded for the length set, example 1 bar.
• Auto extend mode: If the clip is fully empty, no notes or sounds on
the grid, the cursor will play red. Notes will be recorded as the
sequencer records with an ‘unlimited’ length.
6. Play the grid keyboard [PAD] lit notes, chords, melody in real time. The
pattern will be recorded as played including predened velocity, timing,
length and note. Notes are displayed for each of the keyboard pads
when played.
7. Press [PLAY] to stop playing the sequencer. Press [RECORD] to
deselect record mode.
8. Overdubs can be created by repeating step 4 - 7
9. Patterns can be edited during playback.
• Default quantization for recording live is 32nd notes. Quantization
sets how accurately the notes are placed onto the grid
• Scale for the keyboard can be changed.
• Press [BACK / UNDO] to undo phases of the recording and [SHIFT]
+ [BACK / UNDO] to restore, redo the recording.
• The lit [PAD] indicates the root note by the brightest button.
44 Deluge Ofcial Manual
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NOTES
▌ SETTING A RECORDING COUNT-IN
1. Press [SHIFT] + press (SELECT) to access the settings menu.
2. Turn (SELECT) to highlight RECORDING
3. Press (SELECT)
4. Turn (SELECT) to highlight COUNT-IN
5. Press (SELECT) to set the count-in option.
6. Turn (SELECT) to choose OFF or ON. This will set the count-in for
recording on or off.
7. Count in will operate when set ON;-
• With Deluge as leader, [RECORD] enabled, press [PLAY] to perform
a count-in prior to recording.
• Metronome and display counts down 4-3-2-1 prior to recording.
• Count-in is disabled if recording is going to begin for just one audio
clip from which it’s going to auto-detect the tempo.
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NOTES 3.5 Note Characteristics
Several basic characteristics of notes can be changed in settings. These
include, velocity, note repeat, note length, quantization and note scales.
Some of these can be edited in the sequencer.
▌CHANGING A RECORDED SYNTH NOTE VELOCITY
1. After a pattern has been recorded, notes will be at a default velocity
level.
2. Press & hold one or more [PAD]’s for the note to change and turn
(SCROLL◄►).
3. The system default velocity is 64, however the velocity used on the last
note entry / edited will be applied to the next note entered.
4. Velocity will be displayed and its value.
▌SETTING A NOTE TO REPEAT
1. After a pattern has been recorded, notes will be trigger individually
2. Hold [PAD] + Press & turn (SCROLL▼▲). [PAD] is the note to repeat.
3. The value selected will determine the number of repeats to assign to
the selected note, positioned equally in the time interval of the pad.
Velocity
Relates to how hard a key is pressed
and how this reects the volume of the
note. This captures organic and human
like recordings.
Deluge pads are not velocity sensitive. The default velocity is 64 but this
default level can be changed in the settings options under the defaults menu.
Velocity is also a
modulation source to apply
to other parameters as well
as volume parameter.
1
Lighter
touch
Heavier
touch
127
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NOTES
▌CHANGING THE DEFAULT RECORDING QUANTIZATION
Quantization sets the accuracy and resolution of how close to the grid
intervals notes are placed.
1. Open the settings menu by pressing [SHIFT] + press (SELECT).
2. Turn the (SELECT) control to navigate the menu to select RECORDING
3. Press (SELECT) to drill down the recording menu.
4. Turn the (SELECT) control to navigate the menu and select
QUANTIZATION in focus.
5. Press (SELECT) to drill to the quantization settings.
6. Turn (SELECT) to choose between off (384th), 4 bar, 2 bar, 1 bar, 2nd,
4th, 8th, 16th, 32nd and 64th note intervals. A value of 32nd is the default
setting.
7. Press [BACK / UNDO] to back out of the menu when the parameter has
been changed or at any time in the menu to back up.
8. The quantization chosen will ensure tight alignment on the grid based
on the time interval chosen when recording live.
▌CLEARING CLIP NOTES
1. Press (SCROLL◄►) + [BACK / UNDO].
2. Display shows ‘CLIP CLEARED’. Notes and their associated
automation will be cleared from the clip, including notes outside of the
grid view.
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NOTES
▌TRIPLET VIEW
1. Press [TRIPLETS VIEW] to select. The button will be illuminated blue.
2. The grid will change to reect triplets view by showing columns of 3
rather than 4 as is normal.
• The unused 4th column is blanked out and is shown by a grey dull
colour when showing 16th notes.
• Zooming will carry over the triplets view in the original time division.
• To set triplets view in a different time division, exit triplets view,
change the grid time division and return to triplets view.
• A triplet in musical terms would mean 3 notes play for the same time
division as 4.
3. Program note sequence as desired.
4. Press [TRIPLETS VIEW] to exit. Button is unlit and the grid view
changes back to normal.
[TRIPLETS VIEW]
Switches the grid to triplets view, laying
out the grid with 3 of 4 columns in the
time division. The three notes have the
same time period as the original 4.
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NOTES
▌EDITING NOTES’ LENGTH
1. Note lengths can be set when entering clip notes by pressing the note
START [PAD] + END [PAD] on the same row. For kits, samples will
automatically map across the pads matching the sample length.
2. Reduce the note length by pressing one of the extension [PAD]’s to
shorten it.
3. To extend a note across grid views:-
• Press the [PAD] for the note start.
• Scroll to the next grid view ‘page’ using (SCROLL◄►). This would
be further in time from the original note.
• On the same row, press (SCROLL◄►) + [PAD] at the end position.
• The note will be extended across the ‘page’.
4. To create a note for the duration of the clip, for example as a pad or to
create a ‘drone’ note:-
• Press the [PAD] for the note start on the rst column (left position) of
the clip.
• On the same row, press (SCROLL◄►) + [PAD] at the last column
(right position).
• The note will be extended across the full clip.
• Deluge will ensure that these type of notes play continuously
through the clip and will loop. This is handled as a special case and
the note does not restart.
Note
Brightly lit showing start of note
Note Extension
Dimly lit showing length of note Grid edge
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▌ADJUSTING A CLIPS HORIZONTAL NOTE EVENT POSITION
1. Press (SCROLL▼▲) + Turn (SCROLL◄►) control to adjust the clip
note events i.e. notes and automation horizontally across the grid.
• The note events will move 1 step incrementally across the horizontal
grid. The steps are based on the zoom level.
• Note events which scroll off the edge left or right will wrap back onto
the grid from the opposite side.
▌NUDGING INDIVIDUAL NOTES HORIZONTALLY
1. Hold [PAD] + Press and turn (SCROLL◄►) to nudge the selected
[PAD] note event forward or backwards, indicated by +/- values.
2. This will nudge at the song’s minimum resolution, default is 384th notes.
▌COPYING / PASTING NOTE RANGE
1. Press [LEARN / INPUT] + press (SCROLL◄►) to copy the clips notes.
• This will copy the step range of notes in the current view on the grid
at the current scroll and zoom position.
• The time range of notes is what is copied including all notes out of
view above and below the pad range.
• Copy can be performed from one clip to another in the same or
different songs as well as within the same clip.
2. Select the new location for pasting the previously copied range. For
example extend the clip length or scroll to another part of the clip.
3. Press [SHIFT] + [LEARN / INPUT] + press (SCROLL◄►) to paste the
current clips notes:
• When pasting, the notes are pasted into the current view.
• If the destination view is transposed from the original copied location
the notes are pasted into the new transposed position.
• If only a part of the grid is selected as the destination, the notes for
the available columns are pasted and the rest discarded.
• Notes will be pasted into any new zoom levels where notes will be
stretched or reduced to meet the destination zoom view.
NOTES
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3.6 Note Scales
Scale mode is automatically set when new synth, MIDI and CV clips are created. Scale mode will
lock the notes to a specic scale, by default a major scale. Chromatic scale can be selected by
exiting ‘scale’ mode. Other scales can be selected.
C3
C3
C3
D3
C#D# F# G# A#
C D E F G A B
C4
C#3
E3
D3
F3
D#3
G3
E3
A3
F3
C3
F#3
C4
G3
G#3
A3
A#3
B3
AUDITION /
SECTION
AUDITION /
SECTION
OCTAVE
MAJOR SCALE
(Default)
Sharps shown with a period .
Example: Start-Up in Major Scale, C Root Note
OCTAVE
Chromatic Scale - 12 Notes - Rows in Semitones Selected / Chosen Scale - 7 Notes
[SCALE] ON
Scale is locked to a major scale. After adding notes
when selecting scale mode, a guess of the scale
and root note / key is made by Deluge.
[SHIFT] + [SCALE]
Switches the scale through seven western music
scales of Major, Minor, Dorian, Phrygian, Lydian,
Mixolydian and Locrian. ‘CUSTOM SCALE WITH
MORE THAN 7 NOTES IN USE’ may be displayed if
there are more than seven notes programmed into
the sequence.
[SCALE] OFF
Chromatic scale with notes and rows being
one semitone apart. Scale is displayed.
[SCROLL▼▲]
Navigate the rows using up / down scroll. Grid is
8 pad rows high and the full range is out of view.
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NOTES
▌SELECTING SCALE MODE
1. Press [SCALE] to switch scale mode ON. Button lit blue.
2. Press [SCALE] a second time to switch it OFF. Button unlit.
▌DELUGE ANALYSIS AND SELECTION OF NOTE SCALE
1. With notes programmed into the sequence grid.
2. Press [SCALE] to switch it ON. Button illuminates blue. Cycle it off and
on if already selected to ON.
3. Deluge will evaluate the notes and establish a ‘best t’ scale for the
selected notes as well as the scale root note.
4. The selected scale will be displayed ashing for a few seconds when
selecting [SCALE].
Available Scales in Scale Mode
C3 C3 C3 C3 C3C3 C3
d3 d3 d3 C.3 d3d3 C.3
E3 d.3 d.3 d.3 E3E3 d.3
F3 F3 F3 F3 F3F.3 F3
G3 G3 G3 G3 G3G3 F.3
A3 G.3 A3 G.3 A3A3 G.3
b3 A.3 A.3 A.3 A.3b3 A.3
C4 C4 C4 C4 C4C4 C4
OCTAVE
Western 7 Note Scales. Example - C Scale. Sharp notes
indicated with a period (.)
User dened custom scales can be created by selecting the notes and entering
[SCALE] mode and Deluge will dene a custom scale shown as OTHER.
MAJOR (Ionian)
MINOR (Aeolian)
DORIAN
PHRYGIAN
LYDIAN
MIXOLYDIAN
LOCRIAN
MAJOR DORIAN LYDIANMINOR
PHRYGIAN
OTHER
MIXOLYDIAN
LOCRIAN
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NOTES
▌MANUALLY SETTING A ROOT NOTE
1. With notes programmed into the sequence grid.
2. Press [SCALE] + [AUDITION] pad for the desired root note. The
audition pads can be played to display the notes assigned to each pad.
▌MANUALLY CHANGING SCALE
1. Press [SHIFT] + [SCALE] to cycle through the seven available scales.
2. The grid pattern will change with notes moving to the correct note row
for the selected scale.
▌TRANSPOSING A CLIP UP OR DOWN
1. Press & turn [SCROLL▼▲] to transpose the whole octave.
2. Press [SHIFT] + press & turn [SCROLL▼▲] to transpose by semitone
increments.
• ALL clips that are in SCALE mode will be transposed by the same
semitone increment when adjusting the transposition
All songs with multiple clips set to SCALE mode will always be locked to the
same scale. Changes in scale settings on one clip will affect all others in scale
mode. This also includes Deluge analysis and evaluation of scale algorithm
when entering scale mode, where all clip notes will be evaluated. This may lead
to notes being added / changes in the clips when editing scales.
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NOTES
▌CREATING A CUSTOM SCALE
1. Exit scale mode by pressing [SCALE]. Button should be unlit.
2. Select the notes on the grid that will be attributed to the new scale.
3. Press [SCALE], Deluge will evaluate the notes and establish a best t
scale. Button will illuminate blue.
4. If notes selected form an existing scale this will be recognised. If the
notes don't form one of the seven Deluge scales a custom scale
identied on the display as OTHER SCALE will be created.
5. Other scales for the notes would indicate CUSTOM SCALE WITH
MORE THAN 7 NOTES IN USE on the display if attempted to be
selected when the notes don't t.
▌MANUAL SHARPENING / FLATTENING NOTES IN CUSTOM SCALES
1. Ensure [SCALE] mode is on.
2. For the selected note / row, press & hold [AUDITION] pad + press &
turn (SELECT) to sharpen or atten the note.
• Note will play when pressed. To adjust silently, use [SHIFT] with
the [AUDITION] pad.
• [SCALE] will ash quickly if changes attempted are not
available. For example making a sharp the same as the next
note / row.
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3.7 Keyboard View & Chords
Deluge has a keyboard view which is reective of the scale and is mapped to the 16 x 8 pad grid.
This means that the grid has dened note and chord placements rather than traditional piano style
sequencing layout. The Deluge column steps are one semitone and the rows ve semitones (a
perfect fourth) apart. In layout terms Deluge is therefore more akin to a bass guitar fretboard than it
is to a piano keyboard. From a grid playability perspective this makes perfect sense. Pressing a note
on the grid will also highlight the equivalent notes, up and down an octave, on the grid.
Semitone Intervals : Chromatic 12 Note Octave
5 Semitone (Perfect Fourth) Intervals
d.2
d2
G2
C3
F3
A.3
d.4
G.4
C.5
E2 F2 F.2 G2 G.2 A2 A.2 b2 C.3 d3 d.3 E.3 F3
16 x 8 Grid In Focus
C3
C3
C4
C5
C4
C4
C5
C5
C6
[KEYBOARD]
The keyboard view shows the grid laid
out based on the scale and root note.
Steps up the rows in ve semitone
(perfect fourth) intervals and the
columns steps in one semitone
steps.
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NOTES
These octaves will follow a consistent pattern shape of the notes between
the octaves. Chords played on a piano are shaped uniquely across the
scale (for example 12 chord shapes in a minor chord for each root note).
With Deluge, chords follow a consistent shape. This is known as an
isomorphic layout where each chord always follows the same shape.
Example of Isomorphic Chord Shapes
d.2
d2
G2
A4
F3
C3
A.3
d.4
G.4
C.5
E2 F2 F.2 G2 G.2 A2 A.2 b2 C.3 d3 d.3 E.3 F3
C3
E3
C3
b3
E4 G4
d4
G3
F.4
A5
E5
C6
C Major
C-E-G
E Minor
E-B-G
D Major
D-F#-A
A Minor
A-C-E
Minor & Major Chords
Examples show minor and major chords and how
the shape can be replicated across the grid for
these chords and associated note structures.
More isomorphic chord examples are shown in the community quick reference guide
in section 15 of this manual. .
Chord Shapes
Examples show minor and major chord shapes
and how they are replicated across the grid for the
respective chords.
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3.8 Navigating the Grid
Deluge has a 16 x 8 grid of pads which is used when sequencing notes and creating melodies and
patterns. The actual programming grid is not limited to the 16 x 8 pads in focus and on view.
Scrolling The Grid
Higher and lower notes (synth) or different samples (kit) can be scrolled up and down or longer time
sequences left / right are available. The focus area can be scrolled and zoomed across the pattern
real estate to suit your workow and area of interest.
Sequence Plays Left to Right
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Lower
notes *
* Rows represent notes for a synth (illustrated) and samples for a kit
Higher
notes *
Higher notes or
more sounds Time
Turn (SCROLL▼▲) to move the
grid focus up or down. Some rows
will be out of focus and hence not
visible within the physical grid.
Default: 16th notes represented by each column of the grid.
Press (SCROLL◄►) to check the current zoom setting as shown on the display.
16 x 8 Grid In Focus
Turn (SCROLL◄►) to move the grid
focus left and right in time.
Display shows by temporarily ashing
the grid position.
First digit - bar
Second digit - beat in current bar
Third digit (if visible) - 16th note within
the current beat.
Beat Beat Beat Beat
Bar
1
6TH-NOTES
1
:1:1
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Zooming The Grid
Zooming the grid also uses the scroll and zoom rotary control. Zooming is performed across the
horizontal timeline of the grid. The grid resolution will change to the zoom level selected and as
such may include more or less visible information. Zooming-in is possible from the 16th default to
128th notes.
Beat Beat Beat Beat
Bar
Sequence Plays Left to Right
1 172 183 194 205 216 227 238 249 2510 2611 2712 2813 2914 3015 3116 32
Time
Note / step detail is expanded or contracted. Moving from the default 16th view to 32nd view
will still be one bar but add more resolution detail effectively doubling the note / step detail
from the rst 8 columns of the 16th view across to the entire 16 columns in 32nd view.
Example: 32nd notes representing the zoomed grid.
Press (SCROLL◄►) to check the current zoom setting as shown on the display.
16 x 8 Grid In Focus
Display shows the grid
position when scrolling.
Bar : Beat Bar : Beat
Press + turn (SCROLL◄►) to zoom the
grid in and out. Shows more or less detail.
Press to check zoom level.
Turn (SCROLL◄►) to scroll the wider grid
into focus of the physical grid pads.
32
ND-NOTES
1
:1:1
1
:3:1
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NOTES
▌SCROLLING CLIPS HORIZONTALLY
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Select SYNTH or KIT by pressing [SYNTH] or [KIT]. The selected
button illuminates red.
3. Turn (SCROLL◄►) to scroll the grid in focus. If there are no notes /
steps existing beyond the visible pad grid then no scrolling will take
place. Scrolling will move by the full page of 16 steps.
4. Editing of notes and steps is retained irrespective of whether the notes
are in focus and viewed within the pad grid. Horizontal scrolling adjust
the step columns in focus based on the time division
▌SCROLLING CLIPS VERTICALLY
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Select SYNTH or KIT by pressing [SYNTH] or [KIT]. The selected
button illuminates red.
3. Turn (SCROLL▼▲) to scroll the grid in focus. Scrolling will take place.
Scrolling will move by one row at a time and for synth notes the audition
pads will show the root note position for synths and the selected row for
kits.
4. Editing of notes and steps is retained irrespective of whether the notes
are in focus and viewed within the pad grid. Vertical scrolling adjusts the
step rows in focus based on the note pitch for synths or specic sounds
for kits.
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▌ZOOMING THE GRID HORIZONTALLY
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Select SYNTH or KIT by pressing [SYNTH] or [KIT]. The selected
button illuminates red.
3. Press + turn (SCROLL◄►) to zoom the grid showing more or less
detail. Step resolution will expand up to 128th notes and shrink
depending on the zoom level. Default is 16th notes.
4. The bar, beat of the current bar and (if visible) the 16th note in the
current beat ashes for a short period on the display as adjustments are
made.
▌CHECKING ZOOM LEVEL RESOLUTION
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Select SYNTH or KIT by pressing [SYNTH] or [KIT]. The selected
button illuminates red.
3. Press (SCROLL◄►). The display will ash showing the timing division
resolution depending on the clip length. Examples are:-
16th notes 32nd notes
1.3.1
Bar Beat Tick
64th notes 128th notes
32
ND-NOTES
128TH-NOTES
16TH
-NOTES
64TH
-NOTES
1
:3:1
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3.9 Clip Length & Position
Default clip length is 1 bar. This however can be changed which will extend
the sequence beyond the grid in focus. This can be navigated using the
scroll and zoom features. Automatic extending of clips will take place if
recorded to a blank clip (no notes or sounds).
▌ADJUSTING CLIP LENGTH
1. Press [SHIFT] + turn (SCROLL◄►) control to adjust the clip length.
Clockwise to increase length. Anti-clockwise to reduce clip length.
• The display will show the length in bars : beats : 16th notes.
• The column pads on the grid will also indicate the clip length by
illuminating dim grey for columns outside of the length. The grid
columns within the length will be unlit / off.
• Automatic scrolling will take place if the length is extended further
beyond the right side columns. Automatic zooming will take place
when clip length is reduced less than half of the grid.
16th note examples:
NOTES
16th grid reduced to half the length.
16th grid reduced to 12 steps, 3/4 length.
16th grid at 10 steps, bar 1, beats 2 (Qtr Notes), 2 x 16th notes.
16th grid extended to 20 steps, 1+1/4 length. Scroll across bars.
Beat Beat Beat Beat Beat
Bar Bar
0:2:0
0:3 0
0:2:2
1:1:0
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NOTES
▌DUPLICATING PATTERN CONTENTS - MULTIPLY CLIP LENGTH
1. Press [SHIFT] + press (SCROLL◄►) to duplicate the clip length once
and associated pattern.
• Automatic zooming out will take place when clip length is increased.
The grid resolution time division may automatically change for
example from 16th to 8th notes.
• Multiplying again will therefore ‘double’ the 8th note view.
• Zoom can be restored and scrolling to view across the entire grid if
required.
• Any iteration dependance settings may be automatically changed
when duplicating / multiplying in order to retain the same sounds as
the original clip.
[SHIFT] + press (SCROLL◄►)
Press (SCROLL▼▲) + turn (SCROLL◄►)
Grid sequence pattern is duplicated to
extend the entire sequence length.
Note events can be moved left and right
on the grid. Any note events which scroll
off the grid will wrap to the opposite side.
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NOTES
3.10 Cross-Screen Editing
Cross-screen editing enables duplicated patterns across multiple,
equivalent zoom level screens to be edited in-sync with the current screen
displayed on the 16x8 grid. This means changing one screen, for example,
to add an extra kick at the end of a bar, will be applied to all other out-of-
view screens.
▌APPLYING EDITS ACROSS MULTIPLE SCREENS
1. Select a pattern and duplicate it to match your needs. Example 1 bar
pattern duplicated twice and visible across 4 x ‘screens’, of the 16x8
grid with 16th resolution.
2. Ensure the screen to edit is in focus. Example, rst bar of a 4 bar
pattern at 16th resolution.
3. Edit the pattern as desired. Example, place extra kick at the end of the
pattern, rst bar. The edit will only affect the rst bar.
4. Press [CROSS-SCREEN] to switch the mode on. Button lit.
5. Edit the pattern as desired. Example, place extra kick at the end of the
pattern, rst bar. The edit will be changed in the rst bar in view and
also bar 2,3 and 4 off screen.
6. Edits in cross-screen mode are dependant on, and locked to the zoom
level. Example, if 8th note resolution displays 2 bars in view and
changes are made in cross-screen mode at the end of bar 2, this will
also change at the end of bar 4, the screen out of view.
Clips individually remember whether, and at what zoom level, they have cross-screen
edit mode applied. Entering the mode for one track will not automatically be active for
any other track that is then edited.
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16x8 grid in-focus, multiply to
double the length twice
Double
Double
In cross-screen edit mode, changes
within the current screen that is in focus
i.e. 16th notes / 1 bar, will be reected
across the other equivalent screens
that are not in-focus.
Cross-Screen edit mode
In cross-screen edit mode, changes
within the current screen that is in-focus
i.e. 8th notes, 2 bars will be reected
across the other equivalent screens
that are not in-focus.
1 bar
16th resolution
8th Resolution
1 bar 1 bar 1 bar
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3.11 Note Creativity: Probability & Iteration Dependance
Deluge has a number of features that bring even more creativity to
sequencing. Note probability and iteration dependance is a feature which
uses logic to determine if the note plays on the sequence cycle or not and
adds randomness.
Probability
▌SETTING A NOTE PROBABILITY TO ADD RANDOMNESS
1. Press & hold one or more [PAD] + turn (SELECT) anticlockwise. The
pad’s selected should represent the sequence notes of where to add
probability.
2. Adjust the (SELECT) percentage between 5-100% where the % is the
‘chance’ of the note being played.
3. To reset to default set the % to 100% where the note will be played
each iteration.
NOTES
+
SELECT
Notes set to 100% will
play each iteration.
Notes set below 100%
will play randomly based
on the probability %.
If multiple notes on the same
step / column position total
100%, Deluge will play only
one of the notes with a
probability % on that column.
If multiple notes are set at the same %,
example 65%, Deluge offers an additional
option indicated by LATCHING, 65 & 65. The
LATCHING option means the note will only
trigger if the previous equivalent note
triggers.
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NOTES
+
SELECT
Notes set to the
iteration ratio.
1 of 2 - Play on 1st of 2 bar cycles
2 of 3 - Play on 2nd of 3 bar cycles.
2 of 4 - Play on 2nd of 4 bar cycles.
2 of 2 would only play on 2nd cycle. *
Iteration Dependance
▌SETTING A NOTE ITERATION DEPENDANCE
1. Press & hold [PAD] + turn (SELECT) clockwise. Pad selected should
represent the sequence note of where you intend to add the iteration.
2. Adjust the (SELECT) setting to one of the settings between ‘1 of 2’ up to
‘8 of 8’.
3. The ratio represents when the note plays for every iteration (bar) that
the sequencer plays. So ‘1 of 2’ plays the note on the 1st of every 2
bars, ‘3 of 4’ plays on the 3rd of each 4 rotations.
*
s
s
s
s
s
s
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3.12 Parameter Automation
Parameter automation is the creation and playback of automated changes
to sound parameters, sequenced in conjunction with the other contents of a
clip on the Deluge. A lter sweep would be one common example of.
▌RECORDING PARAMETER CONTROL MOVEMENTS
1. Start recording with [RECORD] and then [PLAY].
2. Select a parameter to record, example pan - [LEVEL / PAN], button
illuminates orange. Other parameters can be used along with the
(UPPER) (LOWER) control.
3. Adjust (LOWER) - pan, control while recording. The changes in the
parameter will be recorded in time with the sequence.
4. Automation is overwritten if the sequence loops while changes are
being made.
5. The automation changes are recorded from the point of change to the
point where changes stop. A smooth transition will be automatically
made back to the original to ensure a smooth continuous loop.
6. The parameters with automation attached can still be manually
changed. The sequencer will transition back to the automated
parameter pathway once manual changes are completed.
7. Automation is independent of notes so will remain even if notes are
deleted.
▌RECORDING MANUAL PARAMETER CHANGES PER PAD
1. Set to [CLIP] view.
2. Select a parameter to record, example pan - [LEVEL / PAN], button
illuminates orange. Other parameters can be used along with the
(UPPER) (LOWER) control.
3. Press and hold [PAD] at the desired step + turn (LOWER) - pan. The
changes in the parameter will be made as a snapshot at the specic
note step / time slot and end at the next note / step.
4. Deluge treats any region of automation as if the entire clip is automated.
5. Automation is independent of notes so will remain even if notes are
deleted.
NOTES
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NOTES
0
Off
32R
49
PAN
LPF
CUTOFF
32L
0
Example: Automating Pan with Controls
Automation is recorded into the sequencer and can be played back. Adjusting the
(LOWER) - for pan, control with the target - level / pan, parameter selected.
[LEARN / INPUT] + [PARAMETER CONTROL]
to copy the automation of one parameter.
[SHIFT] + [LEARN / INPUT] + [PARAMETER CONTROL]
to paste the copied parameter automation.
Automation copy / paste operates across the time region length of the ‘view’. Automation can be
copied to / from different parameters, different clips and song les. Zoom levels can be adjusted
prior to copying and automation will be adjusted to meet the new zoom setting.
COPY
PASTE
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NOTES
0
0
32L
32L
PAN
PAN
32R
32R
Example: Automating Pan with Note Steps
Automation is recorded into the sequencer by holding a [PAD] and adjusting the (LOWER) -
For pan, control with the target - level / pan, parameter selected. A parameter change is set
for the specic [PAD] step and is held until the next note to ensure transitions account for
note release. Copy / paste considers the entire region automation, not just the single step.
(SCROLL◄►) + [BACK / UNDO]
to clear all notes and automation.
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▌DELETING RECORDED AUTOMATION FOR A SPECIFIC PARAMETER
1. Select a parameter to delete, example pan - [LEVEL / PAN], button
illuminates orange.
2. Press [SHIFT] + press (LOWER) - pan, upper or lower to match the
parameter to delete.
3. Automation is deleted and the display will indicate ‘AUTOMATION
DELETED’ to conrm deletion.
4. The automation changes can be undone using [BACK / UNDO] or
[SHIFT] + [REDO].
▌COPY / PASTE AUTOMATION FOR TIME REGION OF PADS
1. Select a parameter to copy, example pan - [LEVEL / PAN], button
illuminates orange.
2. Press [LEARN / INPUT] + press (LOWER) - pan, i.e. upper or lower to
match the parameter to COPY. Note, automation is copied for one
individual parameter at a time.
3. Display indicates ‘AUTOMATION COPIED’. If no automation is present
then the display will show ‘NO AUTOMATION TO COPY’.
4. Select a destination parameter to paste to, example cutoff - [CUTOFF /
RES], button illuminates orange.
5. Press [SHIFT] + [LEARN / INPUT] + press (UPPER) - cutoff, i.e. upper
or lower to select the parameter to COPY to. Note, automation is copied
for one individual parameter at a time.
6. Display indicates ‘AUTOMATION PASTED’. If no automation has been
copied then the display will show ‘NO AUTOMATION TO PASTE’.
7. The automation changes can be undone using [BACK / UNDO] or
[SHIFT] + [REDO].
NOTES
Stutter parameter cannot be automated. MIDI control can also be
automated via MIDI messages. External MIDI controls can be
automated on Deluge parameters.
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Sequencer3
3.13 Euclidean Sequencing
Euclidean sequencing is based on greek mathematical principles and
specically around the division of two numbers. This process is applied to
generate the placement of steps in a musical sequence across a dened
length. Euclidean sequencing is great for more generative sequencing
which creates evolving melodies and especially rhythmic patterns. Deluge
applies euclidean patterns per row and the three elements to setup are:-
• Number of events. Sets how many steps will be applied in the row.
Process is similar to note repeat.
• Length of the sequence row, similar to clip length.
• Position of notes. The shifting of notes in the pattern.
▌CREATING A EUCLIDEAN PATTERN
1. Set to [CLIP] view.
2. Identify the note and hence the row on which to apply the sequence.
Holding the [AUDITION] button for the row will apply the sequence.
Press [SHIFT] + [AUDITION] in the steps below to apply the sequence
silently.
3. Press and hold [AUDITION] + turn (SCROLL◄►) to set the row length.
4. Press and hold [AUDITION] + press and turn (SCROLL▼▲) to set the
number of events and an assigned position on the selected row.
5. Press and hold [AUDITION] + press and turn (SCROLL◄►) to adjust
the note placement by shifting / rotating through the grid.
6. Repeat these steps for other notes / rows to build layered euclidean
sequences and melodies.
NOTES
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Sequencer 3
NOTES
Example: Euclidean Patterns
Applying euclidean patterns is performed row by row and is an iterative process for each
row in a pattern where a euclidean generates pattern is required. The creativity in euclidean
sequencing comes from the layering of rows with different lengths and a variety of events to
build complex patterns and melodies.
Hold [AUDITION] or for silent row selection, [SHIFT] + [AUDITION] + the
respective scroll control to set euclidean patterns to the selected row.
Hold [AUDITION] + Turn (SCROLL◄►)
to adjust the sequence length.
Hold [AUDITION] + Press & turn
(SCROLL▼▲) to set number of events
and assign step positions.
Multiple euclidean sequenced rows with varying lengths adds
interest and the perception of generative patterns. Try with kit rows
to build interesting percussive beats.
Hold [AUDITION] + Press & turn
(SCROLL◄►) to shift / rotate event notes.
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NOTES
SYNTHESIZERS
4
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Synthesizer4
4.1 Synthesizer Concepts
Deluge features subtractive, FM and wavetable synthesis with many
customisable options. Some generic synthesis concepts are explained
below.
Subtractive Synthesis
Subtractive synthesis operates on the principle of one or more oscillators
which generate a tone with harmonic content dependant on the wave
shape and type. Harmonic frequencies are then ‘carved out’ using lters to
subtract various elements from the signal. This affects the timbre and
sound. Additional sound shaping with envelopes, modulation and effects
enables more complex sound design.
FILTER
ENVELOPE and /
or MODULATION ENVELOPE and /
or MODULATION
AMP OUTPUT
OSCILLATOR
One or more oscillators
provide the basic,
harmonically rich tone. Often
these are stacked and
detuned against each other
and mixed to thicken the
sound.
Filters shape the sound by
subtracting harmonic content.
Additional shaping is provided by
modulation via envelopes, LFOs and
other sources.
The basic subtractive concepts are shown in the diagram with many synthesizers expanding these
concepts with more complex layering, synchronisation and tuning of oscillators, complex waveforms
and noise generators, lters, modulation, effects and more.
The audio signal amplitude
can also be shaped using
envelopes and manual
adjustments. At the nal
stage, panning and volume
levels can be set.
INPUT
NOTES
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4.1 Synthesizer Concepts (cont)
FM Synthesis generates sounds which are often described as metallic or
bell-like. The generic concepts of FM Synthesis are explained.
FM Synthesis
FM (frequency modulation) synthesis operates on the principle of an os-
cillator or “operator” generating an initial, basic wave known as the carrier.
This then has its frequency rapidly modulated by an additional wave/os-
cillator known as the modulator. The exact conguration of, at times many
carriers and modulators, is called an algorithm. Technically FM synthesis is
just very fast vibrato - so fast that the modulation of frequency occurs at a
rate which is itself in the “audio range”.
NOTES
OSCILLATOR
Frequency Pitch
Modulator
Carrier
By rapidly modulating the frequency of a wave, whole new repeating wave shapes
are created.
Amplitude modulation can be carried out by other modulation devices such as LFO’s.
Amplitude modulation can be found in many types of synthesizer.
Feedback
Feedback
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4.1 Synthesizer Concepts (cont)
The third synthesizer type in Deluge is wavetable synthesis.
Wavetable Synthesis
Wavetable synthesizers uses a collection of wave assembled into a
package of wavetables. While subtractive synthesis uses a core wave-
shape as its audio source, wavetable synthesizers use wavetables as the
audio source. The key benet bing the ability to navigate parts of the
wavetable to generate different timbres and sounds. This is essentially the
synth oscillator.
FILTER
ENVELOPE and /
or MODULATION ENVELOPE and /
or MODULATION
AMP OUTPUT
OSCILLATOR
Wavetables are navigated to specic
wave parts which form the synth
oscillator audio source.
Filters shape the sound by subtracting
harmonic content. Additional shaping is
provided by modulation via envelopes,
LFOs and other sources.
The basic wavetable synthesis concepts are shown in the diagram. The core components are the
wavetables as a source, typically generated from single cycles, and the ability to navigate the
wavetable. Most other features and synth specic and often similar to subtractive synthesis.
The audio signal amplitude can
also be shaped using envelopes
and manual adjustments. At the
nal stage, panning and volume
levels can be set.
INPUT
NOTES
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4.2 Deluge Subtractive Synthesizer Overview
Deluge has a subtractive synthesizer as default, with ring modulation mode option.
Deluge Subtractive Synthesis
Deluge uses two oscillators. High-pass and low-pass lters and 2 LFO and envelope options. In
addition the Deluge synth can use sample WAV les as the audio frequency source.
Oscillator 2
Oscillator 1
Oscillator
Volume
Main
Volume
Oscillator
Volume
Multiple Modulation
Options 1 x Option
Multiple Modulation
Options
Multiple Modulation
Options
All Voices - No
Retrigger
Multiple Modulation
Options
Per Voice - Retrigger
at Note On
Env 1
ADSR
Sidechain
Compressor
Env 2
ADSR
LFO 1
LFO
LFO 2
LFO
HPF LPF
NOISE Effects
AMP
Sync
Input
Trigger
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4.3 Deluge FM Synthesizer Overview
Deluge has FM synth features and parameters that are congurable.
Deluge FM Synthesis
Deluge uses two carriers and two FM modulators. Regular modulation is also provided by 2 LFO
and envelope options.
Carrier 2
Carrier 1
Modulator 1 Modulator 2
Oscillator
Volume
Main
Volume
Oscillator
Volume
1 x Modulation
Option 1 x Option
2 x Modulation
Options
Multiple Modulation
Options
All Voices - No
Retrigger
Deluge FM Algorithms
Multiple Modulation
Options
Per Voice - Retrigger
at Note On
Env 1
ADSR
Sidechain
Compressor
Env 2
ADSR
LFO 1
LFO
LFO 2
LFO
Effects
AMP
Input
Trigger
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4.4 Deluge Wavetable Synthesizer Overview
Deluge has wavetable synthesizer capability which allows the oscillators TYPE to be set to
WAVEtable and where a specic part of the wavetable can be selected as the audio source.
Deluge Wavetable Synthesis
Deluge uses two oscillators plus same functionality also as the default subtractive synths and the
audio chain. Wavetables in WAV or AIFF and MONO format can be assigned to one or both of the
oscillators. Wave navigation per oscillator is also available in order to change the oscillator wave
cycle used as the source. Modulating the wave position is a great way to add variation and
movement to a sound.
Oscillator 2
Oscillator 1
Oscillator
Volume
Main
Volume
Oscillator
Volume
Multiple Modulation
Options 1 x Option
Multiple Modulation
Options
Wavetables Parameter
(available by shortcut)
adjusts wave position
Wavetables Parameter
(available by shortcut)
adjusts wave position
Multiple Modulation
Options
All Voices - No
Retrigger
Multiple Modulation
Options
Per Voice - Retrigger
at Note On
Env 1
ADSR
Sidechain
Compressor
Env 2
ADSR
LFO 1
LFO
LFO 2
LFO
HPF LPF
NOISE Effects
AMP
Sync
Input
Trigger
Deluge supports Mono, WAV and AIF les with a cycle size to the ‘power of two’ starting at 8 upwards. The cycle size of 2048 is the
most common. Wavetables can be downloaded freely online from various sources or can be user created directly. These can be stored,
and subsequently selected from, the samples library on the SD Card. Many devices such as XFER’s Serum VST plug-in have readily
available wavetables that are also compatible with the Deluge wavetable synthesizer. These along with any other specic wavetable
les carry meta data tagged ‘clm’ along with the cycle size. Deluge can load any wave le as a wavetable but only the wavetable
formatted les will follow the dened and recognised wavetable behaviour and sound.
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4.5 Synthesizer Creation Workow
An example high level workow on setting up the Deluge synths gives a
starting point for sound design and preset creation.
S
E
1
2
3
3
4
5
6
7
8
9
10
11
12
Generic set-upSynth specic
Create a blank preset
[SHIFT] + [SYNTH]
Adjust lters to shape sound
Subtractive synths
Iterative set up steps to adjust to
the desired sound
Determine synth mode
Set in sound editor: Subtractive,
Wavetable, FM, Ring Mod
Set-up and tune oscillators / carrier - modulator
Set in sound editor
Set-up envelopes
Set in sound editor. ENV 1 to shape amplitude
Set-up modulation
Optional 2 x LFO’s and 2 x envelopes
Finalise output
Volume level and pan
Save
Save as a preset
Play
‘Affect parameter’ controls
To tweak the common parameters.
Set-up custom controls if needed.
Set-up effects
NOTES
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4.6 Synthesizer Clip Parameters
Deluge has the some synth parameters in the affect group. However the full list of parameters is
accessible from the sound editor or in part from shortcut options on the grid.
Function Sub Category
Parameter Shortcut Button
Access Options & Description
OSCILLATOR
1
CARRIER 1
(FM)
TYPE* TYPE* Waveform Options. Digital: Sine, Saw, Square, Triangle. Analog Modelled:
Analog Saw, Analog Square. Audio: Wavetable, Sample, IN (Expandable
to INL, INR, INLR)
LEVEL LEVEL Oscillator 1, or Carrier 1 for FM level
RECORD AUDIO RECORD Access to sound recorder to sample audio to use as oscillator 1. Not
available in FM synth.
TRANSPOSE TRANSPOSE Semitones + cents for adjustment
PULSE WIDTH PW Oscillator 1 pulse width. No PW available in FM Mode
FEEDBACK FEEDBACK FM synth option only
RETRIGGER PHASE RETRIG PHASE Phase in degrees that the oscillator will be reset on note-on. Also can be
switched off.
WAVETABLE WAVETABLE Wavetable Only. Navigation setting to select the cycle position in the
wavetable le as the oscillator sound source. Shortcut button only once a
wavetable type is set.
OSCILLATOR
1
CARRIER 1
(FM)
Only when
TYPE* is Sample
or Wavetable
FILE BROWSER BROWSE Only available when TYPE is Sample or Wavetable: Access to le browser
to select audio or wavetable le as oscillator 1
START-POINT WAVEFORM
then ‘green’ pad Only when TYPE is Sample: Start time of sample in seconds with
millisecond adjustments
END-POINT WAVEFORM
then ‘red’ pad Only when TYPE is Sample: End time of sample
SPEED SPEED Only when TYPE is Sample: Manually time stretches sample to play faster
or slower without changing pitch. Not available if MODE is set to
STRETCH in which case speed is controlled by note length and tempo
REVERSE REVERSE Only when TYPE is Sample and a sample is loaded, reverses the sample
REPEAT MODE MODE
Only when TYPE is Sample and a sample is loaded: Options are; ONCE -
Sample plays once all the way through, CUT - Sample aims to play all the
way through but will cut at the triggering note end, LOOP - Sample loops
continuously until the trigger note ends, STRETCH - Sample is time
stretched to the trigger note length.
PITCH / SPEED PITCH/SPEED Only when TYPE is Sample and a sample is loaded: Pitch / Speed controls
the relationship between pitch and speed. LINKED - pitch change affects
length, INDEPENDENT - pitch changes do not affect length
INTERPOLATION INTERPOLATION Only when TYPE is Sample and a sample is loaded: Sample interpolation
method used for pitch adjustment. Options are; SINC - high quality 16-
point windowed sinc, LINEAR - Low quality linear interpolation
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Function Sub Category
Parameter Shortcut Button
Access Options & Description
OSCILLATOR 2
CARRIER 2
(FM)
TYPE* TYPE* Waveform Options. Digital: Sine, Saw, Square, Triangle. Analog Modelled:
Analog Saw, Analog Square. Audio: Wavetable, Sample, IN (Expandable
to INL, INR, INLR)
LEVEL LEVEL Oscillator 2, or carrier 2 (Car 2) for FM level.
RECORD AUDIO RECORD Access to sound recorder to sample audio to use as oscillator 2. Not
available in FM mode.
TRANSPOSE TRANSPOSE Semitones + cents for adjustment
PULSE WIDTH PW Oscillator 2. No PW available in FM Mode
FEEDBACK FEEDBACK FM Synth option only
SYNC OSC SYNC Switches on the synchronisation for oscillator 2 which resets to trigger
phase whenever oscillator 1 does.
RETRIGGER PHASE RETRIG PHASE Phase in degrees that the oscillator will be reset on note-on. Also can be
switched off.
WAVETABLE WAVETABLE Wavetable Only. Navigation setting to select the cycle position in the
wavetable le as the oscillator sound source. Shortcut button available
only when a wavetable type is set.
OSCILLATOR 2
CARRIER 2
(FM)
Only when
TYPE is Sample or
Wavetable
FILE BROWSER BROWSE Only when TYPE is Sample: Access to le browser to select audio le as
oscillator 2
START-POINT Only when TYPE is Sample: Start time of sample in seconds with
millisecond adjustments
END-POINT Only when TYPE is Sample: End time of sample
SPEED SPEED Only when TYPE is Sample: Manually time stretches sample to play faster
or slower without changing pitch. Not available if MODE is set to
STRETCH in which case speed is controlled by note length and tempo
REVERSE REVERSE Only when TYPE is Sample and a sample is loaded, reverses the sample
REPEAT MODE MODE
Only when TYPE is Sample and a sample is loaded: Options are; ONCE -
Sample plays once all the way through, CUT - Sample aims to play all the
way through but will cut at the triggering note end, LOOP - Sample loops
continuously until the trigger note ends, STRETCH - Sample is time
stretched to the trigger note length.
PITCH / SPEED PITCH/SPEED Only when TYPE is Sample and a sample is loaded: Pitch / Speed controls
the relationship between pitch and speed. LINKED - pitch change affects
length, INDEPENDENT - pitch changes do not affect length
INTERPOLATION INTERPOLATION Only when TYPE is Sample and a sample is loaded: Sample interpolation
method used for pitch adjustment. Options are; SINC - high quality 16-
point windowed sinc, LINEAR - Low quality linear interpolation
FM
MODULATOR1
FM Only
TRANSPOSE TRANSPOSE Semitones + cents for adjustment
AMOUNT LEVEL Amount which the modulator 1 modulates the frequency of both Carrier 1
and Carrier 2.
FEEDBACK FEEDBACK Sets the amount of feedback from / to the FM modulator 1
RETRIGGER PHASE RETRIG PHASE Phase in degrees that the oscillator will be reset on note-on. Also can be
switched off.
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Function Sub Category
Parameter Shortcut Button
Access Options & Description
FM
MODULATOR
2
FM Only
TRANSPOSE TRANSPOSE Semitones + cents for adjustment
AMOUNT LEVEL Amount which the modulator 1 modulates the frequency of both Carrier 1
and Carrier 2.
FEEDBACK FEEDBACK Sets the amount of feedback from / to the FM modulator 2
RETRIGGER PHASE RETRIG PHASE Phase in degrees that the oscillator will be reset on note-on. Also can be
switched off.
DESTINATION DESTINATION Destination carrier for MOD 2 modulator 2, CARR - Both carriers, MOD1 -
modulator 1
NOISE LEVEL NOISE Noise amount in subtractive synths (including sample and wavetable)
MASTER
TRANSPOSE TRANSPOSE Overall master transposition of synth in semitones
VIBRATO VIBRATO VIBRATO Depth of modulation between LFO1 and pitch on the leader
LPF
FREQUENCY FREQUENCY Cutoff frequency for subtractive synths (including sample and wavetable)
RESONANCE RESONANCE Resonance for subtractive synths (including sample and wavetable)
MODE DB/OCT Switches LPF type between 12dB per Octave, 24dB per octave and DRIVe
lter (24dB per octave with saturation)
HPF
FREQUENCY FREQUENCY Cutoff frequency for subtractive synths (including sample and wavetable)
RESONANCE RESONANCE Resonance for subtractive synths (including sample and wavetable)
SYNTH MODE SYNTH MODE Mode of synthesizer: Subtractive, RingMod or FM.
ENVELOPE 1
ATTACK ATTACK Attack time for ADSR envelope 1. Default to volume amplitude plus an
additional optional patch destination
DECAY DECAY Decay time for ADSR envelope 1. Default to volume amplitude plus an
additional optional patch destination
SUSTAIN SUSTAIN Sustain Level for ADSR envelope 1. Default to volume amplitude plus an
additional optional patch destination
RELEASE RELEASE Release time for ADSR envelope 1. Default to volume amplitude plus an
additional optional patch destination
ENVELOPE 2
ATTACK ATTACK Attack time for ADSR envelope 2. Optional patch destinations
DECAY DECAY Decay time for ADSR envelope 2. Optional patch destinations
SUSTAIN SUSTAIN Sustain Level for ADSR envelope 2. Optional patch destinations
RELEASE RELEASE Release time for ADSR envelope 2. Optional patch destinations
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Function Sub Category
Parameter Shortcut Button
Access Options & Description
LFO 1
All Voices. Does
not re-trigger.
SHAPE SHAPE Waveform options: SINE, SAW, SQUARE, TRIANGLE.
RATE RATE Speed of LFO
SYNC SYNC Time interval to sync the LFO or OFF. Options 2 bar, 1 bar, 2nd, 4th, 8th, 16th,
32nd, 64th, 128th
LFO 2
Each Voice.
Re-triggers at
note on
SHAPE SHAPE Waveform Options: SINE, SAW, SQUARE, TRIANGLE.
RATE RATE Speed of LFO
VOICE
POLYPHONY POLYPHONY POLYPHONIC, MONOPHONIC, AUTO - monophonic with chord
functionality, LEGATO connected / tied, Choke group settings for kits only.
UNISON
NUMBER Number of voices to play together in unison
DETUNE Sets how detuned the voices will be from each other in unison
PORTAMENTO PORTA Sets amount of note portamento (pitch slide)
ARPEGGIATOR
MODE Option to set the arp to Off, Up, Down, Both or Random
SYNC Time interval to sync the arp or OFF. Options 2 bar, 1 bar, 2nd, 4th, 8th, 16th,
32nd, 64th, 128th
NUMBER OF
OCTAVES Number of octave range of arpeggiator.1-8
GATE Amount in % of the available time division which each arp note lls
RATE Rate / speed of arpeggiator
PRIORITY PRIORITY Enables prioritisation of sound so voices remain or are turned off at high
CPU loading. LOW, MEDIUM, HIGH options.
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Function Sub Category
Parameter Shortcut Button
Access Options & Description
FX
MOD-FX
TYPE Type of effect or OFF. Type includes FLANGER, CHORUS, PHASER.
RATE Speed of modulation effect
FEEDBACK Flanger & phaser feedback
DEPTH Depth of chorus and phaser
OFFSET Chorus offset
EQ
ADJUST (BASS) Amount of bass at the frequency set
ADJUST (TREBLE) Amount of treble at the frequency set
FREQUENCY (BAFR
no label) Frequency setting for bass
FREQUENCY (TRFR
no label) Frequency setting for treble
AMOUNT Delay effect and combined feedback
RATE Rate of delay
PINGPONG Switches between PING-PONG stereo delay (ON) and traditional delay
(OFF)
TYPE DIGITAL or ANALOG delay
SYNC Time interval to sync the Delay or OFF. Options 2 bar, 1 bar, 2nd, 4th, 8th,
16th, 32nd, 64th, 128th
REVERB
AMOUNT Amount of reverb applied
ROOM SIZE Room size applied to the whole song
DAMPENING Dampening of the reverb effect
WIDTH Stereo width setting
PAN Enables panning to one side or the other.
REVERB SIDECHAIN Sidechain compressor specic to the reverb output
SATURATION SATURATION Distortion effect
DECIMATION DECIMATION Decimation distortion effect
BITCRUSH BITCRUSH Distortion bitcrusher
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Function Sub Category
Parameter Quick Button
Access Options & Description
SIDECHAIN
COMPRESSOR
VOLUME DUCKING VOL DUCK Amount the sidechain compressor affects the sound volume creating
ducking. Also congurable to patch / connect as modulation.
SYNC SYNC Time interval to sync the sidechain compressor or OFF. Options 2 bar, 1
bar, 2nd, 4th, 8th, 16th, 32nd, 64th, 128th
ATTACK ATTACK Attack - ramp up time of the compressor
RELEASE RELEASE Release - ramp down time of the compressor release
SHAPE SHAPE Adjust the shape of the compressor to add more punch or reduce the
transient effect for a more gentle subtle sound
SEND SEND Kit sounds only. Level this current sound triggers all of the other sidechain
compressors in other sounds.
BEND RANGE
NORMAL Normal pitch bend range in semitones for the Synth or CV clip. Typically
this is the pitch bend wheel of a controller.
POLY / FINGER / MPE MPE pitch bend range in semitones for the Synth or CV clip. Typically this
using two nger MPE expression. Default 48.
LEVEL LEVEL (Master) Level of the clip
PAN
Output Balance
PAN Left / right balance of the sound. 32L - 0 - 32R
DIRECTION
Direction
DIRECTION
(may not be
labelled) Playback direction of sequencer. FORWARD, REVERSE or PINGPONG.
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4.7 Creating a New Synthesizer
Upon start up, the Deluge is loaded with a synth clip and default patch,
however the option exists to to create a new synthesizer clip at anytime.
▌CREATING / LOADING A NEW SYNTHESIZER CLIP
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Press [SHIFT] + [SYNTH] to create a synth clip.
3. A new blank clip and subtractive square wave synth will be created and
added at the end of the preset list. For example, If the last preset is 170,
the new synth preset will be created as 171.
▌CREATING A NEW SYNTHESIZER ROW IN A KIT CLIP
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. When in the KIT view, kit button lit red, a blank square wave synth can
be added to a row.
3. Press [AUDITION] + [SYNTH] to create a synth clip on the row selected
by the AUDITION pad.
▌ADJUSTING A SYNTH CLIP COLOUR
1. Press [SYNTH]. The button illuminates red.
2. Press & hold [SHIFT] + turn (SCROLL▼▲).
3. Colour will change as the (SCROLL▼▲) is adjusted. Release control
and buttons when the colour is selected.
NOTES
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▌SELECTING FM, RING MOD OR SUBTRACTIVE SYNTHESIZER
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Select a synth by pressing [SYNTH] if not already selected. The synth
button illuminates red. A new synth clip can also be created which
defaults to a subtractive synth mode using [SHIFT] + [SYNTH].
3. Press (SELECT) to enter the sound editor.
4. Turn (SELECT) navigate to select SYNTH MODE
5. Press (SELECT) to enter the MODE sub-menu and navigate by turning
(SELECT] to select the synthesiser model to use:
• SUBTRACTIVE (default)
• RINGMOD (technically subtractive)
• FM
• Wavetable synths are not selectable directly in this mode, but are
accessible by the subtractive option. Also set by assigning WAVE as
the Type in an Oscillator
6. Use [BACK / UNDO] to exit after changing mode. The [BACK / UNDO]
button ashes red to indicate that the backup option is available.
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NOTES
▌CREATING A WAVETABLE SYNTHESIZER
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Create synth by pressing [SHIFT] + [SYNTH]. The synth button
illuminates red.
3. Press [SHIFT] + [BROWSE] for SAMPLE 1. The button ashes white.
Sample 1 will apply to Oscillator 1. Both Oscillators can be setup as a
wavetable synth.
4. The display indicates ‘NOTE RANGE: BOTTOM - TOP’ to suggest that
an audio le loaded will be applied across the entire note range, bottom
to top. Wavetables can be assigned to user selected note ranges, but
these cannot be mixed together with samples and waveforms across
multiple note ranges.
5. Press (SELECT) to select the entire note range and open the browser.
6. Navigate the SD card les to select the wavetable to load. Press
(SELECT) to load the desired wavetable le.
7. Ideally an audio le formatted to a wavetable standard should be used.
Deluge will recognise wavetable formatted les and will therefore assign
TYPE as Wavetable to the Oscillator 1 automatically.
8. If a le is loaded that is not in a wavetable format it will still load and
Deluge will make assumptions on the format, cycle size etc. As such
this may not behave or sound like a typical wavetable but nevertheless
still delivers interesting results.
9. The main wavetable specic parameter to control and set up is the
wave navigation and is called WAVETABLE accessed from within the
oscillator menu, the wavetable shortcut pads or CUSTOM 2 for Osc 1
and CUSTOM 3 for Osc 2. This sets the wave position and interpolation
for the cycle used by the oscillator. Modulating this parameter can give
interesting results, especially for both oscillators.
Wavetable
A le with a series of wave cycles. The ‘wavetable’ parameter
navigates and selects the cycle used in the Oscillator
Wavetable Position
As well as from the shortcut pad, the wave position is adjusted using CUSTOM 2 when Oscillator 1
is set to a wavetable synth and CUSTOM 3 for Oscillator 2. If Only Osc 1 is a wavetable synth,
CUSTOM 3 controls LFO2 depth modulating the Osc 1 wave position.
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4.8 Sound Editor - Synthesizer Parameters
The commonly accessible parameters for clips are available from the eight
‘affect parameter’ controls. A more detailed parameter set are available
within Deluge. Accessing and editing the synth parameters of the currently
selected synth clip can be performed using the sound editor nested menu
option or via the quicker grid shortcuts option.
Sound Editor: Nested Menus
Nested menus provide access to the full parameter set available.
Menu or sub-menu heading
and parameter displayed.
Press (SELECT)
opens up access to the
sound editor nested menu
and full parameter set.
Press (SELECT) to select the option
in-focus on the display.
Turn (SELECT) to navigate the
nested menu or change the
parameter in-focus / displayed.
[SYNTH]
Select synth option with the
button lit red.
Example menu navigation.
Press (SELECT) to drill down or turn
(SELECT) to scroll through menu.
SOUND: OSCILLATOR 1.
Press (SELECT) to access sound editor
Press (SELECT) drill down or
turn (SELECT) to scroll menu.
OSCILLATOR1: LEVEL
Turn (SELECT) to edit the parameter
OSCILLATOR1: LEVEL: 50
Press [BACK / UNDO] to back up the menu
structure - ashes red when available.
Grid shortcut pad for function ashes white
when in-focus for editing.
OSCILLATOR 1
OSCILLATOR 2
NOISE LEVEL
SOUND
TYPE
LEVEL
RECORD AUDIO
OSCILLATOR 1
OSC1 LEVEL
50
OSCILLATOR 2
NOISE LEVEL
SOUND
OSCILLATOR 1
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NOTES
▌SOUND EDITOR: EDITING PARAMETERS IN NESTED MENUS
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Select synth by pressing [SYNTH] if not already selected. The synth
button illuminates red.
3. Press the (SELECT) rotary control.
4. The menu level options will appear, for example OSCILLATOR 1.
5. The [BACK / UNDO] button ashes red to indicate that the backup
option is available. Pressing [BACK / UNDO] will move a step back in
the menu.
6. Turning (SELECT) navigates other menu functions at the top level.
7. With the selected option i.e. ‘OSCILLATOR 1’ in focus, press
(SELECT). This will step down a menu branch level within the selected
parameter to access its sub functions. Number of levels in menu are
dependant on the function.
8. Turning (SELECT) navigates the sub-menu option if available or to a
parameter. Press (SELECT) when the desired function is in-focus, i.e.
‘TYPE within the oscillator sub menu.
9. When the editable options is selected, the respective grid shortcut
button will ash white i.e. TYPE.
10. Turn (SELECT) to change the parameter option or value in-focus. For
oscillator, type this will be the available waveforms i.e. SAW, SINE etc.
11. Use [BACK / UNDO] to back out of the menu when the parameter has
been changed.
12. Continue to edit through the menu and set other parameters as desired.
13. When preset parameters have all been changed to suit your
requirements it is recommended to save the preset. Press [SAVE] +
[SYNTH] to save the preset.
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Sound Editor: Grid Shortcuts
Grid shortcuts are the quicker of the sound editing access options. Using
these, synth parameter’s can be accessed directly with a single set of key
strokes.
Top level function i.e.
oscillator 1 is labelled
vertically for the column.
Actual parameter within the function
i.e. volume level shown as the shift
option under the button.
Display indicates the parameter setting /
value immediately on selection of the
function / parameter pad.
Press [SHIFT] + [PAD] or
Press [AUDITION] + [PAD]
where PAD is the specic
function and parameter.
Lines extend across pads
where the function applies
i.e. type for osc 1 & 2 and
FM mod 1 & 2.
Press [BACK / UNDO] to
cancel selection. Button
ashes red when available.
Grid shortcut pad for
function ashes white when
in focus for editing.
OSC1 LEVEL
50
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▌SOUND EDITOR: EDITING PARAMETERS USING SHORTCUTS
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Select synth by pressing [SYNTH] if not already selected. The synth
button illuminates red.
3. Press the [SHIFT] + [PAD] where PAD is the specic function and
parameter. [AUDITION] + [PAD] also can be used. For example OSC 1,
3rd column from left includes all OSC 1 parameters. The parameter i.e.
LEVEL is labelled under the pad .
4. The actual parameter setting or current will appear on the display, for
example ‘50’ for LEVEL and the pad for its value, ashes white.
5. If a parameter is not available, a message ‘FEATURE NOT (YET?)
IMPLEMENTED’ is displayed on the display. For example FM
parameters cant be accessed in subtractive mode.
6. Turning (SELECT) adjusts the parameter setting or value.
7. Use [BACK / UNDO] to exit when the parameter has been changed.
The [BACK / UNDO] button ashes red to indicate that the backup
option is available.
8. Continue to edit through other settings and parameters as desired.
9. When the parameters have all been changed to suit your requirements
it is recommended to save the preset. Pressing [SAVE] + [SYNTH] and
[SAVE] again to conrm saves the preset.
If the display indicates ‘FEATURE NOT (YET?) IMPLEMENTED’ when
selecting a parameter with the shortcut pads, then this means a
function is not implemented in this rmware version and is reserved for
potential future implementation. If ‘CANT’ is displayed then the
parameter isn't available for editing in the current mode or
conguration.
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Sound Editor: Parameter Editing
Editing the actual parameters in the nested menu or when selected with
the shortcuts can be done generally, and where required can be nely
tuned.
Turn the (SELECT) rotary to adjust a parameter setting. The display
will show the value as its adjusted.
Some functions, for example transpose, have decimal values which can be
ne tuned, at an individual digit level. Where this is applicable the digit in
focus will be underscored and can be changed by turning (SELECT).
Use the (SCROLL◄►) control to select the digit in-focus to edit.
OSC1 LEVEL
50
OSC1 TRANSPOSE
2.80
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NOTES 4.9 Oscillators
Deluge provides several oscillator types, set within the OSC 1 & OSC 2,
TYPE Setting.
Square
ASquare
Sawtooth
Sawtooth
Sine
Triangle
AMPLITUDE
TIME
AMPLITUDE
TIME
AMPLITUDE
TIME
AMPLITUDE
TIME
AMPLITUDE
TIME
AMPLITUDE
TIME
Digital Waveforms
Analog Waveforms
SINE
TRIANGLE
SQUARE
OSC1 TYPE
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Type
In left/right, in right or in left, are automatically
available when a physical line in is connected.
An audio sample can be used as the oscillator source.
A series of sample specic options are available in the
sound editor when SAMPLE is selected.
A wavetable le can be assigned to the oscillator
source to create a wavetable synth. The main
parameter is the wave position used by the oscillator.
Navigation function of the wave is accessed in the
oscillator options or via the keyboard shortcut.
Audio / Inputs as an Oscillator Waveform
Wavetable navigation set per Osc.
Available when Type is Wavetable.
INL
INR
INLR
TYPE
INR
INLR
SAMPLE
TYPE
INLR
SAMPLE
WAVETABLE
TYPE
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NOTES
The ability to use a standard audio sample as an oscillator is also possible.
While single cycles are also useful here, they are better applied in a
wavetable synth.
▌USING A SAMPLE AS AN OSCILLATOR WAVEFORM SOURCE
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Select synth by pressing [SYNTH] if not already selected. The synth
button illuminates red.
3. Press [SHIFT] + [TYPE] as quick access shortcut for OSC 1 or 2.
Alternatively use the nested menu options by pressing (SELECT) and
navigating to ‘TYPE’.
4. Turning (SELECT) navigates the waveform options. Select SAMPLE.
5. Use [BACK / UNDO] to exit sub-menu and back up a level. A new set of
parameters, made available by selecting the SAMPLE option are now
accessible.
6. Select a sample by navigating to ‘FILE BROWSER’ by turning
(SELECT).
7. Pressing (SELECT) while FILE BROWSER is in focus opens the option
to browse and select a sample, ‘BOTTOM-TO-TOP’ will appear on the
display to indicate the bottom-to-top note range.
8. Press (SELECT) to enter the sample browser. By default the factory
folders for ARTISTS, DRUMS, RECORD, RESAMPLE are available
which can be selected by turning and then pressing (SELECT) when
the folder is in-focus.
9. Navigate samples and folders by turning (SELECT). The sample will
audition and an illustration of the sample will be mapped across the
grid.
10. Press (SELECT) to load the sample as the oscillator wave.
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NOTES
ATTENUATION
FREQUENCY
HPF - HIGH-PASS FILTER
Allows higher frequencies to pass through
the lter and cuts off lower frequencies.
ATTENUATION
FREQUENCY
Resonance
Cut Off Frequency
Stop
Band Transition
Band
Pass Band
ATTENUATION
FREQUENCY
2 Pole 12dB/Octave
4 Pole 24dB/Octave
LPF - LOW-PASS FILTER
Allows lower frequencies to pass through
the lter and cuts off higher frequencies.
Deluge lters are 2-pole and 4-pole and 4-
pole analog drive with saturation only on
the LPF. Poles refer to how ‘steep’ or
aggressive the cutoff curve is. This is
measured in dB per octave.
CUTOFF & RESONANCE
The two parameters common to both the
lters provide control over the cutoff
frequency and also the resonance
(emphasis at the cutoff point).
4.10 Filters
Deluge has a high-pass and low-pass lter.
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NOTES 4.11 Deluge Voices
A voice can be explained as a single signal path used by synthesizers, and
is closely related to a synth’s polyphony. Generally speaking the number of
notes played simultaneously would count for the number of voices -
although modes such as arpeggiation override how voices are assigned,
and unison will sound multiple voices per note. Deluge’s maximum voice
count relies on the CPU loading and processing power available, but
around 64 is the limit for most basic synth sounds.
▌SETTING THE SYNTH POLYPHONY
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Select synth by pressing [SYNTH] if not already selected. The synth
button illuminates red.
3. Using the shortcut option press [SHIFT] + [POLYPHONY]. Alternatively
use nested menus by pressing (SELECT) and then turning (SELECT) to
navigate to POLYPHONY sub-menu option within the VOICE menu.
Options are:
• POLYPHONY : Can play multiple notes simultaneously such as
when playing chords and complex arpeggios,
• MONOPHONIC : Set to play single notes, for example bass lines.
• AUTO : Primarily monophonic but allows chords to be played.
• LEGATO : Enables multiple notes to play as tied or connected. This
is where notes can be played before a previous note is released.
• CHOKE : Sets up choke groups when using kits to stop playing one
sound when another is played. For example hi-hats closed and
open wouldn't be played simultaneously in real world scenarios.
4. Select the priority when in polyphonic mode using [SHIFT] +
[PRIORITY] or using nested menu option by pressing (SELECT) and
then turning (SELECT) to navigate to PRIORITY sub-menu option
within the VOICE menu.
5. Set priority option for the current synth sound to LOW, MEDIUM or
HIGH. Deluge will release voices with lower priority rst when CPU
loading necessitates.
6. Use [BACK / UNDO] or tap any grid pad once to exit sub-menu and
back up a level or to back out of the sound editor.
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NOTES
Unison Mode
Unison mode enables a number of voices to be triggered by one note. By
detuning these voices, rich and thick chorus-like sounds can be created.
Deluge Unison
The settings available in the voice menu of Deluge include number of voices
and the detuning of these voices. You can also use the two oscillators both
detuned from each other in addition to unison mode.
Multiple instances of polyphonic and unison clips are possible under
powerful CPU control. As the CPU becomes more loaded voices will be
reduced starting with notes in a ‘release’ state and the priority setting found
within the voice : polyphony parameter set.
NUM
Number of voices from the maximum of 8.
Example 3:
DET
Detuning of voices. Example 30. This is a
setting between 0-50 which affects all selected
voices so adjustment to ear is recommended.
Note on
Single note triggers multiple voices instead
of the single default voice allocation.
Note off
Note released.
Voice 1
Voice 2
Voice 3
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NOTES
▌SETTING THE SYNTH UNISON
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Select synth by pressing [SYNTH] if not already selected. The synth
button illuminates red.
3. Using the shortcut option press [SHIFT] + [NUMBER] in the UNISON
section. Alternatively use nested menus by pressing (SELECT) and
then turning (SELECT) to navigate to UNISON sub-menu option within
the VOICE menu.
4. Adjust the UNISON NUMBER parameter by turning (SELECT). Unison
number : Number of voices, up to a maximum of 8, played
simultaneously when one note is played.
5. Using the shortcut option press [SHIFT] + [DETUNE] in the UNISON
section. Alternatively use nested menus by pressing (SELECT) and
then turning (SELECT) to navigate to UNISON DETUNE sub-menu
option within the VOICE menu.
6. Adjust UNISON DETUNE parameter by turning (SELECT). A value
between 0-50 that adjusts and detunes the voices from the original note
giving a lush chorus style effect and thickens individual notes.
7. The audition pads can be used to listen in to the sound as it takes
shape and also multiple notes can be played as chords on these pads.
8. Use [BACK / UNDO] or tap any grid pad once to exit sub-menu and
back up a level or to back out of the sound editor.
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4.12. Arpeggiator
Each synth clip contains an arpeggiator. The arp settings are contained in the voice section of the
sound editor parameters. An arp automatically steps through a sequence of notes and across
octaves in a pre-dened way. By default the arp is off for most factory synth presets, and new synth
instruments created.
C3
C4
C3
C4
C5
MODE
Up, down, both, random or off
UP DOWN BOTH RAND OFF
OCTAVE
Arp will operate across the
OCTAves set. 1 octave will
repeat the same note, same
octave. 3 octaves will trigger 3
steps, each an octave apart.
SYNC
Sets the trigger interval for the arp notes
played within the sequencer or manually.
Shows 16th notes which will trigger a note
in this example, at each step on a 16th
Grid. Every 2nd step with a 8th note sync
setting, 1 bar, once per bar, etc...
RATE
Sets the speed of the arpeggiator when
SYNC is off.
GATE
The amount of time the arp note is played
within the available time division.
Range is 0 - 50, where 50 will take up the
entire time slot and 25 will be 50% of the
note division. Examples with 8hnotes.
5
12
25
50
Audition Pads
OctaveOctaveOctave
Example: up/down, 16th note sync, 3 octaves Example: up, 8th note sync, 2 octaves
OFF
UP
DOWN
ARP MODE
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NOTES
▌SETTING THE ARPEGGIATOR
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Select synth by pressing [SYNTH] if not already selected. The synth
button illuminates red.
3. Using the shortcut options to access the arp parameters directly, e.g.
press [SHIFT] + [MODE]. Alternatively use nested menus by pressing
(SELECT) and then turning (SELECT) to navigate to Arpeggiator sub-
menu option within the VOICE menu.
Options via the menu or directly from the [SHIFT] + shortcuts are:
• MODE : pattern style: up, down, both, random or off for arpeggios.
• SYNC : Sets the time interval of the sync for the arpeggiator or OFF
to deactivate tempo sync. Options are 2 bar, 1 bar, 2nd notes, 4th
notes, 8th notes, 16th notes, 32nd ,64th notes and 128th notes. (384th
Resolution)
• NUMBER OF OCTAVES : Sets the range of the arpeggiator notes.
• GATE : Sets the percentage that the note trigger will ll with respect
to the available time divisions.
• RATE : Sets the arpeggiator rate when sync is off.
4. Ensure any sequence timing and steps are taken into account when
setting the arpeggiator sync and gate.
5. Use [BACK / UNDO] or tap any grid pad once to exit sub-menu and
back up a level or to back out of the sound editor.
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NOTES
4.13 Single-cycle Waveforms
Deluge provides several oscillator types but also can take an audio input or
audio wave le as its ‘oscillator’. Single-cycle waveforms are best used in a
wavetable synth which are then processed in Deluge to create unique and
creative oscillator sound source. Single-cycles can be used as a sample
but the wavetable synth carries better performance when processing single
cycles. If samples are not compatible with the wavetable engine (i.e.
stereo) it will load as a sample. The wavetable navigation parameter is not
available for single cycles.
Single-cycle Waveform
Native (preferred) 44.1kHz 16/24bit.
WAV or AIFF up to 32bit 96kHz. Deluge will interpret any audio le less than
20ms and when loaded in the synth as a
single-cycle waveform.
The synth engine will automatically set
single-cycle waveforms to an oscillator
pitch transpose to represent note ‘C’ and
set the waveform to loop.
Deluge can also be ‘forced’ to load waveforms
above 20mS as single-cycle waveforms.
SYNTH ENGINE
Wavetable (preferred)
or Sample
‘C’
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NOTES
▌LOADING A SINGLE CYCLE WAVE AS AN OSCILLATOR
1. Ensure the SD card has short single-cycle waveforms. These should be
20ms or shorter. Longer ones can be forced to load.
2. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
3. Select synth by pressing [SYNTH] if not already selected. The synth
button illuminates red.
4. Press the [SHIFT] + [TYPE] as quick access to shortcut for OSC1.
Alternatively use the nested menu options by pressing (SELECT) and
navigating to ‘TYPE’.
5. Press (SELECT) to Select TYPE and turn (SELECT) to navigate to
select ‘WAVE’.
6. Use [BACK / UNDO] to exit and back out.
7. Pressing (SELECT) choose Oscillator 1 (or Oscillator 2) and press
(SELECT) again.
8. Turn (SELECT) to navigate to ‘FILE BROWSER’.
9. Pressing (SELECT) while ‘FILE BROWSER’ is in-focus will open the
option to browse and select a sample, ‘BOTTOM-TO-TOP’ will appear
on the display to indicate the bottom-to-top note range for the sample.
10. Press (SELECT) again to enter the sample browser.
11. Navigate samples and folders by turning (SELECT) and select the
folder containing the single-cycles. Highlight the wave to select in-focus.
The sample will audition and an illustration of the sample will be
mapped across the grid.
12. To force loading a longer (>20mS) sample as a single-cycle press &
hold (SELECT) to bring the synth context menu options up:-
• SINGLE : forces single-cycle load.
• MULTISAMPLE : all folder samples.
• BASIC : basic mode where no pitch analysis or or single cycle
setting.
12. Press (SELECT) to load the sample as the oscillator wave.
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KITS
5
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NOTES
5.1 Kit Creation Workow
An example high level workow on setting up the Deluge kit gives a starting
point for kit-based sound design.
S
E
1
2
3
4
5
7
6
8
9
10
11
Kit set-up from scratchKits & Presets
Create a new blank kit preset
[SHIFT] + [KIT]
Sound browser opens
First sound option for the kit, defaults to previously
loaded / recorded sample
Load a kit preset
Turn (SELECT) or [LOAD] + [KIT] to open
preset browser and search with keyboard
Select sample for the kit’s rst sound
Search / navigate within browser - press (SELECT)
Load samples for other kit rows
[AUDITION] + [KIT] for the row and navigate browser
Build further kit sounds
Continue until complete
Add a synth row
[AUDITION] + [SYNTH] for the row
Edit preset
Create a new version
Add effects
Volume level and pan
Save
[SAVE / DELETE] + [KIT]
Save
[SAVE / DELETE] + [KIT]
Add MIDI or CV row
External controls can be triggered from a kit row.
[AUDITION] + [MIDI] or [CV] for the row
Record audio
Record audio directly to a kit sound. [AUDITION] +
[RECORD] for the row
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5.2 Kit Basics
If synth clips mainly support melodic elements with the ability for sample use, kits would more often
be used with samples as the primary elements. Kits are used to form step patterns across the grid
columns. These sounds can be samples, a synth, audio or even MIDI and CV. Unlike a synth which
provides a sequenced melody, kits are used to typically generate a rhythm, maybe for drums or
percussion or any other sequenced element.
Sound
Sound
Sound
Sound
Sound
Sound
Sound
Sound
Time
Notes to trigger the kit’s sounds are recorded or programmed into
the step sequencer. Programming is done by pressing a pad to
toggle it on (lit) / off (unlit).
In play mode, pressing pads will silently enter the step; when not in play mode,
pads will additionally audition the sound when selected.
Beats and loops as opposed to single ‘hits’ can also be used. Any
loops in the factory kit is set to time stretch to the current Deluge
tempo. These samples will extend beyond a single pad to match
its length. Clips may extended to match longer loops.
Individual sounds per
row. Typically samples
but also synth-based
sounds, or MIDI / CV
outputs.
Audition pad to
play the sounds.
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▌SELECTING KIT VIEW
1. Press [KIT]. The button illuminates red.
2. Scale and keyboard view are not available for kits.
3. The default kit preset loaded is ‘000 TR-808’.
4. Some sounds may be off grid and can be brought into view with the
(SCROLL▼▲) control.
5. Rows which do not contain a sound will be indicated with an unlit
[MUTE] pad. [MUTE] will be illuminated for rows containing sounds.
▌SELECTING A SOUND ROW
1. Press [KIT]. The button illuminates red.
2. Press [AUDITION] for the respective row to play and select. Sound
name will display while pad is pressed.
3. The sound will play out and the audition pad will illuminate dim to
indicate that the row and hence the sound is selected. Press [SHIFT] +
[AUDITION] to select the row silently.
4. Selected sounds can be edited, replaced etc as individual rows.
▌ADJUSTING A KIT ROW COLOUR
1. Press [KIT]. The button illuminates red.
2. Press & hold [SHIFT] + [AUDITION] for the respective row to change
and turn (SCROLL▼▲).
3. Colour will change as the (SCROLL▼▲) is adjusted. Release control
and buttons when the colour is selected.
Many features that are available in synth view are also available in kit
view. These include the parameter affect group, mute and audition
pads. Generic sequencer grid functions apply both to synth and kits.
NOTES
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NOTES
▌RE-ORDERING KIT ROWS IN THE SEQUENCER
1. Press [KIT]. The button illuminates red.
2. For the row to re-order. Firstly, press & hold [AUDITION] then press &
hold [MUTE].
3. While still holding both of the [AUDITION] and [MUTE] buttons, turn
(SCROLL▼▲).
4. The row will be relocated to the new location and other rows
repositioned to match the change.
▌ADJUSTING AFFECT PARAMETERS FOR KITS
1. Press [KIT]. The button illuminates red.
2. Press [AUDITION] to select the row sound.
3. The sound will play out and the audition pad will illuminate dim to
indicate that the row and hence the sound is selected. [SHIFT] +
[AUDITION] for silent selection.
4. Selecting the desired parameter, for example: [LEVEL / PAN].
5. Turn the (UPPER) - level or the (LOWER) - pan, control to change the
selected parameter for the row sound selected.
6. To change all kit sounds in the clip, press [AFFECT ALL]. Change
parameters as per steps 5-6 above. The selected parameter for ALL clip
sounds are adjusted collectively.
Just a few of the sound editor settings have the ability to be edited in bulk for all
sounds within a kit. These are POLYPHONY, REPEAT MODE, REVERSE,
SPEED, and PITCH AND SPEED (pitch / speed). When editing any of these, you
may hold down the affect-entire button while turning the select knob in order to
have your edit applied to all sounds within your kit.
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5.3 Kit Presets & Samples
A kit consists of a number of sounds typically based on samples, also
synth, MIDI, CV and audio and are stored as a collection within a kit. This is
formatted as a sound per row of the grid.
▌CREATING A NEW BLANK KIT CLIP
1. Press [CLIP] to select clip view. Clip button illuminates blue.
2. Press [SHIFT] + [KIT] to create a kit clip.
3. A new blank kit is created and the le browser opens in order to choose
the rst sample, example: 808 CONGA HIGH from the CONH folder
within the DRUM library in the SAMPLES folder.
4. Press a blank [MUTE] button to quickly exit. Alternatively press [BACK /
UNDO] to back up through the menu until the le browser is exited.
5. Blank kit is created and the preset name created is displayed.
▌CREATING A NEW KIT CLIP + SAMPLE
1. Press [CLIP] to select clip view. Clip button illuminates blue.
2. Press [SHIFT] + [KIT] to create a kit clip.
3. A new blank kit is created and the le browser opens in order to choose
the rst sample, example: 808 CONGA HIGH from the CONH folder
within the DRUM library in the SAMPLES folder.
4. The sample name is scrolled on the display, the rst open row is
selected: [MUTE] and [AUDITION] both pad buttons illuminate to show
the row selected in-focus.
5. Turn (SELECT) to navigate other samples if required.
6. Press (SELECT) to load the sample to the row selected.
7. Deluge will return to clip view and the le browser exited.
8. The sample can be auditioned and played by pressing the row
[AUDITION] pad.
A synth, MIDI or CV row can be added in the kit view by pressing
[AUDITION] + [SYNTH], [AUDITION] + [MIDI], [AUDITION] + [CV]
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NOTES
▌ADDING SAMPLES TO A KIT
1. Press [CLIP] to select clip view. Clip button illuminates blue.
2. Ensure a kit or blank kit is loaded.
3. Press [AUDITION] + [KIT], where the AUDITION is a pad.
4. The le browser opens in the SAMPLES folder in order to choose a
sample, example: 808 CONGA HIGH from the DRUM library (CONH
folder)
5. Turn (SELECT) to navigate other samples if required.
6. Press (SELECT) to load the sample to the row selected.
7. Deluge will return to clip view and the le browser closed.
8. At any time when entering samples press [BACK / UNDO] to back up
through the menu until the le browser is exits.
9. Repeat steps 3-8 above for adding additional samples.
10. Press [AUDITION] of each pad to view sample name in the display and
play out the sound. Press [SHIFT] + [AUDITION] to select silently.
The pad shortcut for the le browser [SHIFT] + [BROWSE] can also be used to
replace a sample when the row is selected by its [AUDITION] Pad. When [BROWSE]
option is used to replace an existing sound its parameters will be retained.
[AUDITION] +
[KIT]
[LOAD]
To open the le browser for
the specically selected
row via the audition pad.
LOAD option brings
parameters back to
defaults when replacing an
existing row sound.
or
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NOTES
▌CREATING A NEW KIT CLIP + MULTIPLE (FOLDER) SAMPLES
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminates blue.
2. Press [SHIFT] + [KIT] to create a kit clip.
3. A new blank kit is created and the le browser opens in order to choose
the rst sample, example: 808 CONGA HIGH from the CONH folder
within the DRUM library in the SAMPLES folder.
4. The sample name is scrolled on the display, the rst open row is
selected: [MUTE] and [AUDITION] both pad buttons illuminate to show
the row selected in-focus.
5. Navigate to a folder to load. [BACK / UNDO] will navigate back up the
menu, pressing (SELECT) drills down. Select a folder in-focus to load,
example: CLAVES.
6. Press & hold (SELECT) until a menu of options appears. This should
indicate ALL, if not turn (SELECT) to select ALL.
7. Press (SELECT). Deluge will load the folder into the rows automatically.
Sample 6
etc
Sample 5
Sample 4
Sample 3
Sample 2
Sample 1
Folder
It is recommended to organise your samples in a folder that can be
recognised in groups from the le browser and will load batches to in
a reasonable size, for example 8 samples per folder.
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NOTES
▌ ADDING A SYNTH-BASED SOUND TO A KIT
1. Select [CLIP] View and select a [KIT].
2. Press & hold [AUDITION] pad for the row which will convert to a synth
+ press [SYNTH].
3. Press [AUDITION] pad to play the kit row.
4. Set-up the synth parameters, such as oscillator wave, LPF etc as if
creating a new synth sound or use the parameter controls. Also set the
pitch.
5. Notes programmed into the row will trigger the synth. This method is
ideal to play back longer audio pads.
▌RENAMING SOUNDS WITHIN A KIT
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. [KIT] ensure a kit is loaded.
3. Press [AUDITION] to select the row sound. The pad will illuminate.
4. Press [SHIFT] + [NAME].
5. The alphanumeric keyboard appears and RENAME ITEM shows in the
display. This enables typing in of a new name.
6. Press RETURN ‘delay amount’ [PAD] when typing of a new name is
complete.
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MODULATION
6
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NOTES
6.1 Modulation Routing Basics
Parameters within Deluge can be connected / patched to modulation
sources. Multiple sources may modulate one parameter, and multiple
parameters may be modulated by one source.
Modulation Source Shortcuts
There are several modulation sources which are available through the
nested menu sound editor. They are also directly accessible from the grid.
ENV 2 - envelope 2
Y - vertical control*
LFO 2
SIDECHAIN.
Compressor patchable to
anything.
When a parameter is selected which is
already patched to a source, the specic
source grid buttons will ash slowly. The
selected parameter pad will ash quickly.
[SHIFT] + [MODULATION PAD]
while the source is selected and ashing
will select the DEPTH parameter to enable
editing of the modulation strength between
modulator and destination parameter.
NOTE.
Keyboard tracking where sounds
reect high / low of keyboard.
RANDOM.
A random number generator each
time a new voice sounds.
VELOCITY.
Editable in clip view. Response to
how hard a note is played.
AFTERTOUCH.
External controller aftertouch
midi messages. Polyphonic
and channel wide.
ENV 1 - envelope 1
X - horizontal control*
LFO 1
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NOTES
Modulator.
Flashes quickly when connected to a destination
and the source parameter is selected / in-focus
[SHIFT] + [LFO 1].
Destination Parameter
Flashes quickly when connected to a
modulation source and the destination
parameter is selected / in-focus.
[SHIFT] + [FREQUENCY]
LFO
Cutoff Freq
▌CONNECTING A SYNTH MODULATION SOURCE TO A PARAMETER
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Select synth by pressing [SYNTH] if not already selected. The synth
button illuminates red.
3. Press the [SHIFT] + [PAD] where PAD is the destination parameter to
be modulated. Example is LPF : frequency.
4. Press the [SHIFT] + [PAD] where PAD is the modulation source from
the right side grid columns. Example is LFO 1.
5. The two elements are now connected. The source pad ashes white,
quickly. The destination ashes white slowly. Multiple sources and
destinations can be patched and connected.
6. The display will show the strength of the connection which is the
amount of modulation between the two functions. Turn (SELECT) to
adjust. Depth can be positive and negative values. Non-zero value
means a modulation connection exists.
7. Pressing [BACK / UNDO] will conrm and exit the option and back up.
LFO1
LPF FREQ.
39
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NOTES
Modulation Source Nested Menu
The option to use nested menus for modulation patching is also available.
The grid will display the same characteristics of ashing destination and
source pads when using shortcuts.
▌CONNECTING A SYNTH MODULATION SOURCE TO A PARAMETER
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Select synth by pressing [SYNTH] if not already selected. The synth
button illuminates red.
3. Press the (SELECT) to enter the sound editor menus.
4. Turn (SELECT) to select the destination parameter. Example is LPF.
5. Press the (SELECT) to drill down into the menu. Example is LPF :
frequency. The pad will ash quickly.
6. When the value is in-focus, press (SELECT) to drill down further into
the menu structure and access the modulation options for the
parameter in-focus.
7. Modulation options will be available. Turn (SELECT) to scroll and
navigate the options. When the selected option, example LFO 1 is in-
focus press (SELECT).
8. The display will show the strength of the connection which is the
amount of modulation between the two functions. Turn (SELECT) to
adjust.
9. A value other than ‘0’ will create a modulation connection and the
display parameter. The modulation pad will ash quickly and the
parameter destination will ash slowly. Depth can be positive and
negative values.
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NOTES
▌DELETING A SYNTH MODULATION CONNECTION
1. Press [CLIP] to select clip view. The clip button illuminates blue.
2. Select synth by pressing [SYNTH] if not already selected. The synth
button illuminates red.
3. Select destination and source. Press the [SHIFT] + [PAD] where PAD is
the destination parameter. Example is LPF : frequency.
4. Press the [SHIFT] + [PAD] where PAD is the modulation source.
Example is LFO 1. Pads will ash and display shows connection.
Or
1. Use nested menu option to select destination parameter. Turn
(SELECT) to select the destination parameter. Example is LPF.
2. Press the (SELECT) to drill down into the menu. Example is LPF :
frequency. The pad will ash quickly
3. When the value is in-focus, press (SELECT) to drill down further into
the menu structure and access the modulation options for the
parameter in focus.
4. Modulation options will be available. Turn (SELECT) to scroll and
navigate the options. When the selected option, example LFO 1 is in-
focus press (SELECT).
Then
1. The display will show the strength of the connection which is the
amount of modulation between the two functions. Turn (SELECT) to
adjust and set to ‘0’.
2. Pressing [BACK / UNDO] will conrm and exit the option and back up.
Destination parameter name and value
are displayed along with the source
LFO1
LPF FREQ.
39
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MODULATION SOURCES
Global to
Sound Per Voice
Sidechain LFO 1 LFO 2 ENV 1 ENV 2 Velocity Note Random After
Touch X Y
PARAMETERS
Global to Sound
Delay Amount / Rate ✔ ✔
No Modulation is Allowed
Mod FX Depth / Rate ✔ ✔
Arpeggiator Rate ✔ ✔
Reverb Amount ✔ ✔
LFO 1 Rate ✔ ✔
Both Overall Volume ✔ ✔ ✔ Hard
Connect ✔ ✔ ✔ ✔ ✔ ✔
Per Voice
LFO 2 Rate ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔
Oscillator Volume ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔
Noise Volume ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔
Pitch / Transpose:
Overall ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ Hard
Connect ✔
Pitch / Transpose:
Oscillator / FM Modulator ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔
FM Modulator Level ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔
FM Feedback ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔
Pulse Width ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔
LPF / HPF Frequency
/ Resonance ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔
ENV 1/2 ADSR ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔
Pan ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔
Wavetable Position ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔
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NOTES
Example 1:
LFO 2 modulates LFO 1 to modulate LPF : frequency cutoff.
6.2 Modulation Routing Advanced
Multiple sources can modulate multiple parameters. In addition, modulation
sources can also modulate other modulators creating complex and
advanced patching systems. The same methodology applies in connecting
parameters but must start with the destination. The modulation depth is
where to drill down to further modulation options. Pads will ash showing
the routing based on the selected in focus parameter.
Modulator.
LFO 2 Modulates LFO 1 depth which in turn
affects Parameter frequency of LPF. Modulation
sources of other modulators ash pale blue.
Destination Parameter
Flashes quickly when connected to a
modulation source and the destination
parameter is selected / in-focus.
[SHIFT] + [FREQUENCY]
LFO 1
Filter
LFO 2
Cutoff Freq
Rate
Depth
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Example 2:
As per example 1, plus also demonstrates multiple modulators LFO and
ENV 1 to one destination parameter and multiple destinations of one
modulator i.e. ENV 1. Follow the same process drilling down from the in
focus modulator value to access available modulator options.
Modulator.
LFO 2 modulates LFO1 depth which in
turn affects parameter frequency of LPF.
ENV1 trigger modulates, the cutoff
frequency and resonance of LPF.
Destination Parameters
LFP frequency and resonance
LFO 1
ENV 1
LFO 2
Cutoff Freq
Resonance
NOTES
Filter
Rate
Depth
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NOTES 6.3 Envelopes and Low Frequency Oscillators
Envelopes are used to shape the sound typically over one cycle of the
envelope. ENV1 controls volume amplitude by default. In addition it can be
patched to other parameters. ENV2 has freely assignable destinations. The
envelopes are traditional ADSR (attack, decay, sustain, release) type.
When either of the 2 envelopes modulate a parameter other than volume
level, it does so with a 'bipolar' behaviour. This means that when the sustain
is set to 25 (default for ENV2), that stage of the envelope will match the
current setting of the target parameter without modulation. Sustain settings
below 25 will then modulate the parameter lower than its current setting,
also determined by mod depth. Bipolar behaviour affects all stages of the
envelope but is most important when considering sustain level settings, as
the others are time based.
DECAY
(time) SUSTAIN
(level) RELEASE
(time)
Note ON
Mod
destination
Value
Mod depth
25
Note OFF
ATTACK
(time)
ENV1 ATTACK
30
ENV1 SUSTAIN
25
ENV1 DECAY
20
ENV1 RELEASE
30
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NOTES
The LFO is a continuous modulation function. Wave options are Sine, Saw,
Square or Triangle. LFO1 has an additional SYNC parameter to set a sync
time interval or switch off. LFO1 does not retrigger and covers all voices.
LFO2 is retriggerable and exists for each voice separately.
Square
Sawtooth
Sine
Triangle
AMPLITUDE
TIME
AMPLITUDE
TIME
AMPLITUDE
TIME
AMPLITUDE
TIME
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NOTES 6.4 Sidechain Compressor
What is a Compressor?
A compressor is a device that reduces the peaks in an audio sound
automatically as they exceed a specied threshold level. This reduces the
dynamic range allowing the overall audio to then be increased using make
up gain if desired. Deluge compressor is not a traditional audio compressor
and focuses more on being a ducking envelope.
What is a Sidechain Compressor?
The principles of the sidechain compressor are identical to a standard
compressor. The exception being that rather than the compressor trigger
being a measure against its own input signal, an external source called a
sidechain is the trigger of when to ‘duck’ i.e. reduce, the gain. Deluge, for
example can use a kick drum to trigger a simultaneous gain reduction
(duck) of a separate function.
Threshold
Audio Over Time
Dynamic
Range
Gain
Reduction
Make Up
Gain
Audio Over Time
Dynamic
Range
VOL DUCK
Gain
Reduction
Standard compression signal is
attenuated when crossing the threshold.
Compression triggered by an external source to reduce
gain at trigger points and levels.
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NOTES
Sidechain Envelope
The Deluge’s sidechain compressor effect mimics the behaviour of a
sidechain compressor fed short impulses such as a kick drum. Its output,
and resulting volume-ducking behaviour, is governed by AR (attack +
release) envelope.
Deluge Sidechain Example
Sidechain can be patched as a modulation source to various parameters.
The amount of sidechain compression is set up through the modulation
connection.
ATTACK
Attack is the time to reach
full compression after
triggering the compressor
A single global sidechain ‘bus’ feeds
destinations. The bus is driven typically by
kicks but others can be used. Factory kit kicks
are already setup to provide sidechain input.
Any new samples will be analysed and if
labelled as kicks or analysed as kicks will be
setup to input to the sidechain.
Multiple destinations can be sidechained.
The parameters (volume ducking, attack,
release) for each can be independently set
up despite being supplied by the single bus.
Full parameter settings are accessible with
the sound editor. Volume Duck is available
on the parameter controls.
The attack and release times are important and have a key effect
on the resulting feel of the sidechain compression effect.
RELEASE
Release is the time to return
back to normal after the
compressor is released.
SHAPE
Tunes the shape of the release
phase to affect the whether the
effect is more or less punchy /
squishy sounding
SIDECHAIN
FREQUENCY
35
LPF
Example: sidechain patched to low-pass lter cutoff
frequency. Volume levels are common destinations.
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NOTES
▌SETTING UP THE SIDECHAIN
1. Press [CLIP] to select clip view. This is indicated by the clip button
illuminated blue.
2. Select synth by pressing [SYNTH] if not already selected. The synth
button illuminates red.
3. Using the shortcut options to access the sidechain parameters directly
e.g. press [SHIFT] + [VOL DUCK]. Alternatively use nested menus by
pressing (SELECT) and then turning (SELECT) to navigate to the
Sidechain menu.
Options via the menu or directly from the [SHIFT] + Shortcuts are:
• VOLUME DUCKING : Amount which the sidechain affects the
current sound. Can also be patched to other destinations.
• SYNC : Sets the time interval of the sync for the compressor attack
and release or OFF.. Options are 2 bar, 1 bar, 2nd notes, 4th notes, 8th
notes, 16th notes, 32nd, 64th notes and 128th notes.
• ATTACK : Sets attack transient time of the compressor kicking-in.
• RELEASE : Sets the release time of the compressor.
• SHAPE : Sets release phase of the compressor to make it more
punchy or softer.
• SEND : Used with kit sounds only. Level at which the trigger affects
all other sounds sidechain compressors.
4. Use [BACK / UNDO] to exit sub menu and back up a level and out of
the sound editor.
▌SELECTING SIDECHAIN SPEED
1. Press [SIDECHAIN / REVERB] affect button. Button illuminates orange.
2. Press (UPPER) to toggle between FAST synced to 32nd notes or SLOW,
synced to 8th notes.
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NOTES
6.5 Other Modulation Sources
There are several other modulation sources that can be congured. Several
such as aftertouch and velocity are dependant upon the external device
connected and can be set up with MIDI in/out congurations. Note,
sidechain and random are internally generated.
Random
Generates a random number with each new voice that is created. Can be
used to provide randomness or movement when connecting to destinations
so that every time a note is played a new random number drives the
modulation destination.
Note
The note modulation being played is the source for this modulation option.
Sometimes called key tracking, the pitch of the note is relevant to the
modulation level generated.
RANDOM NOISE
50
Example: Each key press generates a
higher or lower noise element to the sound
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NOTES 6.6 Custom Parameter Affect Controls
There are three parameter functions contained in the affect parameter
group. When using presets these will be set to a specic parameter within
the preset. The Deluge convention is:-
Custom 1
Typically controls pitch for
sample based sounds.
Portamento for synth sounds.
Custom 2
Typically controls decimation
for kits and sample-based
sounds.
Custom 3
Typically controls bitcrushing
for kits and sample-based
sounds.
Other Parameter Controls
While the custom controls are specically designed to
be assigned to user parameters, the other parameter
affect controls can also be assigned to additional user
parameters if required.
[LEARN / INPUT] + Turn (CONTROL)
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NOTES
▌ASSIGNING CUSTOM CONTROL PARAMETERS
1. Press [CUSTOM X] where x is one of the custom buttons 1, 2 or 3.
Custom 1 & 3 are under the lower rotary control and custom 2 upper
control.
2. Access the sound editor by pressing (SELECT). Navigate to a
parameter to assign. Example : pan
3. When the desired parameter is in-focus, press & hold [LEARN / INPUT]
+ turn (UPPER) or (LOWER) - the rotary which is assigned to the
custom control in step 1.
4. The screen will display ‘LEARNED’ to indicate parameter assignment.
Parameter is assigned for the specic function.
5. Unassignment is performed by reassigning the parameter control.
▌ASSIGNING USER PARAMETERS TO EXISTING CONTROLS
1. Press the desired parameter control button to change, for example
[LEVEL / PAN].
2. Access the sound editor by pressing (SELECT). Navigate to a
parameter to assign. Example : OSCILLATOR 1 > LEVEL
3. When the desired parameter is in-focus, press & hold [LEARN / INPUT]
+ turn (UPPER) or (LOWER) - the rotary assigned to selection in step 1
4. The screen will display ‘LEARNED’ to indicate parameter assignment.
Parameter is assigned for the specic function.
5. Unassignment is performed by reassigning the parameter control.
MIDI controller controls are also assigned using the same process.
MIDI Controls can also be unassigned by navigating to the parameter
and by then press and hold [SHIFT] + [LEARN / INPUT].
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▌ASSIGNING CONTROLS TO MODULATION DEPTH
1. Press the desired parameter control button to change, for example
[CUSTOM 1].
2. Access the modulation connection patching by pressing [SHIFT] +
Modulation Destination. Press (SELECT) to drill down to the modulation
depth parameter.
3. When the desired parameter is in focus, press & hold [LEARN / INPUT]
+ turn (UPPER) or (LOWER) - the rotary which is assigned to the
parameter selected in step 1.
4. The screen will display ‘LEARNED’ to indicate parameter assignment.
Parameter is assigned for the specic function.
5. Unassignment is performed by reassigning the parameter control.
CUSTOM 1DEPTH
STUTTERMOD RATE
CUSTOM 3
LEARN / INPUT
+
CUSTOM 2
SIDECHAIN FREQUENCY
35
LPF
Example: sidechain patched to low-pass lter cutoff frequency with a custom
control assigned to adjust the depth / strength of modulation.
Select parameter i.e. CUSTOM 1. Set
modulation value in focus. press & hold [LEARN
/ INPUT] + turn (LOWER) parameter control.
NOTES
Modulation 6
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NOTES
SONG VIEW
7
136 Deluge Ofcial Manual
Song View7
NOTES
7.1 Song Workow
An example high level workow for working with SONGS on Deluge
S
E
1
2
3
4
5
6
7
8
9
10
11
New songExisting song
New song
[SHIFT] + [LOAD], [LOAD]
SONG view
Load SONG
[LOAD], turn (SELECT)
Select the instrument clip per row
Hold [PAD] or the row to edit or select a clip
Editing clips
Press [PAD] to select clip view
Continue building a song
Option to arrange
Record from song view into arranger view
Capture a full arrangement
Save
[SAVE] to save the song.
‘Affect parameter’ controls
To tweak the common parameters in SONG view,
Hold [PAD] for row and adjust
Record audio into clips
Build loops
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7.2 Song View Basics
While the synth and kit clip view is used for developing individual instrument sequences, song view
provides a more holistic approach, consolidating all clips into a compressed view, each clip shown
as a row. Song view is where all existing clips are managed together, new clips can be added,
existing ones deleted and reordered. Controls to launch and stop clips is provided in song view.
Song view is also the main area to handle loop recording and playback, covered elsewhere in this
guide.
Empty Clip
Empty Clip
Empty Clip
Empty Clip
Empty Clip
Empty Clip
Clip
Clip
Time
Song view compresses all clips and takes an
overall view of the song ‘project’.
First time entering song view only one clip will be present.
Clips can be created, re-ordered, deleted in song view.
[LAUNCH]
The mute / launch column pads now takes on the ‘launch’ functionality when in song
view. Rows containing clips are illuminated. Pressing the corresponding LAUNCH
pad will trigger the clip for that row. When the sequence is playing launch will rstly
arm the clip, then launch it, played in time with the sequence.
Use [SHIFT] + [LAUNCH] for instant play.
[SECTION]
The audition / section column pads now takes on the ‘section’ functionality when in
song view. Rows containing clips are illuminated. Sections enable groups of clips to
be launched and controlled simultaneously. Clips can be armed, stopped, played
together as a group.
Deluge will only play one instrument at one time in song view. So for example, if two
clips use the same synth preset 1, the clip rows can each be launched but each one
will stop playback of the other, allowing only one instance of each instrument to play
at one time.
(SCROLL▼▲)
Individual clips compressed to
one row each in song view.
The rows can be navigated up
and down beyond the 8
physically displayed.
Audition
/ Section
Mute
/ Launch
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NOTES
▌PLAYING A SONG
1. Press [SONG] to switch to song view. The button illuminates blue. If this
is a new song and the rst this time the song mode is selected, the song
may be empty or only show the rst clip compressed to the rst row.
2. Press [PLAY]. Song will playback and the white song position cursor will
travel left to right.
3. Rows occupied by clips are lit and the [LAUNCH] pads will be green
while the [SECTION] pads are lit blue.
4. Press [PLAY] to stop and reset playback position to the song start.
▌CREATING A NEW CLIP FROM SONG VIEW
1. Press [SONG] to switch to song view. The button illuminates blue.
2. Press a [PAD] of any empty, unlit row from the 16 x 8 main grid.
3. Deluge creates a new clip and transfers the view from song to clip view
with synth selected by default.
4. Any edits, change to synth / kit, steps created etc in the clip will be
reected when switching back to [SONG] view with the clip added as a
compressed single row.
▌SELECTING AN EXISTING CLIP TO EDIT FROM SONG VIEW
1. Press [SONG] to switch to song view. The button illuminates blue.
2. Press a [PAD] of any occupied row from the 16 x 8 main grid. The
occupied rows containing clips will be illuminated fully or in part.
3. Deluge transfers the view from song to clip view with clip selected ready
to edit.
4. Any edits, steps created etc in the clip will be reected when switching
back to [SONG] view.
Where there are multiple instances of the same instrument preset
they will not play simultaneously. Only one will play when launched
and the others with the same instrument will be stopped.
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7.3 Advanced Control of Single Clips in Song View
More advanced options are available in song view than just the start stop commands for individual
clips. Clips are armed to ensure the timing of the clip start aligns with the overall song. The
LAUNCH pad column (used for MUTE in clip view) is the important control function used in song
view.
[LAUNCH]
Mute / launch column pad enables the
arming and triggering of clips (per row)
in time with the song.
Press [LAUNCH] pad to play the clip row in song view.
Launch status
GREEN
Clip is ‘launched’ : when playing or stopped.
RED
Clip is ‘stopped’ : when playing or stopped.
GREEN FLASHING
Clip is ‘armed’ ready to stop at its seq end: when playing.
RED FLASHING
Clip is ‘armed’ ready to play in time: when playing.
Display shows countdown of loops to complete when a
clip row is ‘armed’ and launching or stopping clips, default
is 1. To increase the loops to play prior to launch / stop,
turn (SELECT) to change the loop countdown. Press
(SELECT) to cancel loop countdown.
Press [SHIFT] + [LAUNCH] pad to immediately play the
clip row in song view.
Audition
/ Section
Mute
/ Launch
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NOTES
▌IMMEDIATELY LAUNCHING / STOPPING A CLIP IN SONG VIEW
1. With the sequencer playing, Press [SHIFT] + [LAUNCH] pad, where
LAUNCH is the row of the clip to play.
2. If the clip was not playing, it will immediately play in time with the
sequence.
3. If the clip was already playing it will immediately stop.
▌ARMING TO LAUNCH / STOP A CLIP IN SONG VIEW
1. With the sequencer playing, Press [LAUNCH] pad, where LAUNCH is
the row of the clip to play.
2. If the clip was not playing, its launch pad will ash red until the clip is
aligned to the sequence loop (indicated by the display countdown
number). At sequence alignment point it will play and the pad will be
illuminated solid green.
3. If the clip was already playing its pad will ash green until the sequence
reaches its end. The pad will then be illuminated solid red and the clip is
then stopped. The display will show the countdown number for the
sequence.
▌ADJUSTING ARMED COUNTDOWN ON THE FLY
1. When a clip is armed to launch or to stop it will ash red or green
respectively. During this time the display will show a countdown number
that signies a full or part loop to complete prior to launch / stop.
2. While the number is displayed, turn (SELECT) to adjust the number of
the loop countdown - increasing or reducing the wait timer to trigger the
launch / stop command.
3. While the number is displayed, press (SELECT) to clear the countdown
timer and clear arming of the clip.
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▌SOLOING CLIPS IN SONG VIEW
1. To solo a clip, press & hold (SCROLL◄►) + press [LAUNCH] pad of
clip row to solo.
2. If the sequence is playing the solo request will be ‘armed’ to solo on the
next repeat cycle. Pad will ash when armed.
3. The launch pad will illuminate blue when the clip row is played in solo.
4. Other clips of course will be muted and these will be dimly lit.
5. To remove the solo, press the [LAUNCH] pad.
6. To solo immediately without arming, press & hold [SHIFT] +
(SCROLL◄►) + press [LAUNCH] pad.
NOTES
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NOTES
7.4 Editing Clips in Song View
Song view also provides the functionality to edit certain features of clips
from within this view. Changing instruments, cloning and deleting clips is
possible.
▌CHECKING THE INSTRUMENT FOR A CLIP
1. Press [SONG] to switch to song view.
2. Press & hold a [PAD] within the clip row to check.
3. While still holding, the instrument button will ash indicating the type
selected and the display will show the instrument preset. For example
synth, preset 001 SYNC BASS
4. Affect parameters for the clip also become available and in-focus.
5. Holding a clip in an empty clip row will show the instrument type and
preset that it will create when tapping the clip row.
▌CHANGING THE CLIPS INSTRUMENT FROM SONG VIEW
1. Press [SONG] to switch to song view.
2. Press & hold a [PAD] within the clip row to change.
3. While still holding, select the instrument type, example [SYNTH], [KIT].
4. While still holding, select the instrument preset by turning (SELECT).
5. Holding a clip in an empty clip row will also allow changes to be made.
[PAD]
Press & hold pad for clip row to
show the instrument and preset
for the clip
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▌ CREATING AN AUDIO CLIP IN SONG VIEW
1. Press [SONG] to switch to song view.
2. Press & hold a [PAD] within the clip row. This can be either an existing
or blank row. The instrument button will ash indicating the type
selected and display will show the preset or MIDI/CV Channel.
3. While still holding the pad, press (SELECT).
4. The track will be converted to an audio clip and the display will show the
name, example: ‘AUDIO1’. If notes exist and indicator is displayed and
the clip wont be converted.
5. Selecting the audio clip will allow audio to be loaded, recorded, edited.
▌DELETING A CLIP FROM WITHIN SONG VIEW
1. Press [SONG] to switch to song view.
2. Press & hold a [PAD] of the clip row to delete + press [SAVE / DELETE].
3. The clip will be deleted and the row above moved down. Undo / redo
functions are not available.
▌MOVING A CLIP ROW FROM WITHIN SONG VIEW
1. Press [SONG] to switch to song view.
2. Press & hold a [PAD] within the clip row to move + turn (SCROLL▼▲).
3. The clip will be relocated into a different row relative to the other clips.
▌CLONING A CLIP FROM WITHIN SONG VIEW
1. Press [SONG] to switch to song view.
2. Press & hold a [PAD] within the target clip row to clone + press a [PAD]
on the destination row where the new cloned clip will be located.
3. The clip will be cloned from the target to the destination and assigned a
different section and won’t be launched.Cloned clips are initially linked
to the original but can be edited.
NOTES
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NOTES
▌UNLINKING CLONED CLIPS WHEN USING SAME PRESET
Clips with the same preset cannot be used multiple times within multiple
instruments in the same song. If a preset is already in use, the preset can
be unlinked from its “original” creating an independent version. Example, to
reuse preset 10, a new unlinked version, can be created as 10A. This
allows multiple clips with the same preset.
1. [LOAD] + [SYNTH] or [LOAD] + [KIT] to open a preset using the preset
load menu as opposed to selecting a present by turning (SELECT).
2. The alphanumeric keyboard will open to search a preset by name if
required.
3. Turn (SELECT) to choose the same preset that Is already used.
Example preset 10.
4. Press [LOAD] will show ‘THIS PRESET IS IN-USE ELSEWHERE IN
YOUR SONG’, indicating this is a preset already in use in the song.
5. Press & hold [LOAD] until ‘CLONE’ - clone displays.
6. Press [LOAD] again, and a new independent version will be loaded.
Example 10A.
▌EDITING CLIP PARAMETERS IN SONG VIEW
1. Press [SONG] to switch to song view.
2. Press & hold a [PAD] within the clip row of which to change the
parameters.
3. While still holding, the affect parameter functions will be accessible.
4. The 8 parameter buttons can be changes and the associated (UPPER)
and (LOWER) controls adjusted while ever the [PAD] is held in song
view.
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7.5 Song Sections
Song sections group together clips so that they can be controlled, launched, armed etc together
making it easy to play arrangements and structure live sets. Sections can be structured into a
chained sequence automatically playing each. Sections are colour coded for clarity and controlled
by the [SECTION] pad column in song view.
[SECTION]
Audition / section pad indicates the
assignment of the clip to a section,
identied by its colour
Press [LAUNCH] pad to play the clip row in song view.
Clips belong to the same section that is indicated by that specic
pad colour. Colours show the section groupings.
CHANGE SECTION
Press [SHIFT] + [SECTION] pad to toggle a colour coded section.
MANUALLY ARM SECTION
Press [SECTION] pad of the desired section to manually arm the
section.
REPEAT MODE
Press & hold [SECTION] pad + (SELECT) to change number of
repeats: INFINITE (default), NUMBER, LAUNCH NON-
EXCLUSIVELY
Display shows countdown of section repeats when a repeat number
is dened. To increase the sections to play prior to launch / stop,
turn (SELECT) to change the section countdown. Press (SELECT)
to cancel section countdown.
Audition
/ Section
Mute
/ Launch
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▌SELECTING A SECTION FOR A CLIP
1. Press [SONG] to switch to song view.
2. Press [SHIFT] + [SECTION] pad for the clip row of which to change the
section.
3. The section colour will be changed. Toggle the selection until the
section group desired is selected. This is dened by SECTION pad
colour.
▌ARMING TO LAUNCH / STOP A SECTION IN SONG VIEW
1. With the sequencer playing, Press a [SECTION] pad of the section to
launch. The section group of clip rows will all be the same colour.
2. The LAUNCH pads will ash when a repeat countdown is armed and
any count shown on the display. The launch pads show the clip play
status of green when in play and red when stopped.
3. The section will play when launched for the number of cycles set by
number of repeats for the section.
▌SETTING REPEAT MODE FOR A SECTION IN SONG VIEW
1. Press & hold [SECTION] pad of the section to change.
2. The repeat status will ash on the display. While holding the section
pad, turn (SELECT).
• INFINITE. This will play the section innitum or until a manual
change is made.
• ‘1’ .... - number will set the amount of repeats that the section will
play prior to moving to the next section. This will be displayed as a
countdown and can be changed by turning (SELECT) or cancelled
by pressing (SELECT).
• LAUNCH NON-EXCLUSIVELY. This enables the sharing launch
status with other sections. Note that clips sharing a preset do not
play simultaneously in song view.
3. The section will play when launched as set by number of repeats for the
section.
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NOTES 7.6 Saving & Loading Songs
Songs can be saved and loaded to/from the inserted SD card. Songs can
be number 000-999 or named using the alphanumeric grid keyboard.
Variations of each saved slot also has sub slots, for example if 000 is used,
000 2 etc will be incrementally offered.
▌SAVING A NUMBERED SONG
1. Ensure view is in [SONG], [CLIP], [ARRANGER] or [KEYBOARD].
2. Press [SAVE].
3. The available song slot to save to will be displayed ashing. Type using
the keyboard to name song, or press [SAVE] to accept suggested title.
4. Press [SAVE] again to save the Song or [BACK / UNDO] to back up and
exit.
5. Song will save and return to the previous view.
Saving and loading can be performed while playing. The transition is
managed without interruption to playback, switching between at the
loop end.
Save Slot 001
Save Slot 002
Save Slot 003
002 2 002 3
Sub Slot
Sub-slots are automatically
generated to avoid accidentally
overwriting of existing songs
SONG folder will store
user saved song data
on the SD card.
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NOTES
▌SAVING A NAMED SONG
1. Ensure view is in [SONG], [CLIP], [ARRANGER] or [KEYBOARD].
2. Press [SAVE].
3. Songs can be named using the alphanumeric grid keyboard.
Subsequent iterations of the song will be automatically created when
existing saves exist. Example SONGNAME will also have SONGNAME
2, SONGNAME 3 etc when iterations are saved.
4. Deleting the name manually using backspace will revert back to the
numbering system.
5. Turn (SELECT) to select the slot / name.
6. Press [SAVE] again to save the song or [BACK / UNDO] to back up and
exit.
7. Song will save and return to the previous view.
▌LOADING A SONG
1. Ensure view is in [SONG], [CLIP], [ARRANGER] or [KEYBOARD].
2. Press [LOAD].
3. The available songs slot to load to will be displayed ashing. Named
les and numbered slots between 0-999 are available as well as sub-
slots, example 001 3.
4. Turn (SELECT) to select the song required. Hold [SHIFT] & turn
(SELECT) to skip sub-slots when navigating, - this is only for
numbered songs, not named song sub-slots.
5. The alphanumeric keyboard can be used for selecting named samples.
6. The songs, while navigating the songs, will be previewed visually on the
16x8 grid.
7. Press [LOAD] again to load the song in focus or [BACK / UNDO] to
back up and exit.
8. Song will load.
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NOTES
▌DELETING A SONG
1. Ensure view is in [SONG], [CLIP], [ARRANGER] or [KEYBOARD].
2. Press [LOAD].
3. The available songs will be displayed ashing. Slots between 000-999
are available as well as sub-slots, example 001 3.
4. Turn (SELECT) to select the song required. Hold [SHIFT] & turn
(SELECT) to skip sub-slots when navigating. The alphanumeric
keyboard can be used for selecting named samples.
5. Press [SHIFT] + [SAVE] to select song delete mode, indicated by
‘DELETE’ on the display.
6. Press [SAVE] again, or press (SELECT) to delete the song in focus or
[BACK / UNDO] to back up and exit.
▌CREATING A NEW BLANK SONG
1. Ensure view is in [SONG], [CLIP], [ARRANGER] or [KEYBOARD].
2. Press [SHIFT] + [LOAD].
3. Display will show ‘CLEAR SONG: OK’ indicating a new blank song is
about to be created.
4. Press [LOAD] again or press (SELECT) and a new blank song is
created, clearing previous data. This is the same as the default empty
song at start up.
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NOTES
▌LOADING A SONG DURING PLAYBACK
1. Ensure view is in [SONG], [CLIP], [ARRANGER] or [KEYBOARD].
2. Press [PLAY] or make sure the song is playing.
3. Press [LOAD] .
4. Turn (SELECT) to select the song required. Hold [SHIFT] & turn
(SELECT) to skip sub-slots when navigating. The alphanumeric
keyboard can be used for selecting named samples.
5. Press [LOAD] to load the song in-focus. Song will load ready for
completion of the existing song playback at which point it will launch.
Songs with large sample content may take some time to load.
or
6. Press & hold [LOAD] to load and delay arming until fully loaded.
‘LOADING COMPLETE’ will be displayed when song is ready for
launch. Releasing the [LOAD] button will ‘arm’ the song ready for
completion of the existing song loop, showing ‘SONG WILL BEGIN…’
on screen
7. Arming songs is applied the same way as clips. The countdown can be
adjusted using (SELECT).
▌LOADING A SONG AND RETAINING EXISTING SONG TEMPO
1. Ensure view is in [SONG], [CLIP], [ARRANGER] or [KEYBOARD].
2. Press [PLAY] or make sure the song is playing.
3. Press [LOAD] .
4. Turn (SELECT) to select the song required.
5. Press & hold (TEMPO) + [LOAD] to load the song in-focus at the
current tempo.
6. Depending on the tempo mode will govern how the tempo is managed:-
• Tempo magnitude matching enabled: will apply a multiple of the old
song tempo if needed to avoid drastic changes to a new tempo.
• Synced as a follower: tempo will remain the same irrespective of
tempo magnitude matching.
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NOTES 7.7 Collect Media Function
To enable portability of songs across SD cards, backup and sharing for
collaboration with other Deluge users, a tool exists to collect together all
content and sample les which a song le uses.
▌COLLECTING MEDIA
1. Press [SAVE].
2. The save window will open and the alphanumeric keyboard appears to
enter a name for the song.
3. Prior to entry of a number or name, press & hold [SAVE] again until
collect menu options appears; COLLECT MEDIA or CREATE FOLDER.
4. Choose option and press [SAVE] or press (SELECT).
5. Song is saved;-
• A new folder is created with the same name as your song le.
• The folder will be located within the SONGS folder on your SD card.
• The folder will contain copies of all the song’s samples.
• SONG SAVED - will conrm saving. This may take a while
depending on the size of le.
To transfer the song to another SD card or another user, both the song le
(e.g. “SONG100.XML”) and the song folder (e.g. “SONG100”) need to be
placed in the SONGS folder on the destination card. The song can now be
loaded from that card with all its samples.
When a song imported in such a way is re-saved, its samples are all copied
into that card’s normal SAMPLES folder - into the same subfolder locations
that they had originally been referenced from.
When collecting media in this way, the Deluge automatically adds a string
of random characters onto the ends of Deluge-recorded samples, so there
won't be confusion / overwriting between Deluge users who all have a
different e.g. "REC00001.wav" le present.
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ARRANGER VIEW
8
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8.1 Typical Arranger Workow
Establishing a good workow is where speed and productivity can help make
way for more creativity especially at the arrangement stage.
S
E
1
2
3
4
5
6
7
9
8
10
Arrangement set-up
Clear arrangement
Hold [SCROLL▼▲] + [BACK / UNDO]
Add track
Press [AUDITION]
Set-up track type
Kit, synth, audio and presets.
Build arrangement - place clip instance
[PAD]
Build arrangement - edit clip instance
Move, length etc
Add unique ‘white’ clip instances
Create variations
Set-up modulation
Optional 2 x LFO’s and 2 envelopes
Finalise output
Volume level and pan
Record in from SONG view
Capture a song into arranger view
Play
NOTES
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8.2 Arranger relationship with the other views
Arranger consists of a group of linearly arranged instrument and audio clip instances of which
reference the section colours from those in song view. Think of arranger view as an extension of
song view rather than a stand-alone function. Understanding the relationship with clip, song and
arranger is important.
Relationship Between Views
Clip View - [CLIP]
Rows: discrete synth note pitch or kit sounds.
Mute / launch: mute’s sounds or notes.
Audition / section: auditions notes / sounds.
Clip is the entire grid. 5 types of clips exist; synth, kit,
MIDI, CV and audio. A clip contains sequencing or
audio for each discrete clip element.
Song View - [SONG]
Rows: single instrument or audio clip compressed to
a representative 1 row each.
Mute / launch: launches clips. Used for looping
control and commands.
Audition / section: sections & section launch by
colour. Used for looping control and commands.
Clips are arranged into single rows where they can be
triggered individually or together in groups managed
as coloured sections.
Arranger View - [SONG] [SONG]
Rows: individual instrument, MIDI, CV, audio per row.
Mute / launch: mutes / unmutes the ‘track’ row.
Audition / section: auditions a clip by one of its sounds.
Clip instances, arranged in a linear sequencer,
handled on an instrument by instrument basis, covers
audio clips and includes variations, gaps and parts to
be assembled together.
A clip instance with its start pad brightly lit and the
length is shown by additional pads - its ‘tail’ dependent
on grid resolution. Clip instance colours reect song
section colours.
Clip per row. Column notes / sounds collapse down to
one row, length matches clip view. Sections are groups
of clip rows identied by 1 of 12 audition pad section
colours.
Instances
Pressing the
clip instance
‘tail’ switches
to its clip view.
The entire clip consisting of all sounds and notes for
the clip. Rows are pitch for synth notes and are sounds
for kits. Colours can be changed.
Note / Sound
Clip
Instrument
Note / Sound
Clip
Instrument
Note / Sound
Clip
Instrument
Note / Sound
Clip
Instrument
Note / Sound
Clip
Instrument
Note / Sound
Clip
Instrument
Note / Sound
Clip
Instrument
Note / Sound
Clip
Instrument
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8.3 Arranger View Basics
Arranger view allows the chaining of clip instances into a longer more linear arrangements. Song
view operates from the perspective of a collection of clips with each clip represented by a row.
Arranger view takes its perspective based on ‘tracks’. Each track is presented on a row and
represents an individual Instrument, MIDI, CV or audio element. The pads therefore represent clip
instances.
Track Row
Track Row
Track Row
Track Row
Track Row
Track Row
Track Row
Track Row
Time
Clip Instance
Clip instances are placed in arranger view by
pressing a pad on the instrument row. By default
each pad will represent an instance of say 8 x 1/16th
steps. This is dependant on the grid resolution and
can be zoomed and length changed.
Arranger View
Clip instances are sequenced per track, laid out in linear
fashion at dened intervals and lengths. Tracks
represent each instrument / MIDI / CV per row. A white
column ‘cursor’ will signify the play position
Clip Length
The rst (left most pad) will be lit bright. The additional
dimmer pads will indicate length or ‘tail’ of the clip.
Pressing a dimmed pad will switch to its clip view.
Setting length beyond clip length will loop the clip
instance and shortening it will truncate the clip.
[MUTE]
The mute / launch column pads takes on the ‘mute’ functionality when in arranger
view. Rows containing clip instances are illuminated. Pressing the mute pad for
the track / row will mute it and be lit yellow, unmuted tracks lit green. Solo can be
selected for the track by pressing (SCROLL◄►) + [MUTE] where it will be lit blue
and others dimmed.
[AUDITION]
The audition / section column pads play-out the tracks synth root note or a kit
sound. Audio tracks will not play. To load a new preset to the instrument, Press
[AUDITION] + turn (SELECT). Press [AUDITION] + instrument or type to change it
i.e. kit or synth.
Track Rows
Represent a specic
instrument, MIDI or CV. The
tracks and clip instances are
represented by colours as per
the sections set up in song
view. The rows will by default
be populated in synth preset
order.
White clips in arranger view
signify unique independent
clip instances.
Audition
/ Section
Audition
/ Section
SONG
VIEW
Mute
/ Launch
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▌NOTES WHEN WORKING IN ARRANGER VIEW
• Clip, song and arranger views are not independent functions. They offer
different personas and views and are specic tools when working on the
same project and its common data (notes, kits etc).
• Clip ‘instances’ are identical, linked copies of the original clip. Changing
the instrument notes, structure of the actual clip will change equally in
all instances.
• Each row represents a track. Only one row per instrument, MIDI, CV,
audio and therefore each instance resides on the same row.
• Clips including the length and song sections should be set up rst.
These form a prerequisite to arranging the clips in arranger view.
• Colours of clips in arranger view reects the colours for the respective
section in song view.
• White clips in arranger view indicate unique clip instances which are
independent, detached from any original source clip. Used for variations
and lls.
▌SELECTING ARRANGER VIEW
1. Select [SONG] view.
2. From within song view, press [SONG] again to switch to ARRANGER
view. The song button will ash blue.
3. Press [SONG] again to return back to song view - button lit blue.
[SONG], [SONG]
Flashing blue in arranger view
[SONG]
Solid lit blue, in song view
Arranger view can only be selected from within song view. Clip view cannot be directly
selected from arranger view using [CLIP] and needs to be in song view rst to then
enable a switch to clip view. Alternatively pressing any clip instance [PAD] other than the
rst, left most pad will switch the clip to its clip view.
NOTES
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NOTES
▌BASIC CLIP INSTANCE PLACEMENT IN THE ARRANGER
1. Ensure a collection of clips have been produced in clip view, lengths set
and arranged as desired and with sections in song view as desired.
2. Select [SONG] for arranger view. Button ashes blue.
3. Arranger view is entered.
• The grid will be initially blank.
• The mute / launch pads will be lit. For example, if 3 instruments are
used in song view, maybe each with several clips each, then 3 rows
will be set for the three instruments.
• The audition / section pad can be played to listen to a selected
sound, ie: snare from a kit or the root note from the synth preset for
the specic instrument. Holding down on audition pad will reveal the
name of that preset in the display.
• Rows will default to presets when the audition pad is played for an
instrument not used with a clip.
4. Press a [PAD] for the location at the start of the clip instance and on the
row for the desired instrument.
• The pad will illuminate to match the song section colour.
• The length will be set based on the original clip length and displayed
based on the arranger grid resolution.
• The length will be indicated by the pads following the rst solid lit
pad - the additional pads or the ‘tail’ will be dimly lit.
5. Press a ‘tail’ pad to switch back to its clip view. Pressing [SONG] in clip
view having switched from the arranger, returns the view back to
arranger.
6. Repeat to add more clip instances. Clips placed on the grid will default
to the same section colour as the last clip instance placed.
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NOTES
▌CHANGING THE CLIP INSTANCE ON THE SAME INSTRUMENT
1. Press & hold [PAD], the clip instance to change + turn (SELECT).
2. The clip instance options available will be selected with the select
control. The pad will change its colour based on its section colour in
song view.
3. Changes will take place at every ‘click’ iteration of the select control
knob.
▌PLAYING TRACKS IN ARRANGER
1. Press [PLAY] the tracks will play from the start.
2. Press & hold (SCROLL◄►) + [PLAY] to play from desired/current scroll
position.
3. Press [PLAY] to stop playback.
4. A white column ‘cursor’ will step through the grid in time with the
sequence. Any muted rows / instruments will be shown muted yellow on
the cursor. Press [CROSS-SCREEN] to switch between the cursor
remaining xed and the arrangement moving from right to left, or the
cursor scrolling through the arrangement.
▌INSERTING OR DELETING TIME SLOTS IN ARRANGER
1. Press [SHIFT] + turn (SCROLL◄►) will move all the clip instances
currently visible on the grid left or right in time.
2. Moving the clips right - turn clockwise, will insert time space before the
rst clip, moving the existing clip instances later in time.
3. Moving the clips left - turn anti-clockwise, will remove any time available
before the rst clip, or delete clips as they ‘drop off’ the left side of the
grid.
Undo / redo options are available within the arranger view. This may
be particularly useful if clips are deleted when removing time from the
arranger grid.
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NOTES
▌EXTENDING / REDUCING A CLIP INSTANCE LENGTH
1. Press & hold [PAD], the rst, brightly lit pad + [PAD] on the same row.
2. Placing the second [PAD] longer than the original length will extend the
clip instance, looping its content for the new duration.
3. Placing the second [PAD] shorter than the original length will mean the
clip playback will truncate at the new end location.
4. The length will show a bright rst pad and dimmer ‘tail’ pads for the clip
instance length.
▌SETTING THE ARRANGER GRID RESOLUTION
1. Press (SCROLL◄►) when in arranger view to display the current grid
resolution setting. Default is 2nd.
2. Press & turn (SCROLL◄►) to change the grid resolution for the clip
instances.
3. Options available will determine how the clip is displayed on the grid
with respect to the clip length. For a 16 x 16th steps / 1 bar:-
2nd (Default) Arranger Pads
4th
Clip View Contents
8th
16th
32nd
64th
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NOTES
▌ADDING / CHANGING TRACK DIRECTLY IN ARRANGER
1. Press & hold [AUDITION] - unassigned audition pad + turn (SELECT) to
select an available preset for the track row.
2. To change an existing preset:-
• Press & hold [AUDITION] pad for the instrument / row to change + turn
(SELECT) to scroll the presets.
or
• Press & hold [AUDITION] pad for the instrument / row to change + track
type [SYNTH], [KIT], [MIDI], [CV].
or
• Press & hold [AUDITION] pad for the instrument / row to change +
press (SELECT) for an audio track.
▌SOLOING TRACK IN ARRANGER
1. Press & hold (SCROLL◄►) + [MUTE] of the selected row to solo.
2. Mute button for the row illuminates blue. Other row tracks are dimmed.
▌REORDERING AN INSTRUMENT TRACK IN ARRANGER
1. Press & hold [AUDITION] pad of the selected row to move + turn
(SCROLL▼▲).
▌DELETING A TRACK IN ARRANGER
1. Press & hold [AUDITION] of the selected row to delete + [SAVE].
2. Instrument track will be deleted or display will indicate if the instrument
cannot be deleted.
▌CLEARING ALL CLIP INSTANCE IN ARRANGER
1. Press & hold (SCROLL▼▲) + [BACK / UNDO].
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NOTES
8.4 White Pads for Variations
While arranger view generally uses existing, song section coloured clips to
build up an arrangement, there is also a ‘white’ instance clip option. White
clips are unique and special clips that can be edited independently and
used to add one off lls and variations in an arrangement.
▌CREATING A BLANK WHITE CLIP
1. Press & hold [PAD], the clip instance to create + turn (SELECT).
2. The clip instance options available will be selected with the select
control. The pad will change its colour based on its section colour in
song mode.
3. Select a WHITE clip and then release the pad.
4. A new blank clip instance is created that is not connected to any other
clip nor is it featured in the song view.
5. Pressing the clip ‘tail’, not the left most pad, will switch to clip view,
where no notes or sound patterns exist.
▌CREATING A NEW WHITE CLIP VARIATION PATTERN
1. After creating a blank clip, pressing the dimly lit [PAD] clip ‘tail’, not the
left most bright pad, will switch to clip view.
2. The clip will currently be a blank instrument clip.
3. The default preset and instrument will be as per the instrument row
where the white clip resides in arranger view.
4. Create a new pattern that will form a variation from the other clip
instances on the same instrument row. For example a crash cymbal or
drum ll for the end of a sequence part.
5. Press [SONG] which will return back to the arranger view.
6. The white clip will now host a unique variation from the other clips by
playing the one off pattern from the recently created clip.
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NOTES
▌CONVERTING AN EXISTING CLIP INSTANCE TO A WHITE CLIP
1. Press [SHIFT] + [PAD] of an existing coloured clip instance. This will be
a clip instance which instead of creating a new variation, will be edited
from its existing pattern to form the variation.
2. The clip instance left most pad will turn white. Other ‘tail’ pads forming
its length may be coloured dimly based on the clips event colours.
3. Pressing the dimly lit [PAD] clip ‘tail’, not the left most bright pad, will
switch to clip view.
4. The clip will contain the existing note and sound events and pattern.
These can be edited to form a unique variation from the original pattern.
5. Press [SONG] which will return back to the arranger view.
6. The white clip will now host a unique variation from the other clips by
playing the one off pattern from the recently edited clip.
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NOTES
8.5 Arranger View - Advanced
Arranger view is a powerful persona and view within Deluge. Understanding
the basics is important to get started. More advanced functions also exist to
integrate tightly with song view and align common functions such as song
and clip playback.
▌OPENING CLIPS IN ARRANGER DIRECTLY FROM SONG VIEW
1. Select song view [SONG], button is lit solid blue.
2. Press & hold [PAD], the clip row to drag to arranger + press (SONG).
3. The view will switch to arranger.
4. While still holding the [PAD] in arranger view, turn (SCROLL◄►) to
locate the position to a column across the instrument row.
5. Release [PAD] to drop the clip instance in the arranger grid.
▌OPENING CLIPS IN SONG VIEW DIRECTLY FROM ARRANGER
1. Select arranger view [SONG], [SONG]. Button ashes blue.
2. Press & hold [PAD], the clip instance to drag to song view + press
(SONG). The typical use would be to drag over a white clip, which by
default doesn't exist in song view.
3. The view will switch to song view.
4. While still holding the [PAD] in song view, turn (SCROLL▼▲) to locate
the position within the clip rows.
5. Release [PAD] to drop the clip into the song grid row position.
6. Once in song view, the clip will change from white to an assigned
section and its associated colour. This colour will now be reected in the
clip instance in arrangement view.
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NOTES
▌SYNCHRONISING PLAYBACK BETWEEN VIEWS
1. In arranger view:-
1. Press the dimly lit [PAD] clip ‘tail’, not the left most bright pad,
which will switch to clip view.
2. Pressing [PLAY] after entering clip view this way will start
playback in the arranger from the beginning of this clip instance.
2. In arranger view:-
1. Press [PLAY] to play back the arrangement.
2. Switch to song view [SONG], button lit solid blue.
3. The pads will be lit slightly dim while arranger controls the
transport playback.
4. Control can be regained within the song mode. Sections and
clips can be triggered in song mode which override the arranger.
3. In song view:-
1. Press [PLAY].
2. Press [SONG] which will switch to the arranger view.
3. Turn (SCROLL◄►) to set the playback start position in the
arranger view.
4. Press & hold (SCROLL◄►) + [PLAY] to start arranger playback
from the new position once the song loop completes.
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NOTES
▌CHANGING A TRACKS PRESET WHEN IN ARRANGER VIEW
1. Press [AUDITION] pad to hear the instrument / sound for the row.
2. Press & hold [AUDITION] pad for the instrument / row to change +
(SELECT) to scroll the presets.
or
2. Press & hold [AUDITION] pad for the instrument / row to change + track
type [SYNTH], [KIT], [MIDI], [CV].
or
2. Press & hold [AUDITION] pad for the instrument / row to change +
press (SELECT) for an audio track.
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NOTES 8.6 Capturing an entire Song session into Arranger View
Triggering of clips, sections and changing parameters can be performed in
song view. This in turn can be captured as clip instances within arranger
view. This allows entire performances to be recorded either as a planned
production or as an on-the-y improvisation.
▌RECORDING INTO ARRANGER DIRECTLY FROM SONG VIEW
1. Select song view [SONG], button is lit solid blue.
2. Press [RECORD] + [SONG] to activate recording*. Both buttons will
quickly ash indicating recording to arranger mode is active.
3. During recording:-
• Switching to clip or arranger view is deactivated.
• Clips cannot be deleted.
• Parameters in song view can be changed by holding a clip [PAD]
and changing the (UPPER) & (LOWER) controls for the selected
parameter. These are recorded but will automatically create a
cloned clip version.
• Adjust external MIDI controllers to record associated parameter
changes.
• Instant-launch a clip by [SHIFT] + [LAUNCH] will be placed in the
arrangement as if it had been played from the start of that loop.
• Play clips of which its instance will be recorded into the arranger in
relevant rows. The instances are directly linked to the original so
changes later will reect in the recorded instance. Clone clips later
in the arranger to create unique versions.
• Play an external MIDI controllers live to record notes. These are
recorded but will automatically create a cloned clip version.
4. To end recording; press [RECORD] to end playback, or press [PLAY] or
press [SONG].
* Arrangement recording will begin from wherever your current scroll-position is in
arranger view. Default for new songs is 0. Anything which previously existed to the right
of this start-point is immediately deleted to make way for the new recording. [BACK /
UNDO] & [REDO] are available functions and can restore whatever arrangement
existed previously.
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AUDIO
9
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NOTES
9.1 Typical Sampling / Recording Workow
Deluge provides a number of audio recording, playback and editing
functions. Audio clips can be recorded and aligned to the timing of other
functions. Audio clips should not be mistaken for samples. Samples are raw
sounds which can be used within kits and synths. Samples can also be
created in other systems and imported for use in Deluge. Audio can be
recorded in song and arranger views.
S
E
1
2
3
4
5
6
7
8
9
10
Audio clipsSynth & kit samples
Create an audio clip
Song or arranger view - convert clip to audio clip.
Select a destination
Record to synth or kit
Record set-up (or load)
Audio can be loaded from SD or recorded
Record set-up (or load)
Audio can be loaded from SD or recorded
Recorded and synchronised by time-stretching
to other Deluge functions
Set the audio input / microphone
Line in (L/R/stereo)
Arm clip for recording
Record
Audio is recorded in sync’ed and linked to tempo
Record
Audio is recorded or sampled in
Slice
Slice sample across s series of kit slots
Quick edit
Adjust length and limited edit options
Quick edit
Adjust length and limited edit options
Play
Play audio clip
Resample
Record output to SD card
Waveform edit
Tighter more precise editing
Waveform edit
Tighter more precise editing
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9.2 Getting Audio Into Deluge
There are three main ways to get audio into Deluge. Audio can be used in an oscillator as a source
or sampled within kits. Many options exist when using audio.
SD card
Files can be transferred from a
computer or other device onto the
SD card from which Deluge can
access the audio les.
Audio clips are created and recorded
in song or arrangement view.
SD card folders
Recording & sampling
Audio from line-in and mic inputs
can be used to sample and record
external audio.
Re-sampling
Recording and sampling internal
audio to new audio les.
ARTISTS
DRUMS
RECORD
RESAMPLE
CLIPS
SAMPLES
1
3
3
2
11
1
2
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9.3 Loading Samples from SD Card into Audio Clips
An audio clip must exist for a sample to be loaded into it from clip view. If an
audio clip does not exist, section 9.6 / 9.7 explain how to create one.
▌ LOADING A SAMPLE INTO THE CLIP USING BROWSE SHORTCUT
1. Select audio clip view by pressing any audio clip row [PAD] in song view
or pressing an audio clip, right part / tail [PAD] in arranger view.
2. Within clip view, [SHIFT] + [BROWSE] from the shortcut grid pads
opens the le browser.
3. Navigate to the desired folder on the SD card. The ‘ARTISTS’ folder is
the default location. Turn (SELECT) to navigate, press (SELECT) to drill
into the menu. [BACK / UNDO] to back-up.
4. Navigate to highlight the desired sample / audio in-focus. Samples will
be auditioned and displayed on the grid in white when in-focus.
5. Press (SELECT) to load the audio. This will show on the grid as
coloured pads.
6. Press [PLAY] to hear the audio sample looping.
▌ LOADING A SAMPLE INTO THE CLIP USING SOUND EDITOR
1. Select audio clip view by pressing any audio clip row [PAD] in song view
or press an audio clips’, right part / tail [PAD] in arranger view.
2. Within clip view, press (SELECT) from the shortcut grid pads opens the
sound editor.
3. Within the sound editor or le browser, turn (SELECT) to navigate,
press (SELECT) to drill into the menu. [BACK / UNDO] to back up.
4. Default position is SAMPLE. Press (SELECT) to access FILE
BROWSER
5. Navigate to the desired folder on the SD card.
6. Press (SELECT) when the sample required is in-focus. Samples will be
auditioned and displayed on the grid in white when in-focus.
7. The sample selected will load show on the grid as coloured pads
8. Press [PLAY] to hear the audio sample looping.
NOTES
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9.4 Deleting Samples
While in the le browser, you can hold shift and press the save button to
delete the selected sample - it'll prompt you rst.
Remember, this deletes the sample even if it’s used in songs, and the
Deluge will not notify you whether it is or not being used, so be careful.
▌ DELETING A SAMPLE
1. Press [SHIFT] + [BROWSE].
2. Navigate to the sample to delete.
3. Press [SHIFT] + [DELETE] to delete.
4. Display will indicate DELETE:OK.
5. Press [SAVE] or (SELECT) to conrm.
6. Sample will be deleted.
NOTES
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NOTES
9.5 Audio Inputs
Audio clips are recorded into Deluge from within song view or arranger
View. Deluge records audio through the mic or stereo line-in.
Line In - TRS Connector
Audio Input Options
Several audio input options are available for recording.
Input Input Options Options
Left
LEFT
(Default)
The left or mono channel of the Deluge’s line or mic input. Use
this if using the Deluge’s internal mic, or recording a mono source
with an unbalanced cable.
LEFT.
Left dot, enables audio “thru” or “monitoring” on that input
channel - echoing the audio that’s fed in. The left or mono
channel of the Deluge’s line or mic input. Use this if using the
Deluge’s internal mic, or recording a mono source with an
unbalanced cable.
Right
RIGHT Used if the Deluge’s stereo line input is connected as two
separate mono inputs.
RIGHT. Right dot, enables audio “thru” or “monitoring” on that input
channel - echoing the audio that’s fed in. Used if the Deluge’s
stereo line input is connected as two separate mono inputs.
Stereo
STEREO Stereo line or mic input.
STEREO Stereo dot, enables audio “thru” or “monitoring” on that input
channel - echoing the audio that’s fed in. Stereo line or mic input.
Balanced
BALANCED Used when running a mono signal via a TRS cable from a
balanced output into the Deluge’s line input socket.
BALANCED.
Balanced dot, enables audio “thru” or “monitoring” on that input
channel - echoing the audio that’s fed in. Used when running a
mono signal via a TRS cable from a balanced output into the
Deluge’s line input socket.
Mix MIX
Sources audio from the Deluge’s output. Example, other playing
tracks. Grabs the audio pre master FX and level adjustment, and
without reverb applied. This is usually the best option for
“resampling” or “bouncing” existing instrument clips down to a
single new audio clip. (Not to be confused with the Deluge’s
resampling function for recording its output straight to a le.)
Output OUTPUT Deluge audio output post FX and with reverb - same as
resampling. For recording audio clips MIX is recommended.
Off OFF No audio input, recording disabled.
Left (InL) Input left (tip)
Right (InR) Input right (ring) (sleeve)
Stereo (InLR) Input left / right (tip/ring)
Microphone
If nothing is connected to LINE IN, the
microphone will be the default L/R input.
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NOTES 9.6 Recording into Audio Clips in Song View
Audio can be recorded in song view, which also provides the functionality
as a looper. Audio and MIDI looping are possible within song view both to
record in and also as a live performance option. Audio clips are recorded
and played in-sync with other Deluge functions, typically through time-
stretching.
▌ CREATING AN AUDIO CLIP IN SONG VIEW
1. Press [SONG] to switch to song view.
2. Press & hold a [PAD] within a clip row. This can be either an existing or
blank row. The instrument button will ash indicating the type selected
and display will show the preset or MIDI/CV Channel.
3. While still holding the pad, press (SELECT).
4. The track will be converted to an audio clip and the display will show the
name, example: ‘AUDIO1’. When attempting to convert an instrument
track, a message is displayed if notes exist and the track can’t be
converted.
5. Selecting the audio clip by pressing the row [PAD] will then allow audio
to be loaded, recorded, edited etc.
▌ SELECTING THE AUDIO IN
1. Press [SONG] to switch to song view.
2. Press & hold [LEARN / INPUT] + [PAD] of a selected audio clip row to
record into.
3. Turn (SELECT) to change to the input desired. This should match the
physical connection. Example, a mono input would typically be the
LEFT input, with LEFT. for input monitoring.
4. If input monitoring is required, a dot . version of the left, right, stereo,
balanced inputs is available for thru audio monitoring.
5. Display will indicate the selected channel input for the track on which
the clip sits.
6. Exit this setting before recording by pressing (SELECT), [BACK], or any
[PAD]
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NOTES
▌ ARMING AUDIO CLIPS FOR RECORDING IN SONG VIEW
1. Press [SONG] to switch to song view.
2. New blank clips created will automatically be armed by default.
3. Hold [RECORD] to check current status of [LAUNCH] pad associated
with the the clip row to record into:
• Flashing coloured eg: magenta - clip is empty, armed and ready to
record.
• Flashing red - clip is armed, ready to record. It will playback as
normal in loop but will mute when a new overdub is recorded.
• Solid or dim colour - unarmed and will not record. Clip may have
content already recorded in.
4. Hold [RECORD] + [LAUNCH] pad to arm or disarm any clip row.
▌ RECORDING AN AUDIO CLIP IN SONG VIEW
1. Press [SONG] to switch to song view. Ensure audio input is set and
clips are armed.
2. [RECORD], button should be on and illuminate red.
3. Press [PLAY]. Recording will start. Play and record buttons will be lit. All
armed clips will record.
4. The red recording cursor will travel left to right across the clip rows
being recorded. Audio clips must also be unmuted/green for recording
to occur.
5. Recording will be continuous and not be limited by any length. Length is
set only when previously recorded or existing audio exists when
recording within a clip.
6. Press [LAUNCH] pad of any clip row to STOP recording. This clip will be
armed to stop at the end of the ‘loop’ of the original clip length. The clip
will then begin to PLAY back from the start.
For details on overdub recording see the details covered in the looper section.
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NOTES 9.7 Recording into Audio Clips in Arranger View
Audio can be also be recorded in arranger view, which provides more
structure and arrangement functionality. Ensure audio clips have already
been created.
▌ CREATING AN AUDIO CLIP IN ARRANGER VIEW
1. Press [SONG] to switch to song view and press [SONG] again for
arranger view. Button ashes blue.
2. Press & hold a [AUDITION] Pad. This can be either an existing or blank
row. The instrument button will ash indicating the type selected and
display will show the preset or MIDI/CV Channel.
3. While still holding the audition pad, press (SELECT).
4. The track will be converted to an audio clip and the display will show the
name, example: ‘AUDIO1’. If converting an instrument track, ‘CANT’ is
displayed if notes exist and the track wont be converted.
5. Selecting the audio clip will then allow audio to be loaded, recorded,
edited, etc.
▌ SELECTING THE AUDIO IN
1. Press [SONG] and [SONG] to switch to arranger view.
2. Press & hold [LEARN / INPUT] + [AUDITION] pad of a selected audio
clip row to record into.
3. Turn (SELECT) to change to the input desired. This should match the
physical connection. Example, a mono input would typically be the
LEFT input, with LEFT. for input monitoring.
4. If input monitoring is required a dot . version of the left, right, stereo,
balanced inputs is available for thru audio monitoring.
5. Display will indicate the selected channel input for the track on which
the clip sits.
6. Exit this setting before recording by pressing (SELECT), [BACK], or any
[PAD]
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NOTES
▌ ARMING AUDIO TRACKS FOR RECORDING IN ARRANGER MODE
1. Press [SONG] and [SONG] again to switch to arranger view.
2. Tracks will be disarmed by default.
3. Press & hold [RECORD] to see each tracks status.
• Armed rows - [MUTE] pads illuminate ashing red. Tracks will
record audio.
• Semi-armed rows - [MUTE] pads ashes dim grey-red. Semi-armed
meaning armed in theory but wont record as the tracks already
contain audio
• Unarmed clip rows - [MUTE] pads lit dimly coloured. Track is empty
and can be recorded into but only when armed.
4. Press [RECORD] + [MUTE] pad to arm or disarm any track row.
▌ RECORDING AN AUDIO CLIP IN ARRANGEMENT VIEW
1. Press [SONG] and [SONG] to switch to arranger view. Ensure audio
input is set and tracks are armed. [RECORD] should be lit.
2. Press [PLAY]. Recording will start. Play and record buttons will be lit. All
armed tracks will record.
3. The red recording cursor will travel left to right across the clips being
recorded.
4. Recording will take place into newly created clip-instances, unless a clip
already exists.
5. Recording will be continuous and not be limited by any length. Length is
set only when previously recorded or existing audio exists when
recording within a clip.
6. Press [RECORD] to stop recording, play continues to end of clip.
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NOTES 9.8 Quick Editing Audio in Clip View
Audio clips are displayed on the grid in clip view as a graphical waveforms.
A number of basic editing options are available.
▌ QUICK EDITING OF AUDIO LENGTH - TIME STRETCH
1. Within [CLIP] view and an audio clip selected. Select from SONG by
pressing [PAD] for clip or in ARRANGER pressing the [PAD] tail.
2. Press [SHIFT] + turn (SCROLL◄►) Clockwise to ‘stretch’ the audio
length longer.
3. Press [SHIFT] + Turn (SCROLL◄►) anti-clockwise to ‘shrink’ the audio
length shorter.
4. Turn (SCROLL◄►) to navigate across the sample width.
5. The audio will be time stretched.
6. Press [PLAY] to hear the clip loop.
▌ QUICK EDITING OF AUDIO LOOP LENGTH - TRIM / EXTEND
1. Within [CLIP] view and the audio clip selected.
2. Ensure the end of the waveform is in view. Turn (SCROLL◄►) to
navigate across the sample width.
3. Press [PAD] of the last column showing the waveform. The column will
illuminate ashing red which represents the loop point.
4. Press [PAD] of the column to where the loop point should be relocated.
5. To the right of the original ‘end’ position will add silence. To the left of
the original ‘end’ point will trim the audio.
6. Turn (SCROLL◄►) to navigate across the sample width.
7. Pressing a red column pad will remove the red loop point cursor / editor.
8. The audio will NOT be time-stretched when changing loop end point.
9. Press [PLAY] to hear the clip loop.
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Audio Clip View - Quick Editing
Audio clips are created in song or arrangement view. Once audio is recorded or loaded in they can
be displayed on the grid as a graphical waveform with quick editing options available. Pressing a
[PAD] for the clip row or ‘tail’ in song and arranger view respectively selects the audio clip in clip
view. The waveform length on display matches the timing and synchronisation to the grid. Example,
an audio waveform may ll one page as it is 1 bar in length. More precise options for editing are
available in the waveform editor although this does not sync to grid timing.
Audio waveform
Indicated graphically across the grid.
This may take up multiple screen pages.
Waveform length
The waveform length maintains synchronisation
with the grid timings as shown by the grid pads.
For example sync to 16th intervals.
Audio clip view
Grid pads will display the audio
on coloured pads as opposed to
white pads in waveform view.
End of waveform
The waveform is laid out at the correct length
based on the note divisions. Elements will be
shown by dull lit pads that are not covered.
Loop edit
The red column cursor, selected by pressing
the last column, enables editing of loop point.
Press the new location to move it.
Time-stretch
Use [SHIFT] + (SCROLL◄►) to adjust the clip length
by time stretching or shrinking.
+
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9.9 Sampling & Recording Audio within Kits
Kits are a great environment for sampling audio. Samples can be recorded
and arranged into a kit. Kits can be combination of samples or synth
sounds.
▌ RECORDING AN AUDIO SAMPLE IN TO A NEW KIT
1. Input will be line-IN or mic (external or internal). The mic gain can be
changed on the input switch.
2. Press [SHIFT] + [KIT] from clip view to create a blank a kit clip.
3. The browser will open to select a sample from the SD card or a
previous last recent recording may by appear on the grid.
4. Press [RECORD]. Button illuminates ashing red and the display
indicates ‘RECORDING’ to indicate that recording has started.
5. Press [RECORD] again to end recording. Recording ends and is
normalised.
6. The recording is assigned to a row of pads indicated by a green
[MUTE].
7. Press [AUDITION] to play back the sample.
▌ RECORDING AN AUDIO SAMPLE INTO AN EXISTING KIT
1. Input will be line-IN or mic (external or internal). The mic gain can be
changed on the input switch.
2. Press [KIT] from clip view and selected a kit to record into.
3. Press & hold [AUDITION] pad of blank or selected row + [RECORD].
4. Recording will start. Button illuminates ashing red and the display
indicates ‘RECORDING’ to indicate that recording in progress.
5. Press [RECORD] again to end recording. Recording ends and is
normalised.
6. The recording is assigned to a row of pads indicated by a green
[MUTE].
7. Press [AUDITION] to play back the sample.
NOTES
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NOTES
▌ SETTING SAMPLING INPUT MONITORING
1. Press [SHIFT] + [SETTINGS] to open settings menu.
2. Turn (SELECT) to highlight ‘RECORDING’ - recording option.
3. Press (SELECT).
4. Turn (SELECT) to highlight ‘SAMPLING MONITORING’
5. Press (SELECT) to open monitoring options.
6. Turn (SELECT) to highlight:
• ON: switches monitoring when recording samples on.
• OFF: switches monitoring when recording samples off.
• CONDITIONAL (Default): conditional monitoring. Recording from a
microphone (internal or external) AND headphones connected,
monitoring will occur. Recording using the LINE IN input, monitoring
will always occur.
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NOTES
▌ SLICING AUDIO ACROSS A NEW KIT
1. Press [SHIFT] + [KIT] from clip view to create a new kit clip.
2. The browser will open to select a sample from the SD card or a
previous last recent recording may by appear on the grid.
3. To use a previous recorded samples use (SELECT) to scroll through
les and folders. To select another le or folder from within the browser,
press [BACK / UNDO] to back out of the recording les and navigate
others. Selections may default to previously selected folder / le.
4. Press & hold (SELECT) while the desired sample is in view / in-focus to
open the sampling context sub menu.
5. Turn (SELECT) to highlight ‘SLICE’
6. Press (SELECT). Number of slices is indicated at which to divide the
sample. 16 is default. Turn (SELECT) to adjust, example, to 8.
7. Press (SELECT) to slice the sample across the elected number of pads.
Kit rows
1
1
2
2
3
3
4
4
5
5
6
6
7
7
88
Single Sample
Slices into number selected
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NOTES
9.10 Sampling into a Synth Instrument
Audio can be sampled directly or loaded into a synth as an oscillator source
waveform thus enabling creation of melodic instruments. The recorder is
accessible from within the sound editor or using grid shortcuts.
▌ LOADING AN AUDIO SAMPLE INTO A SYNTH
1. [SHIFT] + [SYNTH] to create a new synth clip in [CLIP] view. Default is
square wave, single oscillator with no lters or effects.
2. [AUDITION] + [LOAD].
3. The load options for note range will be offered:-
• BOTTOM-TO-TOP. Audio will be mapped across all notes. This is
the default setting and used where a single sample can authentically
be mapped over a wide note range.
4. Press (SELECT) to conrm selection.
5. The le browser will open. The most recent recording will be offered or
le options. Navigate to the selected audio le. Turn (SELECT) to
navigate across folders and les and [BACK / UNDO] to back up, press
(SELECT) to drill down into menus.
6. Select a single sample le to load.
7. Press (SELECT) when audio sample is in-focus to load.
8. The audio le replaces the synth oscillator waveform and will be
mapped based on the range set. Pressing [AUDITION] pads or
keyboard will play automatically tuned to the correct notes.
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NOTES
▌ LOADING MULTISAMPLES INTO A SYNTH
1. [SHIFT] + [SYNTH] to create a new synth clip in [CLIP] view. Default is
square wave, single oscillator with no lters or effects.
2. [AUDITION] + [LOAD].
3. The load options for note range will be offered:-
• BOTTOM-TO-TOP. Audio will be mapped across all notes. This is
the default setting and used where a single sample can authentically
be mapped over a wide note range.
4. Press (SELECT) to conrm selection.
5. The le browser will open. The most recent recording will be offered or
le options. Navigate to the selected audio le. Turn (SELECT) to
navigate across folders and les and [BACK / UNDO] to back up, press
(SELECT) to drill down into menu’s.
6. Select the folder containing the multiple samples to load.
7. Press & hold (SELECT) when the folder is in-focus until the context sub-
menu appears.
8. Turn (SELECT) to choose MULTISAMPLES in-focus. Then press
(SELECT).
9. The samples will be loaded and pitch automatically detected. They will
be mapped across the note range, even lling in gaps if the sample set
for the range isn't complete. Pressing [AUDITION] pads will play
matched to the correct notes.
10. Range is displayed.
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▌ RECORDING AN AUDIO SAMPLE INTO A SYNTH
1. Input will be line-in or mic (external or Internal). The mic gain can be
changed on the input switch.
2. Press [SHIFT] + [SYNTH] from clip view to create a blank synth.
3. Press (SELECT) to open synth settings.
4. Turn (SELECT) and with oscillator 1 or 2 selected, press (SELECT).
5. Turn (SELECT) to choose ‘RECORD AUDIO’ and press (SELECT).
6. The recording options for note range will be offered:-
• BOTTOM-TO-TOP. Audio will be mapped across all notes. This is
the default setting and used where a single sample can authentically
be mapped over a wide note range.
4. Press (SELECT) to conrm selection and start recording. Record button
illuminates ashing red and the display indicates ‘RECORDING’ to
indicate that recording has started.
5. Press [RECORD] to end recording. Recording ends and is normalised.
6. The recording is assigned to the oscillator.
7. Press [AUDITION] pads to play back the sample range.
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NOTES
▌ ADJUSTING MULTISAMPLE NOTE RANGES
1. Select [SYNTH] in [CLIP] View where a multi-sampled range of samples
have been loaded to the synth.
2. Press [SHIFT] + [BROWSE] shortcut to open browser.
3. The range will be displayed in the format “A2-D2”, meaning that the
range covers the notes A2 to D2, inclusive of those notes. “BOT” and
“TOP” are used to inform that the range applies all the way to the
bottom or the top.
4. Turn (SCROLL◄►) to select the upper or lower note of the band. The
selected note will ash.
5. Turn (SELECT) to adjust the note upper / lower band in focus.
Neighbouring boundaries will change as needed to accommodate the
change.
6. [SHIFT] + turn (SELECT) clockwise to insert a new range above the
currently selected one. [SHIFT] + turn (SELECT) anti-clockwise to
create a new range below the currently selected one. Band in-focus will
indicate ashing.
7. [SHIFT] + [SAVE] to delete the currently selected range.
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NOTES
About sample pitch detection
The Deluge automatically detects the pitch of all samples loaded into
“synth” instruments, using this information to set up multi-sample note-
ranges and adjust transpose so that the correct pitches are played.
The Deluge’s pitch detection algorithm gets good results on its own, but will
then also compare its results to the sample les’ names. If it realises that its
pitch detection has got the samples in the wrong order, it will re-evaluate
the pitches. For this reason, it’s a good idea to have your samples named
alphabetically from low notes to high notes. Numbers and note names are
taken into account when looking at the order - e.g. the Deluge knows that
“B#2” comes before “A3”, and that “Eb comes before “E”. Only the ordering
of the les is important though - the Deluge does not read the actual note
names - just looks at the les’ ordering and then uses its pitch detection for
the rest.
Some .wav and .aiff les contain tags explicitly stating what note the le
contains a sample of. Where these tags are present, they will override the
Deluge’s own pitch detection.
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NOTES 9.11 Resampling Deluge Output
Audio can be resampled, recording the output back onto the Deluge’s SD
card in the folder SAMPLES / RESAMPLING as WAV les. This is useful
both as a sonic tool, where interesting sounds can be created and the user
“resample” them for further use, or to allow the user to make high-quality
recordings of compositions or performances. Reopening le browser will
default to the last recording for easy access.
▌ RESAMPLING INSTANTLY
1. Play a song, sound, pattern, audio.
2. [SHIFT] + [RECORD]. Record button will ash red.
3. Recording of the Deluge output will immediately be recorded.
4. [RECORD] again to stop recording.
▌ RE-SAMPLING AT THE SAME TIME AS PLAY
1. Load a song, sound, pattern, audio.
2. [RECORD] + [PLAY]. Record button will ash red.
3. Deluge will start to play and at the same time recording of Deluge
output will start.
4. [RECORD] + [PLAY] again to stop recording at the loop end or
[RECORD] to stop recording instantly while play continues.
▌ RE-SAMPLING AT THE SAME TIME AS A VOICE PLAYS
1. Play a song, sound, pattern, audio.
2. Hold [RECORD] + [AUDITION] pad or grid [PAD] in keyboard view.
Record button will ash red.
3. Deluge will play the note and record the output.
4. [RECORD] again to stop recording.
Don't confuse resampling which writes to the SD card directly with recording
MIX or OUTP outputs which follow Deluge standard recording process.
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NOTES
9.12 Waveform View & Detailed Audio Editing
Audio samples and clips can be displayed and edited on the grid in clip
view as a graphical waveform. Waveform editor [SHIFT] + [WAVEFORM] is
a tool for more precise editing. Quick editing will be able to cover some
basic functions but a more in depth precise method is provided within the
waveform view. Editing functions are available from the shortcut or the
nested menus.
Sample 1 & 2
Representative of the synth engine and each
of their oscillator’s audio samples. Sample 1
is by default for general audio editing.
Waveform
Opens waveform view for editing visually as well as by ear. Audio
sample is presented on the grid pads.
Browse
File browser utility to access and load audio samples.
Record
Recorder to directly record in samples.
Interpolation *
Sample interpolation method used for time stretching. Options
are ‘SINC’ (high quality 16-point windowed sinc) and ‘LINEAR’
(low quality linear interpolation).
Pitch / Speed *
Controls the relationship between pitch and speed for the sample.
LINKED (changing pitch affects length) or INDEPENDENT
(changing pitch does not affect length).
Speed *
Manually time-stretches a sample to make it play faster or slower
without changing pitch. Not available if Loop is set to Stretch, in
which case speed is controlled by note length and tempo.
Reverse *
Reverses the sample playback.
Mode REPEAT MODE*
Once. The sample plays once, always the whole way through.
Good for drum samples.
Cut. The sample plays once, but may be cut short at the end of
the “note” causing the sound to stop.
Loop. The sample loops indenitely until the “note” ends
Stretch. the sample is time-stretched to the length of the note.
Good for samples that contain pre-made beats.
* Items exist in the sound editor menu as well as from the shortcut pads. Label shown
in capitals indicates what is name used within the sound editor SAMPLE Menu.
+
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Waveform Editor
Samples and audio clips can be displayed on the grid as a graphical waveform with editing options.
The audio length, unlike the quick waveform editor, does not represent the timing of the sample with
reference to the grid. Press [SHIFT] + [WAVEFORM]. Turn (SCROLL◄►) to scroll waveform and
press & turn (SCROLL◄►) to zoom.
Waveform view
Grid pads will display the audio on
white pads as opposed to coloured
pads in quick audio clip edit view.
Loop start point *
Audio sample loop start point with blue
column, when set / unset by holding
start [PAD] + loop start position [PAD].
Loop end point *
Audio sample loop end point with magenta
column, when set / unset by holding end
[PAD] + loop end position [PAD].
Once selected (ashing) any of the position marker columns can then be adjusted
further by pressing another [PAD] column within the sample or by turning the
(SELECT) control. To delete a loop marker repeat the process for selection.
Display will show position for the
selected start or end point.
Time-stretch between start and end points
Length is always xed to the song tempo.
Use ‘grab tempo’ to match length and avoid time stretch.
End point
End position of audio sample.
Red column ashes, when
selected by pressing [PAD].
* Loop markers available for samples but not available for audio clips.
Start Point
Start position of audio sample.
Green column ashes, when
selected by pressing its [PAD].
156.34 MSEC
(6895 SMP)
START POINT
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▌ WAVEFORM EDITING LENGTH WITH START & END POINTS
Audio clip length is tied to the song’s tempo - e.g. “1 bar long” - and will not
change. So, changing these waveform start and end points or tempo is
likely to cause the waveform to be time-stretched when played.
1. With the audio clip in-focus i.e. after recording or loading.
2. Press [SHIFT] + [WAVEFORM].
3. Grid will show audio in graphical form indicated by white pads.
4. The START position is indicated with a green column.
5. The END position is indicated with a red column.
6. To adjust start or end, press the START or END column [PAD] to select
it - column ashes. Press a new location [PAD] to move the position to.
7. Display will indicate the position of the selected marker.
8. [BACK / UNDO] to exit waveform editor.
▌ ‘GRABBING TEMPO’ TO AVOID TIME-STRETCHING
Audio clip length is tied to the song’s tempo and as such will be time-
stretched when adjusting markers. Grabbing the tempo of an audio clip will
avoid time-stretching.
1. Within [CLIP] view, press (TEMPO) + [PAD] on the grid.
2. Within [SONG] view, press (TEMPO) + [PAD] on the clip’s row.
This may be useful when loading an existing audio le into an audio clip
and wishing to set the song to its tempo, or to return to the original
tempo at which the clips were recorded if the tempo has since been
changed, or after minor edits to an audio clip’s waveform’s start and end
points (see previous section).
When working with the markers it is recommended to start with the
end marker adjustment rst. Zoom out to work at a wider level and
zoom in as ner adjustments are needed.
NOTES
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NOTES
▌ ADDING / LOCATING WAVEFORM LOOP MARKERS
Loop markers can be set for samples but not audio clips.
1. With the sample in-focus i.e. kit sample.
2. Press [SHIFT] + [WAVEFORM].
3. Grid will show audio in graphical form indicated by white pads.
4. To create a LOOP START, press & hold [PAD] for the green start
column + press [PAD] for column to locate the LOOP START marker.
Marker for loop start is illuminated blue.
5. To create a LOOP END, press & hold [PAD] for the red end column +
press [PAD] for column to locate the LOOP END marker. Marker for
loop end is illuminated magenta.
6. Play sample, for example press [AUDITION] for the kit row sample in-
focus.
7. Sample will play from START, then RESTART at LOOP END (or END if
no loop exists) and then play a loop beginning at LOOP start.
▌ DELETING WAVEFORM LOOP MARKERS
Loop markers can be set for samples but not audio clips.
1. With the sample in-focus i.e. kit sample.
2. Press [SHIFT] + [WAVEFORM].
3. Grid will show audio in graphical form indicated by white pads. Loop
markers will be blue and magenta columns.
4. To delete LOOP START marker, press & hold [PAD] for the green start
column + press [PAD] for LOOP START column.
5. To delete LOOP END, press & hold [PAD] for the red end column +
press [PAD] for LOOP END column.
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NOTES
9.13 Sample Playback Modes
Playback of audio can be reversed and also played back in several in
several modes:-
• ONCE. The sample plays once, always the whole way through.
Good for drum samples and short ‘hits’. Samples shorter than two
seconds will by default be set to ONCE, to behave as a one-shot
sample: any time the sample is triggered, the whole sample will play.
• CUT. The sample plays once, but may be cut short at the end of the
“note” triggering the sound. Samples longer than two seconds will
be set to CUT mode, to play only as long as the user is holding
down the row’s audition pad - or as long as a sequenced note is
sounding on that row.
• LOOP. The sample loops indenitely until the “note” ends.
• STRETCH. The sample is time-stretched to the length of the note.
Good for samples that contain pre-made beats.
Some .wav and .aiff les contain tags specifying sample loop points. The
Deluge will read these if they are present. See waveform view for more info.
▌ REVERSING PLAYBACK
1. With a synth type set to sample and a le loaded and in-focus use
shortcuts [SHIFT] + [REVERSE] for sample 1 or sound editor -
(SELECT) > OSCILLATOR 1 > REVERSE.
2. Turn (SELECT) to adjust ‘REVERSE’ - reverse between on and off.
ON meaning the audio is reversed.
▌ SETTING PLAYBACK MODE
1. With a synth type set to sample and a le loaded and in focus use
shortcuts [SHIFT] + [MODE] for sample 1 or sound editor - (SELECT) >
OSCILLATOR 1 > ‘REPEAT MODE’.
2. Turn (SELECT) to adjust. The options are ‘ONCE’, ‘LOOP’, ‘STRETCH’,
‘CUT’.
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NOTES 9.14 Live Audio Input
As well as using the audio inputs to capture and record audio, it may be
utilised as a live sound source, and all other features of the Deluge’s sound
engine may be applied to it. This applies to either of Deluge’s line input,
external microphone input, or internal microphone.
▌ USING A LIVE AUDIO INPUT SOURCE IN CLIP VIEW
1. [CLIP] view - examples using an synth oscillator.
2. [SHIFT] + [SYNTH] to create a blank new synth clip.
3. Press [SHIFT] + [TYPE] shortcut to access the waveform type for
oscillator 1.
4. Turn (SELECT) to choose the waveform or source. In this example ‘in’ -
in, is selected to capture the internal microphone input.
5. Press & hold an [AUDITION] pad to enable the oscillator to trigger and
hence, hear the sound.
6. Speak into the mic. If other inputs are connected and set as the audio
source these are applied the same way. The sound can be heard
through the synth engine.
7. Playing [AUDITION] for middle ‘C’ - C3 will play the sound exactly as its
input. Pitch will shift for the audio corresponding to any other note
played.
▌ MONITORING AUDIO THRU IN ARRANGER
1. In [ARRANGER] view, button ashes blue.
2. Press & hold [AUDITION] for an empty track + press (SELECT) to
convert to an audio track.
3. Press [LEARN / INPUT] for the audio track + [AUDITION] + turn
(SELECT) and choose and input with ‘.’ after it name. This signies
monitored input.
4. Apply the same in SONG view but use a row [PAD] of the clip row
instead of the [AUDITION] pad in arranger view.
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NOTES
9.15 Time-Stretching & Pitch Shifting
As well as using the audio inputs to capture and record audio, these may
also be time-stretched and pitch shifted.
Time-stretch and pitch shift settings are found in the sound editor. Using
audio and in particular using your own samples with the Deluge requires a
more detailed understanding of time-stretching and pitch shifting.
By default, when you load a sample on the Deluge, its pitch and speed are
linked. If you change its pitch up or down, the sample will become shorter
or longer, respectively;-
• Time-stretching. To manually shorten or lengthen a sample within a
synth without affecting the pitch, adjust the SPEED parameter - either
under SAMPLE 1 in the shortcut grid, or under OSCILLATOR 1 in the
sound editor’s menu. Manually time-stretching a sample can make it
play faster or slower without changing pitch. Not available if REPEAT
MODE is set to ‘STRETCH’, in which case speed is controlled by note
length and tempo.
• Independent pitch and speed control. The sample’s pitch and speed can
be treated completely independently, so that adjusting the pitch will not
affect speed or length. Enter the “PITCH / SPEED” shortcut for
“SAMPLE 1”, or navigate to OSCILLATOR 1 > PITCH/SPEED in the
sound editor. The default option is ‘LINKED’. It may be changed to
‘INDEPENDENT’.
• Sample time-stretching to play in-sync with Deluge’s current tempo.
This works by selecting the mode to ‘STRETCH’ within in the REPEAT
MODE settings, under SAMPLE 1 in the shortcut grid, or under
OSCILLATOR 1 in the sound editor’s menu. Creating a “note” of the
sample, will default to a long length (typically 1 bar, 2 bars, or 4, etc...).
When playing, the sample will be time-stretched to occupy the entire
length of its “note”, at whatever tempo the Deluge is set to. This ‘note’
can be manually shortened or lengthened to stretch the sample to a
shorter or longer time.
• In the previous step, setting sample REPEAT MODE to ‘STRETCH’
automatically makes pitch and speed independent, so that the resulting
time stretching does not affect the sample’s pitch, which is a common
requirement. Another option, however is available that means that when
the speed of the sample changes along with the Deluge’s tempo, its
pitch also goes up or down, just like speeding up or slowing down a
record. This is set by by restoring the settings to PITCH / SPEED or
PITCH / SPEED parameter and setting it to ‘LINKED’ again. Pitch and
speed are again linked.
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▌ TIME-STRETCHING
1. With a synth type set to sample and a le loaded and in-focus use
shortcuts [SHIFT] + [SPEED] for Sample 1 or sound editor - (SELECT)
> OSCILLATOR 1 > SPEED.
2. Turn (SELECT) to adjust the Speed setting.
Range -48 to 0 to +48. Default is 0.
▌ INDEPENDENT PITCH / SPEED CONTROL
1. With a synth type set to sample and a le loaded and in-focus use
shortcuts [SHIFT] + [PITCH / SPEED] for Sample 1 or sound editor -
(SELECT) > OSCILLATOR 1 > PITCH AND SPEED.
2. Turn (SELECT) to adjust the ‘Pitch & Speed’ setting to ‘Independent’.
Options are ‘Link’ or ‘Independent’.
▌ TIME-STRETCHING TO MATCH CURRENT TEMPO
1. With a synth type set to sample and a le loaded and in-focus use
shortcuts [SHIFT] + [MODE] for sample 1 or sound editor - (SELECT) >
OSCILLATOR 1 > REPEAT MODE.
2. Turn (SELECT) to adjust the setting to ‘STRETCH. This automatically
makes pitch and speed independent.
Options are ‘LOOP’, ‘STRETCH’, ‘CUT’, ‘ONCE’.
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LOOPING
10
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10.1 Deluge Looping Overview
Looping is the process of recording, overdubbing and playing clips in order to layer up into a
continuous and more complete arrangement. The Deluge has steps automated to simplify the
looping process which manages the clip recording and playback in-sync. Deluge looping includes
both audio and instruments to record sessions both for live improvisation and operates within song
view.
External Synth or Instrument
An external audio source can be sampled in and
used to loop along side other Deluge instruments
or other recorded or loaded samples.
External MIDI Keyboard
With the MIDI input connected to an external
keyboard or drum pad will allow sampling and
looping of recorded MIDI in.
Recording Instrument Clips
Recording can be made by using:-
1. Internal keyboard
2. Audition pads
3. External MIDI controller
Recording Audio Clips
Recording can be made by using:-
1. Line on and associated options
2. Internal microphone
3. External microphone
External MIDI Foot Controller
An external MIDI foot switch or controller is an ideal
accompaniment to operate the generic looper controls.
Some Deluge controls are set to accept global commands
from external sources including UNDO, REDO, LOOP &
LAYER as well as PLAY/STOP, RECORD, TAP, RESTART.
MIDI IN
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NOTES 10.2 Looper Workow
The workow for looping is simple, but the techniques and your own
process should be developed as part of the creative performance. This
workow is one way to use looping within Deluge. These are only the
fundamental steps, shown for audio looping.
S
E
1
2
3
4
5
6
7
8
9
10
11
Audio loopingAudio looping
Song view - blank song
[SONG] view is the dened environment for looping.
Set clip as audio clip
[PAD] of row + (SELECT).
Set up rst input source & monitoring
Line-in settings or if not connected, internal mic.
Recording and playing rst loop.Overdubbing and additional loops.
Arm clip for recording
Hold [RECORD] to check arming. Flashing mute
pads are armed. Press [RECORD] to arm.
Record rst clip
[PLAY] audio is recorded in-sync and red cursor
tracks recording across its row. Recording time is
unlimited.
Arm to stop
[LAUNCH] pad of row. Will stop at end of loop.
Tempo automatically calculated.
Arm to stop
[LAUNCH] pad of row. Will stop at end of loop while
other clips play.
Stop continuous layer loop recording
[PAD] of an armed (all red) row prior to it recording.
SAVE
[SAVE] and [SAVE] again to save SONG.
First Loop
Additional Loops
Overdub arm / record - regular
[RECORD] + [PAD] of next row below previous clip.
Tempo will match rst clip
Overdub arm / record - continuous layering
[RECORD] + [SECTION] of row below previous clip.
Recording will loop and add new clips to match
previous clip length
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10.3 Basic Looping
Loop recording follows a similar process to recording audio clips and
samples. The looper environment is [SONG] view.
▌ RECORDING A BASIC FIRST AUDIO LOOP
1. [SHIFT] + [NEW] to select a new song. [NEW] to conrm.
2. [SONG] to select song view. Button illuminates blue.
3. Hold [PAD] + press (SELECT) of the clip row to change to an audio clip.
4. Set the audio input channel
• Hold [LEARN / INPUT] + press [PAD] of the clip row to set the input.
• Example, LEFT INPUT for mono input from line-in or LEFT
(MONITORING) for mono input from line-in, monitored.
• Press [BACK / UNDO] when complete.
5. Set arming status
• Hold [RECORD] to check current status of [LAUNCH] pad
associated with the the clip row to record into.
• Flashing coloured eg: magenta - clip is empty, armed and ready to
record.
• Flashing red - clip is armed, ready to record. It will playback as
normal in loop but will mute when a new overdub is recorded.
• Solid dim colour - unarmed and will not record. Clip may have
content already recorded in.
• Press [RECORD] + [LAUNCH] pad to arm the clip.
6. Press [RECORD], button illuminates red. Ensure an audio input is
present to record.
7. Press [PLAY] to start recording. Recording of the audio input will
continue indenitely until stopped.
8. Press [LAUNCH] to stop at the recording. Tempo of recording is
automatically calculated and set.
9. Clip will stop recording and the record button will turn off. Playback of
the recorded clip will continue to loop and to allow future overdubs.
NOTES
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Loop
Audio is recorded into the clip which will loop
on play when recording is complete.
Regular Overdubs
A new overdub can be recorded into a clip row below the
existing clip, triggered by [RECORD] + [PAD]. Recording
will be in-time with the original clip and end when launch
pad is pressed.
Continuous Overdubs
New continuous overdubs can be recorded into a series of new clips below the existing original clip, triggered
by [RECORD] + [SECTION]. Recording will continue on subsequent rows and be in time with the original clip.
Arming Clip
Holding [RECORD] will indicate the arming status by the [LAUNCH] pad colour. [RECORD] + [MUTE] to
change. Arming sets the row in ready to record state. Only empty rows will be armed and the mute /
unmute status affects overdub automatic playback state.
Audio Loop Recording
Audio is recorded into the clip continuously
until the recording is stopped. When loop
recording mute / launch stops recording.
Regular & Continuous Overdubbing
Use the global command ‘LOOP’ for regular overdub
looping and ‘LAYERING LOOP’ for continuous loop
overdubs.
Armed Pending Record
A clip row will be indicated red until the loop
ends and recording starts.
Recording
Recording will be indicated by a red cursor
tracking the recording position.
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The rst recorded clip sets the length and tempo. Subsequent overdubs will
fall into line with the original rst loop. Setting the arming state will dictate
whether the overdubs automatically play all together or are muted.
Overdubs create new clips underneath the ‘original’.
▌ RECORDING AUDIO CLIPS ‘PEDAL STYLE”
1. [SONG] to select song view. Button illuminates blue.
2. Ensure no other clip rows are playing and metronome is off and Deluge
is a sync leader.
3. Press [RECORD] + [PLAY] of the clip row to record
4. Ensure the audio is playing at the input which will be recorded.
5. Press [LAUNCH] pad of the grid row to stop recording.
6. Recording will end and playback will continue. Tempo will be calculated
and will ash on the screen.
▌ RECORDING A REGULAR AUDIO OVERDUB LOOP
1. [SONG] to select song view. Button illuminates blue.
2. The rst audio loop is created as per the previous steps 1-6, ‘Recording
a Basic First Audio Loop’. Original rst loop should be playing.
3. Press [RECORD] + [PAD] of the clip row below the original to arm it for
recording - row lit red. Recording will automatically start when the
original clip loop restarts. Red recording cursor tracks the position.
4. Ensure the audio is playing at the input which will be recorded.
5. Press [LAUNCH] to stop recording.
6. Recording will stop and playback will continue. Depending upon original
clip arming status, new clip will either play alone (original muted) or play
together in conjunction with the original.
7. Overdubbing can continue manually, one clip at a time by repeating
steps 3-4.
NOTES
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▌ RECORDING CONTINUOUS AUDIO OVERDUB LOOPS
1. [SONG] to select song view. Button illuminates blue.
2. The rst audio loop is created as per the steps 1-6, ‘Recording a Basic
First Audio Loop’. Original rst loop should be playing.
3. Press [RECORD] + [SECTION] of the clip row below the original to arm
it for recording - row lit red.
• Recording will automatically start when the original clip loop restarts.
Red recording cursor tracks position.
• Additional clip rows will automatically be created at a xed length.
• More layers will be built until stopped.
1. Ensure the audio is playing at the input which will be recorded.
2. Press [PAD] of the grid row currently armed to record - the red row.
3. Recording will end and playback will continue.
▌ GRABBING TEMPO FROM A LOOPS AUDIO CLIP
1. [SONG] to select song view. Button illuminates blue.
2. Press & hold [TEMPO] + [PAD] of the clip row
Or
1. Within clip view, press & hold [TEMPO] + Any [PAD] of the clip.
Overdub loops are technically individual audio clips and as such they
can be muted, deleted, and have effects applied. Undo / redo can also
be applied to each overdub step.
NOTES
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NOTES
10.4 Using a Foot Controller
Loop recording carries a specic workow and a foot controller when
recording and playing loops especially live is a useful accessory. Guitarists
for example can control the loop recording while concentrating hands-on
with their guitar. Global MIDI commands provide an easy interface between
Deluge and a MIDI foot switch.
MIDI Out
to Deluge
MIDI In
LOOP LAYER PLAY UNDO
This is one example of a looper pedal set up. Many options exist. Note
data must be sent for commands to work with other MIDI controllers.
1 2 3 4
Menu Command
Option Deluge Manual Control Description
Global MIDI
Commands
[SHIFT] +
(SELECT)
MIDI > CMD
PLAY [PLAY] Play / stop playback.
RESTART Press (SCROLL◄►) +
[PLAY] Restart playback, if already playing.
RECORD [RECORD] Record
TAP
TEMPO [TAP TEMPO] Tap tempo to capture a tempo based on
taps.
UNDO [BACK / UNDO] Reset the last state, undo the prior
action.
REDO [SHIFT] + [REDO] Restore the last state, redo the prior
action.
LOOP Triggers a process Triggers a process the same as
performing regular looping and overdubs.
LAYERING
LOOP Triggers a process
Triggers a process the same as
performing continuous looping and
overdubs.
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NOTES
▌SETTING UP AN EXTERNAL FOOT CONTROLLER FOR LOOPING
1. Connect the foot switch to the MIDI in connection of Deluge while
Deluge is powered off.
2. Power up the Deluge.
3. Press [SHIFT] + press (SELECT) to open the settings menu.
4. Navigate to MIDI settings, turn (SELECT) and navigate to
‘COMMANDS’.
5. With ‘COMMANDS’ in-focus, press (SELECT) to open the global MIDI
command menu options.
6. Choose the option to map to the external switch: Example: switch 1 =
loop, switch 2 = layer, switch 3 = play, switch 4 = undo. This will be
dependant on the device connected and number of switches.
7. With the option in-focus press (SELECT) and the [LEARN / INPUT]
button will blink indicating it is available for mapping. ‘NONE’ is
displayed if no MIDI note or channel is currently assigned.
8. Press & hold [LEARN / INPUT] and press the associated switch on the
external MIDI foot controller.
9. The display will indicate ‘SET’ to show the setup is now complete and
the switch is mapped to the specic function.
10. To unmap the command, turn (SELECT) when the function setting is in-
focus or set it to a new input.
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LOOP v LAYER Global Commands
Two main modes exist for loop recording with overdubs. Regular, which
captures singular audio clip loops manually or continuous which automates
the ongoing recording of additional xed audio clips. Global commands
enable single MIDI inputs to trigger the looping processes when using
external gear such as a foot switch.
LOOP
Acts in the same way as regular loop
recording and overdubbing. Steps
triggered are:-
• If playback was not previously active,
start playback and begin recording on
any clip(s).
• If recording is in progress, will nish
recording of a clip (or overdub) -
either arming it to stop recording soon,
or immediately “closing” a tempo-
determine rst loop.
• Create an overdub from the ‘original’
last clip / overdub that was recorded.
This will overdub in a clip directly
below If playback is active but no
recording in progress. If you wish to
manually select which clip the overdub
will be created from, hold down one of
its main 16 pads in song view and
then send the LOOP command.
• Delete an overdub if one is pending to
begin recording a clip - all red row in
song view.
LAYER
Acts in the same way as continuous layer
loop recording and overdubbing. Steps
triggered are:-
• If playback was not previously active,
start playback and begin recording on
any clip(s).
• If recording is in progress, will nish
recording of a clip (or overdub) -
either arming it to stop recording soon,
or immediately “closing” a tempo-
determine rst loop.
• Create overdubs from the ‘original’
last clip / overdub that was recorded.
This will overdub in clips directly below
If playback is active but no recording
in progress. If you wish to manually
select which clip the overdub will be
created from, hold down one of its
main 16 pads in song view and then
send the ‘Layer’ command.
• Delete an overdub if one is pending to
begin recording a clip - all red row in
song view.
NOTES
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NOTES 10.5 Audio Loop Margins
The Deluge introduces a very short crossfade, beginning just before the
loop-point on audio clips. This reduces any audio ‘click’, especially low
frequency and / or mismatched audio loop point transitions. Time-stretched
or pitch-shiftedaudio has the same algorithm applied to maximise sound
quality. These margins can only be applied if the waveform extends slightly
further back in time than the loop’s start-point and Ideally extends slightly
further forward than its end-point too.
Margins are enabled ON by default.
Setting menu: RECORDING > LOOP MARGINS. Option ON/OFF.
When margins are on, all audio clips recorded from external input sources
(i.e. not MIX or OUTPUT), will have these extra short “margins” of audio
recorded. The Deluge will even retrieve a few milliseconds of audio data
from a buffer in order to have the waveform extend further back in time than
the point at which the user pressed the button to begin the recording. This
extra audio is simply written into the WAV le as part of the main waveform,
along with tags indicating the intended actual start and end points -
meaning that the le will be treated correctly if later loaded into another
Deluge project. Other software / hardware may or may not know what to do
with these tags; if you're intending to use your Deluge-recorded audio clips
in other devices with maximum ease, you have the option of disabling the
“margins” feature - but then of course the benets described above would
be lost.
The click-avoiding crossfade described above isn’t applicable when an
audio clip is played for the rst time though, with no previous iteration to
crossfade from - so a click may occur at its very start if the waveform
doesn’t have a zero-crossing right at that point. To help with this, audio clips
have an attack setting which controls a short fade-in - defaulting to slightly
on when margins are in use for a given recording, or off otherwise.
Loop Point
Margin
Algorithm uses buffered audio to
reduce clicks and improve quality.
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NOTES
10.6 Instrument Loop Recording
Instrument clips can also be loop recorded. As with audio looping an
external controller is advised to get the maximum benets from looping. In
this case an external keyboard controller or drum pad controller assists in a
good looping workow, although it is possible to use grid pads, internal
keyboard view and audition pads. The process in loop recording follows a
similar process as recording audio. It is highly recommended to use the
metronome feature when recording a rst loop.
▌ RECORDING A REGULAR INSTRUMENT FIRST LOOP
1. [SONG] to select song view. Button illuminates blue.
2. The rst instrument clip is created by pressing a row in song view.
3. The clip can be set to [SYNTH] or [KIT].
4. [SONG] - control of looping is in song view.
5. Set arming status of instrument clip.
• Hold [RECORD] to check current status of [LAUNCH] pad
associated with the the clip row to record into.
• Flashing red - clip is empty, armed and ready to record and will
record with auto extend enabled.
• Solid dim green - clip is armed, and ready to record xed length.
• Press [RECORD] + [LAUNCH] pad to toggle clip arming mode
6. If not selected, Press [RECORD], button illuminates red.
7. Press [PLAY] to start recording. First recording of the instrument will
start.
8. Play the notes / kit to record. Switching between [SONG] view and
[CLIP] view to use internal pads, internal keyboard is possible.
9. In [SONG] view, press [LAUNCH] pad of clip or [RECORD] to stop
recording.
10. Clip will stop recording and the record button will turn off. Playback of
the recorded clip will continue to loop and to allow future overdubs.
Clips with the same instrument will be muted.
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NOTES
▌ RECORDING A REGULAR INSTRUMENT OVERDUB LOOP
1. After recording the rst loop and with PLAY and RECORD on / lit. Clips
playing.
2. Play the notes / kit to record. Switching between [SONG] view and
[CLIP] view to use internal pads, internal keyboard is possible.
3. In [SONG] view, press [RECORD] + [PAD] of the clip row below the
original to arm it for recording - row lit red. Recording will automatically
start when the original clip loop restarts. Red recording cursor tracks
position.
4. Ensure the instrument is playing which will be recorded.
5. In [SONG] view press [LAUNCH] or [RECORD] to stop recording.
6. [RECORD] will stop and playback will continue. Instrument overdubs
will always mute the original as they share the same instrument.
7. Overdubbing can continue manually, one clip at a time by repeating
steps 3-5.
▌ RECORDING CONTINUOUS INSTRUMENT OVERDUB LOOPS
1. [SONG] to select song view. Button illuminates blue.
2. The rst instrument loop is created as per previous steps.
3. During playback, press [RECORD] + [SECTION] of the clip row below
the original to arm it for recording - row lit red.
• Recording will automatically start when the original clip loop restarts.
Red recording cursor tracks position.
• Additional clip rows will automatically be created at a xed length.
• More layers will be built until stopped.
4. Ensure the instrument is playing which will be recorded.
5. Press [PAD] of the grid row currently armed to record - the red row.
6. Recording will end and playback will continue.
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EFFECTS
11
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11.1 Effects Architecture
Synth & Sounds within Kits
Kit Level FX
Song Level FX
Deluge: Effects Architecture
64MB of internal working memory
SD CARD
Audio samples streamed to Deluge
Oscillator Oscillator
Volume High Pass
Filter
High Pass
Filter
High Pass
Filter
Equalisation Low Pass
Filter
Delay
Effect Song Level
Volume
(Sound)
Reverb
Send
Reverb
Return
Modulation
Effect Decimation /
Bitcrushing
Effect
Stutter
Effect
HPF LPF
DELAY Reverb ReverbMod FX Decimate
Bitcrush Stutter
EQ
Equalisation
Equalisation
Low Pass
Filter
Low Pass
Filter
Delay
Effect
Delay
Effect
Amplitude
Envelope
Master
Volume
(Sound)
Kit Level
Volume
(Sound)
Saturation
Effect
Reverb
Send
Reverb
Send
Modulation
Effect
Modulation
Effect
Decimation /
Bitcrushing
Effect
Decimation /
Bitcrushing
Effect
HPF
HPF
LPF
LPF
DELAY
DELAY
Distortion
Reverb
Reverb
Mod FX
Mod FX
Decimate
Bitcrush
Decimate
Bitcrush
EQ
EQ
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11.2 Effects Overview
Effects exist at both a sound level and also are available at a song level
affecting all sounds collectively.
• Instrument effects are the effects that are specic to the sound
design, for example the synthesizer engine lters.
• Modulation sources drive changes of other parameters, for example
low frequency oscillators (LFO), envelopes and sidechain
compressor.
• Modulation (Mod FX) and system effects: These are typically the
effects used to change the overall sound or song within Deluge as
insert or send effects. These include distortion, delay and reverb.
This chapter concentrates on this group of effects which often are
common to more than one function. So for example, reverb exists
for kits, and for synthesizer engines.
Sound Engine
Sound Engine
Sound Engine
Sound Engine Sound Level Effects.
Typically set through grid
shortcuts or nested menus.
Kit Effects.
Typically set through affect
parameters with ‘affect
entire’ function set.
Song Effects.
Typically set through affect
parameters with ‘affect
entire’ function set.
Kit
Song Level
Sound Engine
Sound Engine
Synth
Effects
Kit
Effects
Effects
Effects
Synth
Effects
NOTES
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Effects and Parameters
Parameters are available via the grid shortcuts or menu options.
Effect Quick Button Access Options & Description
MOD-FX
TYPE Type of effect or OFF. Type includes FLANGER, CHORUS,
PHASER.
RATE Speed/rate of effect
FEEDBACK Flanger & phaser feedback
DEPTH Depth of chorus and phaser
OFFSET Chorus offset
EQ
BASS Amount of bass at the frequency set
TREBLE Amount of treble at the frequency set
BASS
FREQUENCY Frequency setting for bass
TREBLE
FREQUENCY Frequency setting for treble
DELAY
AMOUNT Delay effect and combined feedback
RATE Rate of delay
PING-PONG Switches to ping-pong stereo delay (ON) & traditional delay
(OFF)
TYPE DIGITAL or ANALOG delay
SYNC Time interval to sync the delay or OFF. Options 2 bar, 1 bar, 2nd,
4th, 8th, 16th, 32nd, 64th, 128th
REVERB
AMOUNT Amount of reverb applied
ROOM SIZE Room size applied to the whole song
DAMPENING Dampening of the reverb effect
WIDTH Stereo width setting
PAN Enables panning to one side or the other.
REVERB
SIDECHAIN
Sidechain compressor specic to the reverb but from the same
side input as the other sidechain compressors. AUTO (default)
setting means parameters come from sound with greatest reverb
AMOUNT otherwise standard sub-menu options as per the
general sidechain.
SATURATION SATURATION Distortion effect - amount
DECIMATION DECIMATION Decimation distortion effect - amount
BITCRUSH BITCRUSH Distortion bitcrusher - amount
STUTTER Parameter control effect only, no menu options available
NOTES
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NOTES 11.3 Distortion Effects
Deluge has a distortion effect with three variants which all introduce a gritty
aggressive nature to the sound. The three effects are saturation, decimation
and bitcrush.
Saturation
Reduces the amplitude of the highest points on a waveform, introducing
harmonic content. Saturation is not available at kit level. The only saturation
parameter available for adjustment is the amount parameter.
AMOUNT: OFF, 1-15.
Decimation
Reduces the audio's sample rate crudely without ltering, then linearly
interpolates it back up to the Deluge's native sample rate. High frequency
content is lost, and heavily aliased frequencies are introduced. Decimation
is available at sound, kit and song level. The only decimation parameter
available for adjustment is the amount parameter.
AMOUNT: 0-50.
Bitcrush
Reduces the bit-depth of the audio, introducing sharp corners to the
waveform. High frequency content is introduced, and most quiet sounds will
become louder. Bitcrush is available at sound, kit and song level. The only
bitcrush parameter available for adjustment is the amount parameter.
AMOUNT: 0-50.
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NOTES
▌SETTING SOUND LEVEL DISTORTION EFFECT AMOUNT
1. [CLIP] view, ensure the clip is in-focus.
2. Press [SHIFT] + [DECIMATION] pad, This is also applicable with
[BITCRUSH] or [SATURATION] effects.
3. Turn (SELECT) to adjust the amount of distortion. Be careful with
volume levels when adding distortion.
or
1. [CLIP] view, ensure the clip is in-focus.
2. Access the effects within the menu. Press (SELECT).
3. Navigate in the menu to the FX section and press (SELECT).
4. Select either ‘SATURATION’, ‘DECIMATION’, or ‘BITCRUSH’ and press
(SELECT).
5. Adjust the amount, turn (SELECT) to change the parameter for the
selected effect.
▌SETTING KIT AND SOUND LEVEL DISTORTION EFFECT AMOUNT
1. [CLIP] view, ensure the clip is in-focus.
2. Press [CUSTOM 1/2] button to select the affect parameter. Button lit
orange.
3. Turn (UPPER) to change DECIMATION amount or turn (LOWER) to
change BITCRUSH amount for the sound selected.
4. Press [AFFECT ENTIRE] to affect the entire kit. Button lit orange.
5. Turn (UPPER) to change DECIMATION amount or turn (LOWER) to
change BITCRUSH amount for the entire kit selected.
6. The custom parameters are set in the factory presets by default. These
can be assigned or reassigned if required.
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NOTES 11.4 EQ - Equalisation
Equalisation, known as EQ, affects the frequency balance of an audio
signal. This can affect the timbre and sound or it can be used as an audio
tool for example to reduce a specically bad frequency. Deluge has a 2-
band EQ covering bass and treble frequencies at a xed Q width.
Frequency Range
Bass
Low frequency range for adjustments. The bass frequency range is typically
in the 0-300Hz region. The frequency position and the amount of boost or
cut can be adjusted.
AMOUNT: 0-50. 25 neutral, > 25 to boost, < 25 to cut.
FREQUENCY: 0-50 Position to boost / cut across the bass range.
Treble
Mid to higher frequency range for adjustments. The treble frequency range
is typically in the 2kHz - 16kHz region. The frequency position and the
amount of boost or cut can be adjusted.
AMOUNT: 0-50. 25 Neutral, > 25 to boost, < 25 to cut.
FREQUENCY: 0-50 Position to boost / cut across the treble range.
Low
Frequency
20Hz
BASS TREBLE
25
50
0
High
Frequency
20kHz
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NOTES
▌SETTING EQ AT SOUND LEVEL
1. [CLIP] view, ensure the clip is in-focus, example: a synth.
2. Press [SHIFT] + BASS [ADJUST] pad or [SHIFT] + TREBLE [ADJUST]
pad. This selects the EQ band to adjust
3. Turn (SELECT) to adjust the amount of EQ where 25 is central and
25-50 boosts the frequency at the set position and 25-0 attenuates the
frequency at the set position.
4. Press [SHIFT] + BASS [FREQUENCY] pad or [SHIFT] + TREBLE
[FREQUENCY] pad. This selects the EQ frequency at which to boost or
cut.
5. Turn (SELECT) to adjust the frequency between 0-50 representing the
treble or bass bands.
6. It is advised to adjust by ear iterating adjustments between step 2 - 5.
or
1. Ensure focus is clip view for a synth or kit.
2. Access the effects within the menu. Press (SELECT).
3. Navigate in the menu to the FX section and press (SELECT).
4. Navigate in the menu to the EQ section and press (SELECT).
5. Select either ‘BASS’ or ‘TREBLE’ to set the amount. Select ‘BASS
FREQUENCY’ and ‘TREBLE FREQUENCY’ for the frequency of each
band.
6. Adjust the amount by turning (SELECT) to change the parameter for the
selected effect.
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NOTES
▌SETTING EQ AT KIT LEVEL OR SOUND LEVEL
1. [CLIP] view, ensure the clip is in-focus, example: a kit.
2. Press [CUTOFF / RES] affect button to select lter and - EQ
parameters. Button illuminates orange.
3. Press (UPPER) to cycle between LPF, HPF & EQ. Release the control
to select EQ.
4. Turn (UPPER) to change TREBLE band amount or turn (LOWER) to
change BASS band amount for the sound selected.
5. Press [AFFECT ENTIRE] to affect the entire kit. Button lit orange.
6. Turn (UPPER) to change TREBLE band amount or turn (LOWER) to
change BASS band amount for the entire kit selected.
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NOTES
11.5 Delay
Delay adopts the standard principle of taking an audio input signal and
delaying it at the output. By adding feedback the delay will echo and repeat.
Delay Principles
Delay Parameters
Amount
Sets the amount of feedback from the output back into the delay.
Amount range 0 - 50.
Rate
Sets the rate at which to sync the delay. Range is 0-50.
Stereo
Sets the output mode to standard delay (off) or to a ping-pong style (on)
where the delays are triggered across the stereo eld. Ping-pong is
disabled if only a single l/mono output is connected and operates only if
headphones or stereo l/mono & r connections are connected.
Analog
Sets the style of the delay to give a classic analog style simulation or the
digital style sound. Analog is higher in CPU usage and may lower voices.
Sync
The delay can be synchronised to a time interval with respect to the rate.
Option to turn synchronisation off, having a free running delay time is
available as OFF. Sync options are OFF, 2 bar, 1 bar, 2nd, 4th, 8th, 16th, 32nd,
64th, 128th.
DELAY
Rate
Sync
Feedback Amount
Ping-Pong (L/R) or
Standard Delay
L/Mono
R
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NOTES
▌SETTING DELAY AT SOUND LEVEL
1. [CLIP] view, ensure the clip is in-focus, example: a kit.
2. Press [SHIFT] + DELAY pad, delay shortcuts are as below
• [AMOUNT]
• [RATE]
• [SYNC]
• [STEREO]
3. For the selected parameter, turn (SELECT) to adjust the value.
or
1. [CLIP] view, ensure the clip is in-focus, example: a kit.
2. Access the effects within the menu. Press (SELECT).
3. Navigate in the menu to the FX section and press (SELECT).
4. Navigate in the menu to the ‘DELAY’ section and press (SELECT).
5. Select either ‘AMOUNT’, ‘RATE’, ‘PINGPONG’, ‘ANALOG’, ‘TYPE’,
‘SYNC’. Press (SELECT) for the parameter to select.
6. Adjust the value of the selected parameter by turning (SELECT).
▌SETTING DELAY AT KIT LEVEL OR SOUND LEVEL
1. [CLIP] view, ensure the clip is in-focus, example: a kit.
2. Press [DELAY TIME / AMOUNT] affect button. Button illuminates
orange.
3. Turn (UPPER) to change delay-time RATE value or turn (LOWER) to
change delay AMOUNT.
4. To toggle PING-PONG or standard, Press (UPPER).
5. To toggle ANALOG or , Press (LOWER).
6. Press [AFFECT ENTIRE] to affect the entire kit. Button lit orange.
Changes will apply to the entire kit
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NOTESNOTES
11.6 Reverb
Deluge’s reverb applies to the entire song as a send / return effect. Only the
amount for each individual part can be adjusted. Reverb emulates the
characteristics of a room and its shape. In the real world, audio bounces
and ricochets through the room and between walls. Different rooms
therefore have different characteristics giving the sense of space and
distance.
Reverb Principles
REVERB
Size
Size Damp
Common Reverb
Sends from Sounds,
Instruments, Song
Pan &
Width
Sidechain
RETURN
SEND
SEND
SEND
Initial Original
Signal
Early
Reections
50-80m
s
Subsequent
Reections Reverb tail can
vary dependant
on room size.
Room Size &
Shape
An emitted sound will be heard followed by the initial reections, for example direct from the
walls within approx 100ms. Subsequent reections typically where sound bounces between
walls will follow. The room size and shape will therefore affect the reverberant sound.
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NOTES
Reverb Parameters
Amount
Sets the amount of signal sent to the reverb. This is specic to each sound,
synth, etc while all other parameters are common across sounds,
instruments and song. Amount range: 0-50.
Pan
Pans the reverb signal left and right within the stereo-eld.
Range is 32L-0-32R.
Width
Sets the spread of the reverb giving a wider stereo effect. Range is: 0-50.
Dampening
Emulates the softer elements of a room. For example, a crowd of people,
furniture, curtains all absorb rather than reect sounds. Dampening gives a
warmer feel, reducing higher frequencies from the reverb tail.
Size
Sets up the room size emulation. Larger rooms would provide longer delays
on the reections. Range: 0-50.
Side
Sidechain settings for reverb. This is a dedicated sidechain for the reverb
output, but still utilises the same source as per the generic sidechain
compressor.
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NOTES
▌SETTING UP COMMON REVERB PARAMETERS
1. [CLIP] view, ensure the clip is in-focus, example: a kit.
2. Press [SHIFT] + REVERB pad, reverb shortcuts are as below
• [PAN]
• [WIDTH]
• [DAMPENING]
• [ROOM SIZE]
• [REVERB SIDECHAIN]
• [AMOUNT]
3. For the selected parameter, turn (SELECT) to adjust the value.
or
1. Ensure focus is clip view for a synth or kit.
2. Access the effects within the menu’s. Press (SELECT).
3. Navigate in the menu to the FX section and press (SELECT).
4. Navigate in the menu to the ‘REVERB’ section and press (SELECT).
5. Select either ’AMOUNT’, ‘ROOM SIZE’, ‘DAMPENING’, ‘WIDTH’, ‘PAN’,
‘REVERB SIDECHAIN’. Press (SELECT) for the parameter to select.
6. Adjust the value of the selected parameter by turning (SELECT).
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NOTES
▌SETTING REVERB SEND AMOUNT
1. [CLIP] view, ensure the clip is in-focus, example: a kit.
2. Press [SHIFT] + REVERB [AMOUNT] pad.
3. For the selected parameter, turn (SELECT) to adjust the send value.
or
1. Ensure focus is clip view for a synth or kit for selected sound.
2. Access the effects within the menu’s. Press (SELECT).
3. Navigate in the menu to the FX section and press (SELECT).
4. Navigate in the menu to the ‘REVERB’ section and press (SELECT).
5. Select ‘AMOUNT’. Press (SELECT) for the parameter to select.
6. Adjust the value of the send amount by turning (SELECT).
or
1. Ensure in clip view for a kit, synth.
2. Press [SIDECHAIN / REVERB] affect button. Button illuminates orange.
3. Turn (LOWER) to change reverb amount.
▌SELECTING A REVERB ROOM SIZE PRESET
1. Ensure in clip view for a kit, synth.
2. Press [SIDECHAIN / REVERB] affect button. Button illuminates orange.
3. Press (LOWER) to toggle reverb preset between: ‘LARGE’, ‘SMALL’,
‘MEDIUM’.
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NOTES
▌SETTING THE REVERB SIDECHAIN
1. [CLIP] view, ensure the clip is in-focus, example: a kit.
2. Access the effects within the menu’s. Press (SELECT).
3. Navigate in the menu to the FX section and press (SELECT).
4. Navigate in the menu to the ‘REVERB’ section and press (SELECT).
5. Select ‘REVERB SIDECHAIN’. Press (SELECT) for the parameter to
select.
6. Select ‘VOLUME DUCKING’. Press (SELECT) for the parameter to
select.
7. Adjust the level by turning (SELECT).
8. Options are auto, 0-50.
• AUTO takes its parameters from the sidechain compressor of the
sound with the highest reverb.
• 0-50 Takes parameters from as per the normal sidechain setting.
The reverb sidechain allows sidechain compression to be applied to the
reverb trails. Deluge achieves this even with a common reverb, by using
the sidechain compression parameters of the sound with the most reverb
and applying them to the reverb itself. This is the auto setting and
typically results in a pleasing and typical sound. Alternatively, the reverb’s
sidechain compression settings can be manually overridden in the sound
editor if desired.
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NOTES 11.7 Modulation Effects
The Modulation Effects - MOD FX, includes 3 types. A chorus, anger and a
phaser. The Mod-FX can also be switched off. Chorus operates similar to a
delay which ‘layers’ one or multiple signals with the delay modulated to give
a thicker more lush sound. Flangers are similar to chorus with the
resonance creating the unique anging effect. A phaser sits in between the
chorus and anger in sound characteristics where typically a modulated
lter delivers its characteristic sound.
Mod-FX Parameters
TYPE
Sets the modulation effect type between ‘OFF’, ‘FLANGER’, ‘CHORUS’ or
‘PHASER’. This setting will also designate which of the other parameters
are accessible.
RATE
Rate of modulation: 0-50.
FEEDBACK
Flanger and phaser only. Amount of output fed back to the input: 0-50
DEPTH
Chorus and phaser only. Amount of pitch modulation.
OFFSET
Chorus only. Time offset between signal and delay.
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NOTES
▌SETTING MOD-FX
1. [CLIP] view, ensure the clip is in-focus, example: a kit.
2. Press [SHIFT] + MOD-FX pad, Mod-FX shortcuts are as below
• [TYPE]
• [RATE]
• [OFFSET] chorus only
• [FEEDBACK] - anger & phaser only
• [DEPTH] - chorus & phaser only
3. For the selected parameter, turn (SELECT) to adjust the value.
or
1. Ensure focus is clip view for a synth or kit.
2. Access the effects within the menu’s. Press (SELECT).
3. Navigate in the menu to the FX section and press (SELECT).
4. Navigate in the menu to the ‘MOD-FX’ section and press (SELECT).
5. Select either ‘TYPE’, ‘RATE’, ‘DEPTH’, ‘OFFSET’, 'FEEDBACK'. Press
(SELECT) for the parameter to select.
6. Adjust the value of the selected parameter by turning (SELECT)
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NOTES
▌SETTING A KIT MOD-FX WITH AFFECT PARAMETERS
1. Press [KIT] to select. Button lit orange.
2. Press [AFFECT ENTIRE]. Button lit orange.
3. Press [MOD RATE / DEPTH] affect button. Button illuminates orange.
4. Press (UPPER) to toggle between the chorus, anger or phaser.
5. Press (LOWER) to toggle parameters for the lower control between;
• DEPTH and OFFSET for chorus.
• FEEDBACK and DEPTH for phaser.
• FEEDBACK only for anger.
6. Turn (UPPER) to adjust the rate. Will adjust LFO 1 without ‘Affect Entire’
selected.
7. Turn (LOWER) to adjust the selected parameter. Will adjust vibrato
without ‘Affect Entire’ selected.
▌SETTING A SONG MOD-FX WITH AFFECT PARAMETERS
1. Select [SONG] view. Button lit blue.
2. Press [AFFECT ENTIRE]. Button lit orange.
3. Press [MOD RATE / DEPTH] button. Button illuminates orange.
4. Press (UPPER) to toggle between the chorus, anger or phaser.
5. Press (LOWER) to toggle parameters for the lower control between;
• DEPTH and OFFSET for chorus.
• FEEDBACK and DEPTH for phaser.
• FEEDBACK only for anger.
6. Turn (UPPER) to adjust the rate. Will adjust LFO 1 without ‘Affect Entire’
selected.
7. Turn (LOWER) to adjust the selected parameter. Will adjust vibrato
without ‘Affect Entire’ selected.
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11.8 Stutter Effect
Stutter is a general system effect that is only available for control through
the affect parameters and is not available in the nested parameter set nor
by the shortcut grid.
▌SETTING UP STUTTER
1. Select [KIT], or [SYNTH], etc,
2. Press [STUTTER / CUSTOM 1]. Button lit orange.
3. Turn (UPPER) to select the stutter length and speed.
4. Press & turn (UPPER) to adjust a short stutter length and speed while
triggering.
▌USING STUTTER
1. Select [KIT] or [SYNTH], etc...
2. [PLAY] the song.
3. Press [STUTTER / CUSTOM 1]. Button lit orange.
4. Press (UPPER) to trigger the stutter effect.
5. Release (UPPER) to stop the stutter effect.
6. Press & turn (UPPER) to adjust a short stutter length and speed while
triggering.
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NOTES 11.9 Effects in Song View
Affect parameters are used for effect adjustments in song view. When
selecting song [SONG] view it rst appears that the affect parameters are
not available. However they are accessible by pressing and holding [PAD]
in SONG mode.
▌ACCESSING EFFECTS IN SONG MODE
1. Press [SONG]. Button illuminates solid blue.
2. Press & hold [PAD], where pad is any pad row with an active clip. This
enables access to changing the parameters for the CLIP.
3. Press [AFFECT ENTIRE]. Button illuminates orange.
4. The affect parameters are now accessible for the entire SONG. The
associated buttons and UPPER / LOWER controls can be adjusted.
5. Parameters available by default in song view are:
• Mod-FX
• EQ
• Delay
• Reverb
• Stutter
• Bitcrush / decimation (custom 2 & 3)
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MIDI
12
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NOTES
12.1 MIDI Connections
MIDI is a a standard music protocol used to connect multiple devices in
order to communicate and was rst introduced in the early 1980’s. Deluge
uses the most common 5 Pin DIN connection as well as a USB connection.
MIDI DIN synchronises on PPQN pules per quarter note. 24 and 48 pulses
per quarter note (PPQN) are most common. This can be adjusted in the
settings, trigger menu in Deluge and by default is set to 24.
Deluge uses MIDI CC (control change) messages while also providing
program change and bank change options. This allows the presets and
patches of other synths and gear to be changed and controlled as well as
adjusting parameters remotely.
USB Host
When Deluge is powered up (external supply, not internal battery) it can be
connected via the USB connection to other devices as a USB host. The
USB MIDI device must be connected on starting / booting Deluge up. The
connection can be disconnected / reconnected once it’s booted in this set-
up.
Deluge supports one USB MIDI ‘hub’ devices as a host. Powered USB
Hubs are also useful in powering the Deluge as well as other connected
USB devices. Multiple hubs especially when more than four connected may
not operate correctly and ‘MAXIMUM NUMBER OF USB DEVICES
ALREADY HOSTED’ is displayed if more than four devices are connected.
Deluge will display ‘USB HUB ATTACHED’ when a connected hub device is
detected and working and ‘USB DEVICE DETACHED’ when a device is
detached. If your device doesn’t work and you get no error message, it may
be a power issue.
Hosted MIDI USB devices are supported for both MIDI input and output.
Deluge has both a MIDI in and
Out 5-pin DIN connection.
USB MIDI is also available via
the Type-B USB connection.
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Differentiating MIDI Input devices
MIDI devices have 16 available MIDI channels all of which can be used to
communicate with Deluge by USB or the MIDI DIN port. Multiple devices
can also be connected to Deluge with the use of a USB hub and also
through the MIDI port which would mean more than 16 channels are
present simultaneously in the network, providing input to Deluge. These
channels can be set to control different functions, for example synths.
Deluge can be set to differentiate between the incoming MIDI from different
devices. These need to have been ‘learned’ in Deluge to assign the input
controls to the correct function.
MIDI in
16 Channels can be learned in Deluge from a USB device
Additional 16 Channels can be
learned in Deluge from a USB device
MIDI DIN 16 Channels can
also be learned in Deluge
USB MIDI
HUB
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NOTES
▌SETTING MIDI DIFFERENTIATION ON
1. Press [SHIFT] + press (SELECT) to access the conguration menu.
2. Turn (SELECT) and scroll to ‘MIDI’. Press (SELECT).
3. Turn (SELECT) and scroll to ‘DIFFERENTIATE INPUTS’. This enables
Deluge to differentiate from different connected devices across multiple
channels.
4. Press (SELECT) and then turn (SELECT) to set to ON. This allows
multiple devices to be differentiated in Deluge.
5. Press (SELECT) and then turn (SELECT) to set to OFF. This turns
differentiation off to revert to the more traditional setup.
MIDI Differentiation operates for standard MIDI and also MPE MIDI.
It is advised to have differentiation on when using MPE devices.
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NOTES 12.2 MIDI Hardware Conguration
MIDI conguration requires the match up of both Deluge along with the
external device. It is important to check out the manufacturers instructions
when connecting other devices.
Typical MIDI Set Up
MIDI CH 1
MIDI out
MIDI out
MIDI out
MIDI CH 10
MIDI in
MIDI CH 1
MIDI IN
Synth module
controllable via the
Deluge sequencer.
USB MIDI connected
devices compatible
with USB hosting.
MIDI settings
[SHIFT] + press (SELECT)
setting menu provides
options for MIDI.
External keyboard or controller to play chords / notes
pitch wheel / mod wheel / controls / pads
MIDI CH 10
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NOTES
MIDI Settings
[SHIFT] + press (SELECT)
Function Sub Category Setting Options
TRIGGER CLOCK INPUT
PPQN - sync pulses. Pulses per quarter note. 24
default.
AUTO start on/off. Whether the presence of a
trigger clock signal should start or stop playback
automatically.
OUTPUT PPQN - sync pulses. Pulses per quarter note. 24
default.
MIDI
MIDI Settings
CLOCK
IN - MIDI beat clock input ON or OFF.
OUT - MIDI beat clock output ON or OFF.
TEMPO MAGNITUDE MATCHING - tempo
matching ON or OFF.
MIDI-THRU MIDI-THRU, ON or OFF.
COMMANDS
PLAY
RESTART - restart playback if already playing.
RECORD
TAP TEMPO
UNDO
REDO
LOOP
LAYERING LOOP - same as loop but with
overdubs.
DIFFERENTIATE
INPUTS Sets MIDI differentiation, ON or OFF.
DEVICES
MIDI Device setting options are available
depending on the connected USB and MIDI
devices e.g. din, computer etc:-
MPE. Sets MPE Zone conguration.
VELOCITY. Default sensitivity per MIDI device.
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MIDI Implementation Chart
Message Type Transmitted Recognised
Velocity Note on Yes Yes
Note off No No
Aftertouch /
Pressure
Polyphonic No Yes
Channel Yes Yes
Pitch bend Yes Yes
CC & general Yes
Numbers assigned
by user
Yes
Parameter must be
‘learned’ by user
Bank select CC 0 Yes No
CC 32 (LSB) Yes No
PGM change Yes No
Channel mode
All sound off No No
Reset all controller No No
Local control No No
All notes off No Yes
System common
System exclusive No No
MIDI time code quarter frame No No
Song position pointer Yes Yes
Song select No No
Tune request No No
System real time
Clock Yes* Yes
Start Yes* Yes
Continue Yes* Yes
Stop Yes* Yes
Active sensing No No
Reset No No
*Only if MIDI Clock
output is enabled
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Settings for MIDI are contained in the general setting menu, accessed by
pressing both [SHIFT] + (SELECT). External gear should be connected via
MIDI or where a DAW or compatible software / hardware connection exists
then USB is also possible.
▌FOLLOWER: MIDI SYNCHRONISATION FROM EXTERNAL GEAR
1. Press [SHIFT] + press (SELECT) to access the conguration menu.
2. Turn (SELECT) and scroll to ‘MIDI’. Press (SELECT).
3. Turn (SELECT) and scroll to ‘CLOCK’. This enables setting the clock
sync to external gear where Deluge acts as leader or follower. Press
(SELECT) to step into clock menu.
4. Turn (SELECT) to highlight ‘IN’ - MIDI beat clock-in, in the clock menu.
5. Press (SELECT) and turn (SELECT) to set ‘IN’ to ON. OFF ignores
external commands. Trigger clock may also affect this function.
6. As a follower, tempo is governed by the external lead device and cannot
be changed on Deluge when playing. Control commands such as play
and stop will be triggered by the external device but can be triggered
from Deluge when the external controls are not triggered. ‘Synced’ LED
will indicate sync status.
▌LEADER: MIDI SYNCHRONISATION TO EXTERNAL GEAR
1. Press [SHIFT] + press (SELECT) to access the conguration menu.
2. Turn (SELECT) and scroll to ‘MIDI’. Press (SELECT).
3. Turn (SELECT) and scroll to ‘CLOCK’. This enables setting the clock
sync to external gear where Deluge acts as leader or follower. Press
(SELECT) to step into clock menu .
4. Turn (SELECT) to highlighting ‘OUTPUT’ - MIDI beat clock output.
5. Press (SELECT) and turn (SELECT) to set to ON. OFF to disable
sending commands.
6. Playing as a follower takes precedence. Beat clock outputs will be sent
out only when set up with beat clock outputs on and when not playing
as a follower. Setting MIDI-THRU mode may satisfy situations where
external signals are passed through Deluge to the MIDI output.
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NOTES
▌SETTING UP MIDI-THRU
1. Press [SHIFT] + press (SELECT) to access the conguration menu.
2. Turn (SELECT) and scroll to ‘MIDI’. Press (SELECT).
3. Turn (SELECT) and scroll to ‘MIDI-THRU’. This enables sending the
incoming MIDI also straight to the MIDI output. Press (SELECT).
4. Turn (SELECT) to set ‘MIDI-THRU’ to ON. Set to OFF to prevent
incoming MIDI to be transferred to the MIDI out.
▌NUDGING MIDI SYNC ADJUSTMENTS
1. Press (SCROLL◄►) + turn (TEMPO).
2. Each Tempo control ‘click’ will adjust by one MIDI clock message / one
96th note.
• Deluge as follower: nudge Deluge’s MIDI clock .
• Deluge as leader: nudge MIDI beat clock output to align external
device.
3. The display will indicate ‘NUDGE’, when making the adjustments.
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12.3 MIDI In
The Deluge can be controlled by external MIDI keyboards, controllers or
pads by mapping incoming MIDI to the desired notes, pads or parameters.
Velocity is recorded with MIDI inputs.
▌SETTING UP AN EXTERNAL KEYBOARD OR PADS
1. Connect the keyboard MIDI-out to the MIDI-in connection of Deluge.
Power both devices on.
2. Press [SYNTH], [KIT] , [CV] or [MIDI] to select the instrument clip.
Button selected illuminates red.
3. Press & hold [LEARN / INPUT] + [AUDITION] pad of a note / pad to
map.
4. While holding [LEARN / INPUT] & [AUDITION] pad, press a keyboard
note on the external keyboard or the pad on the external controller.
5. The audition pads will blink and turn pink or a brighter colour when a
mapping input is set.
6. The MIDI channel plus the external keyboard notes will now be mapped
to the Deluge. Pitch bend and mod wheel on the external midi controller
keyboard will also function.
7. To unmap the keyboard press & hold [LEARN / INPUT] + [AUDITION]
any pad.
Keyboard is mapped across the notes. For pads ensure the
exact pad is assigned to the audition pad required. MIDI foot
switches can also be mapped into Deluge.
+ +
=
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+
+
▌SETTING UP AN EXTERNAL CONTROLLER
1. Connect the controller MIDI-out to the MIDI-in connection of Deluge.
Power both devices on.
2. Press [SYNTH], [KIT], [CV] or [MIDI] to select the instrument clip. Button
selected illuminates red.
3. Select the parameter to map to. Press [SHIFT] + [PAD], where pad is
the parameter to map. Example LPF frequency.
4. The pad will ash white indicating it is selected and the display reects
this parameter.
5. Press & hold [LEARN / INPUT]. Parameters that can’t be mapped will
display a notication.
6. While holding [LEARN / INPUT], adjust the control on the external
device to map to the selected parameter.
7. Display will indicate mapping learn is complete by displaying
‘LEARNED’.
8. The MIDI channel plus the external control will now be mapped to the
Deluge.
9. To unmap the keyboard press & hold [SHIFT] + [LEARN / INPUT] while
the parameter is selected, indicated by its ashing pad.
=
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▌RECORDING AUTOMATION USING AN EXTERNAL CONTROLLER
1. Set up an external MIDI controller, whether a keyboard or pad or rotary /
slider controls and map the incoming MIDI to the parameters desired.
2. Press [RECORD] to arm recording.
3. Press [PLAY] to start recording.
4. Any incoming MIDI that is relevant to the clip being recorded will be
recorded in including automation of parameters and velocity. Example,
changing a control mapped to frequency cutoff will record in as
automation. Assignment of gold affect controls is irrelevant.
5. Parameters containing automation will display their name with a full stop
/ period / dot next to them when assigning a parameter knob’s MIDI
parameter. This indicates automation is present.
6. Press [PLAY] to stop.
7. To delete MIDI in recorded automation, re-start recording and press
[SHIFT] and adjust the mapped external controller.
8. Parameters containing automation will display their name with a dot
next to them when assigning a parameter knob’s MIDI parameter - so it
will be easy to see where automation exists.
9. Assigning a new MIDI parameter to a parameter knob does not move
the knob’s automation over to the new MIDI parameter. Automation can
be manually copied and pasted using the normal manual process.
Any recorded data for pitch bend and aftertouch (channel pressure)
MIDI inputs is captured in MIDI, Synth or CV clips and is retained with
the clip even when changing presents or clip types. Also note-off
velocity, if delivered by an external controller will be recorded.
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NOTES 12.4 Global MIDI Commands
The Deluge can be controlled at a system level for example play and stop,
using external MIDI commands. Any external controller can be used
including a keyboard, pads or a foot controller switch.
There are a number of global commands that are already available within
the MIDI section of the settings menu under ‘COMMANDS’
These are:-
• ‘PLAY’ - play & stop playback. Same as pressing the [PLAY] button.
• ‘RESTART’ - restart playback. If already playing will restart from the
beginning. Same as pressing the (SCROLL◄►) + [PLAY] buttons.
• ‘RECORD’ - Same as pressing [RECORD] button.
• ‘TAP TEMPO’ - Will count and set tempo based on taps. Equivalent
to tapping [TAP TEMPO] button.
• ‘UNDO’ - backup the last command’s. This is the same as pressing
the [BACK / UNDO] button.
• ‘REDO’ - restate the last command’s. This is the same as pressing
the [SHIFT] + [REDO] buttons.
• ‘LOOP’ - Will record as a loop. Essentially this will automatically
step through the process; 1. Start playback. 2. Begin recording on
any clip(s). 3. Finish recording of clip.
• ‘LAYERING LOOP’ - Same as loop but overdubs as continuous
layers.
Notes on other MIDI command use.
The common functions when using external MIDI is to control notes and
parameters. Also the global commands can be controlled externally for
overall control of deluge and when working with loops.. Other MIDI control
functions are also available, for example, Song specic functions:-
• Launching of clips or sections.
• Muting / unmuting clip rows on song mode.
• Playing one sound in a kit clip.
• Playing a synth belonging to a clip.
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▌SETTING UP AN EXTERNAL MIDI FOOT SWITCH CONTROLLER
1. Connect the foot switch to the MIDI-in connection of Deluge.
2. Global commands are ideal for controlling with an external foot
controller.
3. Press [SHIFT] + press (SELECT) to open the settings menu.
4. Navigate to MIDI settings, turn (SELECT) and select ‘COMMANDS’
5. With ‘COMMANDS’ in-focus, press (SELECT) to open the global MIDI
command menu options.
6. Choose the option to map to the external switch: example; switch 1 =
play / stop, switch 2 = record, switch 3 = undo, switch 4 = redo.
7. With the option in-focus press (SELECT) and the [LEARN / INPUT]
button will blink indicating it is available for mapping. NONE displays if
no MIDI note or channel is currently assigned.
8. Press & hold [LEARN / INPUT] and press the associated switch on the
external MIDI foot controller.
9. The display will indicate ‘SET to show the setup is now complete and
the switch is mapped to the function.
10. To unmap the command turn (SELECT) when the function setting is in-
focus or set it to a new input.
1
Play / Stop
3
Undo
None
Restart
4
Redo
None
Tap
2
Record
None
Loop
None
Layer
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NOTES 12.5 Tempo Magnitude Matching
When playing as a follower via MIDI beat clock (but not via trigger clock), if
the incoming clock is around half or around double the tempo that the song
was previously set to, then the Deluge will accordingly multiply or divide the
tempo of the incoming clock so that the tempo at which the song on the
Deluge plays is as close as possible to the tempo that it was set to.
This is useful in a couple of scenarios:
• Perhaps the user isn't concerned with the labelling of time divisions
(8th-notes, 16th-notes, etc.) and nonetheless wants to sync the
Deluge as a follower without worrying about whether their song will
play at the intended tempo rather than twice / half as fast.
• Some loop pedals (although not common) have the ability to act as
a syncing leader by outputting a MIDI beat clock whose exact tempo
is determined on the y according to the length of the loop that the
user creates. The user may wish, for example, to record a guitar
loop with their loop pedal (with no kind of metronome or anything
determining the tempo in advance), and then have the Deluge play
a drum beat along to it, perfectly in sync. With a compatible loop
pedal, this works. However, the loop pedal would not necessarily
know the difference, say, between a loop that the user intended to
be at 160bpm, and one intended to be at 80bpm (160 being double
80), and may pick the wrong option. The Deluge, knowing what
tempo to approximately expect, can automatically correct the
incoming MIDI beat clock if it is around double or half the tempo
expected, making it a certainty that the Deluge will begin playback
at somewhere near the expected tempo.
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NOTES
▌SETTING TEMPO MAGNITUDE MATCHING
1. Press [SHIFT] + press (SELECT) to access the conguration menu.
2. Turn (SELECT) and scroll to ‘MIDI’. Press (SELECT).
3. Turn (SELECT) and scroll to ‘CLOCK’. Press (SELECT) to step into
clock menu.
4. Turn (SELECT) to highlight ‘TEMPO MAGNITUDE MATCHING’ - MIDI
beat clock input, from within the clock menu.
5. Press (SELECT) and turn (SELECT) to set to ON or OFF.
• ON - multiplies or divides incoming clock tempo if it is a gure close
to double or half the current song tempo.
• OFF - incoming tempo is applied unaffected.
▌MANUALLY SETTING TEMPO MAGNITUDE AS FOLLOWER / LEADER
If errors (too fast / too slow) occur after automatically matching the tempo or
when controlling a follower device and its tempo is double / half, then
manual adjustments can be made. Adjustments to the relative speed can
be applied.
1. Press & hold [LEARN / INPUT] + turn (TEMPO).
2. When Deluge is the leader, the display will show the tempo double / half
while making manual changes.
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NOTES 12.6 Sync-scaling
For users syncing the Deluge as a follower and wanting to make use of
unusual time signatures, sync-scaling is a fun and creative feature. A clip of
an unusual time signature may be created by setting its length to an
unusual number of beats, example; seven 8th-notes. Using sync-scaling,
the Deluge, when synced as a follower, can make those seven 8th notes
take up the same amount of time that the incoming MIDI beat clock says
that eight 8th-notes are meant to take up.
There are a couple of applications for this:
• The user may wish to create polyrhythms by e.g. having an external
device (the syncing leader) playing a sequence in 4:4 timing, while
the Deluge (the follower) squeezes 7 notes into a bar instead of 8.
• Some loop pedals may act as a syncing leader. However, they are
likely to assume that any loop created (e.g. with a guitar) is in 4:4
timing. If the user had in fact played a guitar loop in 7:8 timing, the
loop pedal would still be outputting a 4:4 MIDI beat clock - dividing
the entire loop into, say, fours rather than sevens. The solution is to
tell the Deluge to scale the incoming 4:4 MIDI beat clock into a 7:8
one, so that a 7:8 sequence created on the Deluge would play
perfectly synced to the 7:8 guitar loop, despite the incorrect 4:4 MIDI
beat clock passing between the two devices.
Sync-scaling is tied to the length of one clip in a song, and tells the
Deluge that that clip’s length should be squeezed into 1 bar of incoming
MIDI beat clock (or 2 bars, or 4 or 8 bars, depending on how long the clip
is; the Deluge will use whatever magnitude of sync-scaling causes the
smallest change in tempo).
Even while the Deluge is playing synced as a follower, sync-scaling may
be switched on or off, and the sync-scaling clip may have its length
changed. Despite any such changes, the Deluge will keep the sync-
scaling clip playing in time to the syncing leader. It will also attempt to
keep all other clips in time; this works best if the other clips are of the
same time signature as the sync-scaling clip (that is, their lengths are the
same, or half our double, or 4 times shorter or longer, etc.)
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▌USING SYNC SCALING
1. [CLIP] to enter clip view on the selected clip where sync scaling will be
applied.
2. Set its length to the beats required. This is typically an unusual length to
get the best effect from sync-scaling and to t it into the incoming sync
timings.
3. Press [SYNC-SCALING] to set clip for sync scaling. Button will ash
blue.
4. Leaving the clip in this mode the sync-scaling button will remain
statically illuminated - not ashing. This indicates that sync-scaling is
active but not on the selected clip.
5. Press [SYNC-SCALING] to switch it off. Button will be unlit.
Unlit / Off
Sync-scaling off, not applied to any clip
Blue Flashing
Sync-scaling on for the selected clip
Blue Lit
Sync-scaling on, but not for the selected clip
NOTES
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12.7 MIDI Out Settings
Deluge can be a controller for external MIDI devices for example sound modules and synthesizers.
MIDI clips are congured in similar way to creating synth clips. MIDI clips even have an arpeggiator.
Instead of the notes triggering the synth engine, the notes will trigger the external MIDI channel.
▌MIDI SETTINGS IN SOUND EDITOR
1. Select [CLIP] view.
2. Press [MIDI] on Deluge. Button illuminates red.
3. The display will indicate the existing MIDI channel.
4. Press (SELECT) to access the MIDI sound editor menu.
5. Turn (SELECT) to access the functions in the MIDI conguration through the sound editor.
6. Press (SELECT) to choose each function and select its parameters.
7. Turn (SELECT) to change settings.
Function Sub Category
Parameter Quick Button
Access Options & Description
PGM
Program N/A N/A None, 1-128. Program change message.
BANK
Select N/A N/A None, 1-128 CC0 Bank select message.
SUB-BANK N/A N/A None, 1-128 CC32 - LSB Sub bank message.
PLAY
DIRECTION
FORWARD,
REVERSE, PING
PONG
NO LABEL Direction of Play.
ARPEGGIATOR
MODE MODE Option to set the arp to OFF, UP, DOWN, BOTH or RANDOM.
SYNC SYNC Time interval to sync the arp or OFF. Options 4 bar, 2 bar, 1 bar, 2nd, 4th,
8th, 16th, 32nd, 64th
NUMBER OF
OCTAVES OCTAVES Number of octave range of arpeggiator.1-8.
GATE GATE Amount in % of the available time division which each arp note lls.
RATE RATE Rate / speed of arpeggiator.
Some synths and devices may use the bank or sub bank to change the bank, They also may be set for NRPN instead of CC messages. It is
always advised to check the documentation of any device to which Deluge will be connected and ensure matched compatibility in the MIDI
communications protocol settings. The MIDI implementation data for the connected device is usually found in manufacturers documentation
and in particular is a good place to start as a reference.
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12.8 MIDI Out Controls
▌SETTING UP AN EXTERNAL MIDI CHANNEL
1. Connect an external device and ensure MIDI channels and setting are
congured correctly.
2. Press [CLIP] to select clip view.
3. Press [MIDI] on Deluge. Button illuminates red.
4. The display will indicate the existing MIDI channel set for MIDI output.
5. Turn (SELECT) to change the channel to match the external device.
Range is 1-16 channels.
6. The [AUDITION] pads should trigger the external synth when played
manually.
▌CREATING A BASIC MIDI CLIP
1. Press [CLIP] to select clip view.
2. Press [MIDI], Button illuminates red.
3. The display will indicate the existing MIDI channel set for MIDI output or
a sufx on the channel number. *
4. Program a pattern using the grid by pressing the [PAD]’s.
Rows represent the note pitch while columns represent the note timing.
The same features as programming a synth exist in navigating and
editing on the grid for MIDI clips.
5. Press [PLAY] to play the pattern which in turn will trigger the connected
device on the same MIDI channel.
* If you wish to have more than one clip outputting on the same MIDI channel
simultaneously, additional clips will be set to the same MIDI channel but will contain a
sufx after their channel number, e.g. “2A”, “2B”, and so on. This is to allow them to
be treated as unique “instruments”, in terms of which ones may play simultaneously,
while still outputting on the same channel.
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▌MAPPING DELUGE TO CONTROL EXTERNAL PARAMETERS
1. Select [CLIP] view.
2. Press [MIDI] on Deluge. Button illuminates red.
3. Ensure the destination device is set correctly to receive MIDI (channels,
CC mapping etc).
4. Press affect parameter button to choose one of the 8 available
parameter slots per control. Example, [LEVEL / PAN]. In total 16
parameters (8 upper, 8 lower) can be set for MIDI controls.
5. Press (UPPER) or (LOWER) to see the assigned MIDI CC message to
each. NONE indicates no assignment otherwise the CC number will be
displayed.
6. Press & hold (UPPER) + turn (SELECT). Assign a CC number that
matches the destination device CC for the parameter to control.
Example, CC102 lter frequency on the external synth.
7. CC messages range from CC0 - CC119, bend and aftertouch. CC1 is
typically mod wheel.
8. Turning (UPPER) will control the external parameter. Example lter
frequency, with a range of 0-127 on Deluge as min and max values.
9. Repeat step 4 - 8 for the (LOWER) control.
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▌RECORDING AUTOMATION FOR EXTERNAL PARAMETERS
1. Select [CLIP] view.
2. Press [MIDI] on Deluge. Button illuminates red.
3. Ensure the destination device is set correctly to receive MIDI (channels,
CC mapping etc).
4. Map the UPPER & LOWER gold controls to the desired MIDI
parameters on the external device.
5. Press [RECORD] to arm recording. Button illuminates red.
6. Press [PLAY] to start the sequencer and recording.
7. Turn (UPPER) or (LOWER) control as desired to record the MIDI CC
changes into the pattern.
8. The MIDI CC number shown when pressing (UPPER) or (LOWER) will
say (AUTOMATED)
▌DELETING AUTOMATION FOR AN EXTERNAL PARAMETERS
1. Select [CLIP] view.
2. Press [MIDI] on Deluge. Button illuminates red.
3. Press [SHIFT] + press (UPPER) or (LOWER) to delete the automation
associated with the parameter selected by the button and the control
pressed.
4. Automation will be cleared and the MIDI CC number shown when
pressing (UPPER) or (LOWER) will no longer say (AUTOMATED)
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NOTES 12.9 MIDI Out within Kits & Songs
As well as samples, sounds, synths, MIDI can also be combined within a kit
as a row providing a note or control output to a MIDI channel. MIDI
sequencing can then take place alongside other kit sounds. Song specic
MIDI commands are saved with the song. Global settings remain
unchanged.
▌CREATING / CONVERTING TO MIDI WITHIN KIT CLIPS
1. Select [CLIP] view and select a [KIT].
2. Press & hold [AUDITION] pad for the row which will convert to MIDI +
press [MIDI].
3. Hold [AUDITION] pad for the MIDI row to display the channel and note
information, each separated by a dot.
4. While holding the audition pad, turn (LOWER) control to change the
MIDI channel.
5. While holding the audition pad, turn (UPPER) control to change the note
value.
6. [KIT] + [SAVE] to save the kit and retain the MIDI setting in the kit.
▌CHANGING CLIP MIDI CHANNEL WITHIN SONG VIEW
1. Select [SONG] view.
2. Press & hold [PAD] for the MIDI clip row to change + turn (SELECT) to
change channel 1-16.
3. MIDI button will ash while holding and display will show the current
channel.
MIDI CHANNEL
1, NOTE 0
MIDI Channel
Example: 1, range 1-16 Note
Example: 0, range 0-127
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12.10 Overview of MIDI MPE and Polyphonic Aftertouch
MIDI Polyphonic expression or MPE as its often called, is an enhanced part
of the ofcial MIDI standard and refers to the ability to control note in more
expressive manner than the standard MIDI messages. Until the introduction
of MPE, polyphonic aftertouch was the only MIDI message considered to
have independent expressive control. This is still supported even with MPE.
In traditional MIDI a note message would be sent on the MIDI channel,
along with any other note. In addition any controls such as pitch bend would
also be applied on the same channel, meaning the pitch would affect all
notes on the same channel.
With MPE a series of channels are set up, known as zones, to
communicate not only multiple notes but also MIDI information for each
individual note. For example a pitch changes could be applied to only one
note in a chord.
The two zones that cluster the channels are dened in the ofcial MIDI
protocol as lower zone (most common default) and the upper zone. Each
zone has a master channel which communicates all messages. The master
channels are xed as 1 for lower and at 16 for upper zones. Any
subsequent member channels in the zone increment up or down from the
master channel in consecutive order. Generally these can be set by a
device MPE Conguration message, where the host device sends the MPE
setup automatically at power on or start up. However not all devices adhere
to this exact standard and manual conguration is usually possible for the
devices.
12
1
Instrument Instrument
Control messages per channel
Standard MIDI
Individual controls per note
MPE Compatible devices
MPE Zones
Lower Zone
Upper Zone
MIDI Channels
Controller Controller
1611
3456
12 13 14 15
NOTES
MIDI Channel MPE Zone
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NOTES 12.11 MPE Application for MIDI Input in Deluge
MIDI MPE is all about better control of expression which is applied through
three dimensions which are typically recognised from how a note is played
on a MPE compatible MIDI controller.
For the synthesizer engines.
• Dimension ‘X’ is typically horizontal movement across a note key. This
is by default patched to pitch bend in Deluge. In addition to the hard
coded patching, the ‘X’ dimension can be patched elsewhere using the
Deluge ‘X’ parameter. Setting the pitch bend range to zero will negate
the hard coded patching if required.
• Dimension ‘Y’ is typically vertical movement up and down a notes key.
This may be patched within existing synths, for example to LPF cutoff
frequency. The ‘Y’ dimension can be patched elsewhere using the
Deluge ‘X’ parameter.
• Aftertouch is the pressure applied to a notes key after it is initially
pressed (illustrated as Dimension ‘A’). This may be patched within
existing synths, for example to Master level. This is patched in Deluge
using the ‘Aftertouch’ parameter and can be patched elsewhere.
For kit rows.
• MPE can be set for kits by learning the controller note to the kit row.
• All three MPE dimensions are applicable per row including bend ranges
per row.
• Non-MPE MIDI input can also allow pitch bend and aftertouch to be
recorded to the row.
• Kits cannot output MPE MIDI and default, however aftertouch that has
been recorded to the row will be output as polyphonic aftertouch for the
rows note.
Y
A
X
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12.13 Setting Up MIDI MPE
The MPE MIDI devices can be connected to Deluge with the USB or MIDI
DIN connections for inputs or outputs. Any MPE MIDI Controller would need
to be ‘learnt’ by Deluge. Some MPE devices send MCM messages to
ensure conguration is aligned between the controller and destination. This
can be set manually also in Deluge.
▌MANUAL SET UP OF AN EXTERNAL MPE MIDI CONTROLLER
1. Connect the MPE compatible MIDI controller to Deluge using the MIDI
DIN input or ideally the USB connection.
2. Select [SYNTH]
3. Press [SHIFT] + Press (SELECT) to open the settings menu.
4. Turn (SELECT) to navigate the menu and highlight MIDI, then press
(SELECT).
5. In the MIDI sub menu, turn (SELECT) to highlight ‘DEVICES’. Press
(SELECT) to select.
6. The options will depend on the connected devices and may be
represent the device by name or a generic name:-
• DIN PORTS - MIDI DIN connected devices
• COMPUTER - Deluge is a peripheral to a USB connected device.
7. Highlight the device to congure and press (SELECT) to open the
device sub menu.
8. Highlight the ‘MPE’ option and press (SELECT).
9. Select the ‘IN’ or ‘OUT’ option, typically for MIDI inputs select ‘IN’ and
press (SELECT) to choose. Controlling external gear from Deluge
would use ‘out’.
10. The option is presented for the ‘LOWER ZONE’ or the ‘UPPER ZONE’.
It is good practice to start with the lower zone set up. Press (SELECT)
to choose.
11. The number of member channels is presented. Channel 1 - Lower and
Channel 16 - Upper are reserved as master channels. Set this to match
the connected MPE controllers equivalent zones.
12. Optionally a Velocity setting allows a default velocity for MIDI devices to
compensate for variable the MPE controller sensitivity.
NOTES
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NOTES Settings Options for MPE MIDI Zones
SETTINGS > MIDI > DEVICES ….. Select the connected MPE device.
▌AUTOMATIC SET UP OF AN EXTERNAL MPE MIDI CONTROLLER
1. Connect the MPE compatible MIDI controller to Deluge using the MIDI
DIN input or ideally the USB connection.
2. Select [SYNTH]
3. Press and hold [LEARN] + hold [AUDITION] + Play several notes
(ideally 5 but more if possible) on the connected MPE controller. Keys
will need to be simultaneous triggered. The actual number of notes
pressed will aim to reect the MPE channels in the zone set for the
controller.
4. The MPE Zones and channels should now be learnt to match the
connected controller.
Notes on Kits
When an MPE controller is set up as an input devices, the MPE dimensions
can be recorded into individual rows of a kit. The controller note / key will
need to be learnt to the kit row.
Sub Menu Sub Menu Sub Category Setting Options
MPE
IN
LOWER Member Channels OFF, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10,
11,12, 13, 14, 15 (Master Channel is Channel 1)
UPPER Member Channels OFF, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10,
11,12, 13, 14, 15 (Master Channel is Channel 16)
OUT
LOWER Member Channels OFF, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10,
11,12, 13, 14, 15 (Master Channel is Channel 1)
UPPER Member Channels OFF, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10,
11,12, 13, 14, 15 (Master Channel is Channel 16)
MPE Zone data is stored automatically as an MIDIDevices.xml le on the SD Card.
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▌MOVING MPE NOTES
1. To change a note position, Hold Note [PAD] + Turn (SCROLL◄►).
2. The note will be relocated and the attached MPE data will move to the
new location with the note.
▌ADJUSTING MPE NOTES VALUES
1. Ensure the MPE MIDI controller is connected and set up correctly.
2. Press and hold Note [PAD] for the note to adjust on Deluge.
3. While holding the Deluge note, apply the expression change on the
same note on the connected MPE MIDI controller. For example apply
more aftertouch key pressure.
4. Release the the Deluge and MIDI controller notes. The new MPE
expression value will be recorded into the note.
NOTES
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NOTES 12.13 MIDI MPE Output
Connecting MIDI with USB or MIDI DIN Output connections allows Deluge
to control MIDI devices such as MPE compatible synths. The MPE MIDI
outputs are set up in the same way as inputs within the conguration menu.
MIDI Clips that have recorded MPE MIDI from an external controller retain
the expression values and therefore can play these back to the external
MPE synth from the Deluge MIDI out.
Remember that MPE devices should be congured to match using the
‘Upper’ and ‘Lower’ Zones. Deluge sends MCM messages when changing
the output zone or when powering up to a MPE compatible connected
device. Standard MIDI channels will not be used when in this conguration.
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CV
13
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DISCLAIMER
Every effort has been made to research adequately the compatibility and
safety of connecting the Deluge’s CV and gate outputs to as many
varieties of other equipment as possible. However, due to the
nonstandard nature of CV and gate and the limitless ways in which users
may choose to use these signals, Synthstrom Audible takes no
responsibility for any ill effect caused by your use of these outputs. It is
up to the user to verify whether a given connected piece of equipment will
operate correctly and safely given the range of voltages that the Deluge
may output.
In particular, if you intend to use one of the gate outputs as a trigger clock,
see the warning about output voltage in the trigger clock section.
Deluge provides a variety of setting options to give as much exibility as
possible. However its the user who decides what and how to apply these
congurations and what to connect and how. Do not assume
compatibility, check the connections and compatibility with all devices.
Use of CV with other devices therefore is purely at the users risk.
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NOTES 13.1 CV Connections & Compatibility
CV
CV is a classic legacy technology used in the 1970’s prior to the
development of the MIDI standards. This uses a gate signal to trigger a
note or event followed by a CV value to control the note pitch or value of
the destination parameter although standards and compatibility for CV is
less dened.
CV means ‘control voltage’ and typically controls pitch although other
parameters can be controlled especially within modular setups.
Deluge CV output is 0v to 10v.
CV and gate are notoriously nonstandard. Different synthesizers expect to
see pitch represented with voltage (CV) according to different standards,
and their gate / trigger inputs may be either polarity.
The Deluge has been designed to support the widest range of CV / gate
standards possible. A number of settings are available in the settings menu.
Each CV output may be set, in 0.01V increments, to any value between
0.01V and 2.00V per octave, or to “Hz per volt”. Analog synthesizer
manufacturers typically adopt one of several standards, examples are:
• Hz per volt - used by Yamaha and Korg (*).
• 1V per octave - used by Moog, Roland, ARP and Doepfer (*).
• 1.2V per octave - used by Buchla and EML (*).
• 0.32V per octave - used by EMS (*).
• 0.26V per octave - used on oscillator 3 of the EMS VCS3 (*).
Deluge has 4 gate and 2 CV
outputs which can be used to
control external CV gear.
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NOTES
Gate
Gate is a control signal which accompanies CV control settings. Where CV
controls pitch, gate controls the note on and off signals. Sometimes gate is
also called trigger. Typically gate signals trigger an ADSR envelope but can
also trigger a clock and other functions such as an LFO.
Deluge gate output can be switched between 5v and 12v. This switch is
located on the top surface near the rear of Deluge. Each gate output may
be set to either of:
• V-trig - represents a note being on by outputting a positive voltage
(12V or 5V selectable), and outputs 0V the rest of the time. Used by
Roland, Sequential Circuits and ARP.
• S-trig - represents a note being on by “shorting” out the output to
ground. When the note is off, the the Deluge “pulls up” the output’s
voltage to 12V or 5V (selectable) with a 10K resistor: this is not a
strict part of the S-trig standard but many devices do this and it is
believed to be fully compatible and safe (see disclaimer), and is in
fact necessary (*) for Yamaha synthesizers. S-trig is used by
Yamaha, Korg and Moog.
.
Trigger clock
The Deluge has a “trigger clock” input, allowing it to play as a follower to
hardware which outputs a clock signal containing any number of “pulses
per quarter-note” (PPQN). It can accept any voltage between 3.3V and 12V.
Clock steps are read on the rising edge of the pulses. A device which has a
DIN SYNC output could have pin 3 of this connector routed to the tip of the
Deluge’s trigger clock input. PPQN can be set, along with an auto-start
setting, in the settings menu. See MIDI section for more information about
having the Deluge play as a follower to an external clock source (which
could also be a MIDI beat clock). If you wish to use the Deluge as a syncing
leader to send a trigger clock signal to other devices, gate output 4 can be
set to output a trigger clock signal, and / or gate 3 can be set to output a
“run” signal (goes high while playback is occurring; low otherwise). These
output assignments are accessible via the settings menu, as is the trigger
clock output PPQN setting.
IMPORTANT: many devices which receive a trigger clock signal, particularly those
whose input is a DIN SYNC, aren’t happy to receive any more than 5V on these
inputs.* If you wish to interface with such a device, you need to set the Deluge’s
gate outputs to 5V rather than 12V.
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NOTES 13.2 CV Hardware Conguration
CV conguration requires the careful match up of both Deluge along with the
external device for CV and gate. It is important to check the manufacturers
instructions when connecting other devices. The only sound editor function
available for CV is the arpeggiator.
Typical CV Set Up
Signal (tip)
Deluge has CV
grounded on the sleeve
and ring. Ring through
a 10K resistor.
MIDI Out
MIDI In
CH 1 CH 1
Gate CV
Modular Device
CV compatible device,
example synth module
connected with 3.5mm / 1/8th
Inch patch cables.
External controller providing control to Deluge. MIDI
can be converted to CV within Deluge by creating a
CV clip and mapping MIDI in to it.
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NOTES
13.3 CV & Gate Out
As well as samples, sounds, synths and MIDI, CV can also be combined
within a kit as a row providing a note output to a CV output channel. CV
sequencing can then take place alongside other kit sounds.
▌CREATING A BASIC CV CLIP
1. Select [CLIP] view.
2. Press [CV] to select a CV clip. Button illuminates red.
3. Turn (SELECT) to choose the CV channel 1 or 2.
4. CV will output voltage representing note pitch on this channel and also
Gate will output voltage for note on/off on the same channel number.
Deluge includes 2 CV outputs, 4 gate outputs (which may also be
set individually to output a trigger clock and / or “run” signal), and
also has a dedicated trigger clock input.
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NOTES 13.4 CV General Settings
The CV and gate outputs and trigger input set up is accessible in the
general settings menu. When Deluge is a syncing leader and sending a
trigger clock signal to other devices, the gate output 4 can be set to output
a trigger clock signal, and / or gate 3 can be set to output a “run” signal
(goes high while playback is occurring; low otherwise).
▌ACCESSING GENERAL CV SETTINGS
1. [SHIFT] + press (SELECT) to access the settings menu.
2. Turn (SELECT) to choose and highlight ‘CV’, ‘GATE’ or ‘TRIGGER
CLOCK’, in-focus.
3. Press (SELECT) when the desired option is in-focus to access its
parameters settings.
• CV - options to set each output channel are provided.
• GATE - options to set each output channel are provided plus a
generic off time.
• TRIGGER CLOCK - settings for both input and output of trigger
clock.
Function Sub Category Options Setting Options
CV CV OUTPUT 1
CV OUTPUT 2
Volts per
octave
Volts per octave between 0.01 to 2V can be
set. Alternatively HZPV sets the CV for each
output to Hz per Volt.
Transpose Pitch adjustment in semi-tones with cent
adjustments
GATE
GATE OUTPUT 1
GATE OUTPUT 2 Type Sets gate output type between S-Trig or V-Trig.
Gate 1-2 will automatically match to CV 1-2
when selected.
GATE OUTPUT 3
GATE OUTPUT 4
Type Sets gate output type between S-Trig or V-Trig
“Run”
Signal Run, will not output notes.
Clock Clock, will not output notes.
MINIMUM OFF-TIME Minimum switching time. Time off between
gate notes range 0.1-10mS
TRIGGER
CLOCK
INPUT
PPQN - sync pulses. Pulses per quarter note.
AUTO START on/off. On the presence of a
trigger clock
OUTPUT PPQN - sync pulses. Pulses per quarter note
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NOTES
13.5 CV Out within Kits & Songs
As well as samples, sounds and synths, CV can also be combined within a
kit as a row providing a note output to a CV channel. CV sequencing can
then take place alongside other kit sounds. Also independent control of gate
channels is possible within kits for CV.
▌CREATING / CONVERTING TO CV CLIPS WITHIN KITS
1. Select [CLIP] view and select [KIT].
2. Press & hold [AUDITION] pad for the row which will convert to CV +
press [CV].
3. Hold [AUDITION] pad for the CV row to display the gate channel
information.
4. While holding the audition pad, turn (LOWER) control to change the
gate channel. This process allows independent setting of gate channels.
5. [KIT] + [SAVE] to save the kit and retain the CV setting.
▌CHANGING CLIP CV CHANNEL WITHIN SONG VIEW
1. Select [SONG] view.
2. Press & hold [PAD] for the CV clip row to change + turn (SELECT) to
change channel 1-2.
3. CV button will ash while holding and display will show the current
channel.
GATE CHANNEL
3
Gate Channel
Example: 3 from a range of 1-4
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SYSTEM & GENERAL
14
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NOTES
14.1 System Settings
A number of parameter exist that are considered ‘system’ wide. These are
accessible from the SETTINGS menu [SHIFT] + press (SELECT).
Navigating the menu follows the same principle as the sound editor.
Function Sub Category Setting Options
CV CV OUTPUT 1&2 Volts per octave.
Transpose
GATE
GATE OUTPUT 1
to 4 Sets gate output type.
MINIMUM OFF-
TIME Minimum switching time between gate notes.
TRIGGER CLOCK
Trigger Clock
INPUT
PPQN - sync pulses. Pulses per quarter note.
AUTO-START - ON/OFF. On the presence of a
trigger clock.
OUTPUT PPQN - sync pulses. Pulses per quarter note.
MIDI
MIDI Settings
CLOCK
INPUT - MIDI beat clock input ON or OFF.
OUTPUT - MIDI beat clock output ON or OFF.
TEMPO MAGNITUDE MATCHING - tempo
magnitude matching set to ON or OFF.
MIDI-THRU MIDI Thru, ON or OFF.
COMMANDS
PLAY
RESTART - restart playback if already playing.
RECORD
TAP TEMPO
UNDO
REDO
LOOP
LAYERING LOOP - Same as loop but with
overdubs layers.
DEFAULTS
(SCROLL◄►) within tempo,
swing & key, sets a min & max
range where a random value is
automatically set
TEMPO Applied to a new blank song upon creation.
SWING Applied to a new blank song upon creation.
KEY Applied to a new blank song upon creation.
SCALE None, major, minor, Dorian, Phrygian, Lydian,
Mixolydian, Locrian & rand - dedicated random
setting
VELOCITY Sets the default velocity for newly entered notes
between 1-127. Default is 64
RESOLUTION Resolution for new songs. Options are 96, 192,
384, 768, 1536, 3072, 6144. Default is 384
BEND RANGE Global pitch bend range in semitones. Range is
0-96 semitones (default 12).
SWING INTERVAL Sets the timing interval at which swing may be applied. This is song
specic and saved with the song. New songs use this default - 16th notes
PADS
Shortcut / Alphanumeric layout
SHORTCUTS
VERSION 1.0 or 3.0 shortcut options to match the software
version and Deluge overlay.
KEYBOARD FOR
TEXT Style of alphanumeric keyboard, QWERTY,
AZERTY, QWERTZ.
COLOURS
Set mute / launch pad colours for rows as:-
ACTIVE; Green, Blue, Yellow, Cyan, Purple,
Amber, White, Pink, Red.
MUTED; Green, Blue, Yellow, Cyan, Purple,
Amber, White, Pink, Red.
STOPPED; Green, Blue, Yellow, Cyan, Purple,
Amber, White, Pink, Red.
SOLOED; Green, Blue, Yellow, Cyan, Purple,
Amber, White, Pink, Red.
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NOTES
System Settings (Continued)
▌CHANGING A SYSTEM PARAMETER SETTING
1. Press [SHIFT] + press (SELECT) to access the settings conguration
menu.
2. Turn (SELECT) and scroll to the desired parameter. Press (SELECT)
3. Turn (SELECT) when the parameter is in-focus to change its value or
setting.
4. Press [BACK / UNDO] to back up out of the menu at any time.
▌PERFORMING A FACTORY RESET
1. Ensure Deluge is switched OFF / powered down.
2. Press & hold (SELECT) and switch power ON to Deluge.
3. The display will show ‘FACTORY RESET’ to conrm reset is complete.
Function Sub Category Setting Options
SAMPLE PREVIEW ON / OFF/ CONDITIONAL: Refers to the previewing of sounds from the
SD card. Conditional is based on the playback mode.
PLAY-CURSOR Controls appearance of the play cursor. FAST (short sharp blinks) or
SLOW (solid white squares) or OFF
RECORDING
COUNT-IN Turns RECORD count In ON or OFF.
QUANTIZATION Sets the level at which recorded notes are
quantized. OFF (192nd notes).
LOOP MARGINS Sets a fade margin to avoid clicks at the loop point
in an audio clip. Feature is set ON or OFF.
SAMPLING
MONITORING
Sampling options: ON / OFF/ CONDITIONAL :
monitor on = headphones in + mic recording.
monitoring always on = line in.
FIRMWARE VERSION Indicates only the current rmware version of Deluge.
Note: Only the swing setting is saved with a song. Other parameters are not saved with song and are system specic.
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NOTES
14.2 Updating Deluge Firmware
Synthstrom are continuously developing the functionality and performance of
Deluge. Firmware releases will become available at points in time that allow
Deluge to be updated.
▌CHECKING THE CURRENT DELUGE FIRMWARE VERSION
1. Press [SHIFT] + press (SELECT) to access the settings conguration
menu.
2. Turn (SELECT) and scroll to the ‘FIRMWARE VERSION’ option.
3. Press (SELECT).
4. The currently installed rmware version is displayed. No changes can
be made in this menu option.
5. Press [BACK / UNDO] to back out of menu.
Firmware Option Firmware Version
FIRMWARE VER.
4. 1. 0
CURSOR
RECORDING
FIRMWARE VER.
SETTINGS
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NOTES
Deluge rmware updates utilise the SD card to load the update .bin script.
This needs to be prepared in advance. Ensure only one .bin le is present on
the SD card when updating.
The SD card should be backed up by copying the entire content of the SD
card to the PC/Mac while it is inserted.
Deluge should be powered off. Once complete the SD card with the .bin le
should be inserted into the Deluge.
Update Bin File
The .bin update le should be
downloaded from Synthstrom and
transferred by PC/Mac to the SD card
SD Card
The .bin update le should be located in the
root directory for the SD card. Any other .bin
les should be removed from the the SD card
KITS
Deluge+rmware+V4p0p1.bin
SONGS
SYNTHS
SAMPLES
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NOTES
▌PERFORMING A DELUGE UPDATE
1. Check and note the current rmware version from within the settings
menu.
2. Download the latest version (a .bin le) and install onto the root
directory of the SD card. This is typically performed with a PC or Mac.
3. Power Deluge OFF. Insert the SD card pins up into Deluge.
4. Ensure Deluge has enough power or is connected to a power supply.
Do not switch off during the update.
5. Press & hold [SHIFT] on Deluge.
6. While holding [SHIFT] power up Deluge.
7. An update message is shown on the display while the update is being
performed.
8. Once complete, ‘Firmware Updated Successfully’, is displayed.
9. Check the new version in the settings menu.
10. Deluge is ready to use.
FIRMWARE UPDATING.
FIRMWARE UPDATED
SUCCESSFULLY.
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NOTES 14.3 Deluge Pad Colours
Deluge has options to change the pad illumination including colours,
brightness and refresh rate. A predened refresh rate is set for optimal user
comfort. However there may be a requirement to lm deluge with various
devices such as smart-phones, tablets, cameras, etc. The refresh rate may
be set to match your device and allow a higher quality recording of Deluge.
▌SETTING DELUGE USER INTERFACE REFRESH RATE
1. Press & hold [CLIP] + turn (SELECT).
2. Adjust until the ickering as observed through the camera or device has
gone or been reduced. Settings above 200 and below 8 are NOT
recommended as this may affect visual performance.
3. Settings are not saveable so this would need to be changed per lming
session.
▌SETTING DELUGE PAD BRIGHTNESS
1. Press & hold [SHIFT] + [LEARN / INPUT] + turn (SCROLL▼▲).
2. Adjust until the desired pad brightness.
3. Settings are not saveable.
▌SETTING DELUGE PAD COLOURS
1. In [CLIP] view.
2. Press & hold [SHIFT] + turn (SCROLL▼▲).
3. Adjust until the desired pad colours are set. Colours will be reected in
other views. This may be particularly useful in SONG view.
Note: Default Mute / Launch pad rows colours for active, muted, stopped and
soloed states can also be set in the pad menu within the settings options.
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Context Action Command
All Views
System Adjust brightness [SHIFT] + [LEARN / INPUT] + turn (SCROLL▼▲)
System Settings menu [SHIFT] + (SELECT)
System Undo [BACK / UNDO]
System Redo [SHIFT] + [BACK / UNDO]
System Tempo change Turn (TEMPO)
System Tempo change 1BPM inc Push & turn (TEMPO)
System Swing adjustment [SHIFT] + turn (TEMPO)
System Metronome on/off [SHIFT] + [TAP TEMPO]
Navigation Check current zoom level Push (SCROLL◄►)
Navigation Change current zoom level Push & turn (SCROLL◄►)
Navigation Scroll left or right Turn (SCROLL◄►)
Navigation Scroll up or down Turn (SCROLL▼▲)
Song Load song (saved tempo) [LOAD] + turn (SELECT), then [LOAD]
Song Load song (current tempo) [LOAD] + turn (SELECT), then push (TEMPO) + [LOAD]
Song Delete song [SHIFT] + [SAVE]
Song New song [SHIFT] + [LOAD], then [LOAD]
Song Delay load [LOAD], Then turn (SELECT)
Sampling Loop resample [RECORD] + [PLAY] then [RECORD] + [PLAY]
Sampling Resample [SHIFT] + [RECORD]
Sequencer Nudge clock Push (SCROLL◄►) + turn (TEMPO)
Parameter Control - Rotary Push Controls - Toggle Options
FX LP, HP, EQ option [CUTOFF / RES] = on, press (UPPER)
FX LPF slope type [CUTOFF / RES] = on, press (LOWER)
FX Ping-Pong on/off [DELAY TIME / AMOUNT] = on, press (UPPER)
FX Delay style digital / analog [DELAY TIME / AMOUNT] = on, press (LOWER)
FX Compressor sync 8th - 32nd [SIDECHAIN / REVERB] = on, press (UPPER)
FX Reverb room size preset [SIDECHAIN / REVERB] = on, press (LOWER)
FX Effect song or kit: chorus, anger,
phaser [MOD RATE / DEPTH] & affect entire = on, press (UPPER)
FX Effect song or kit: depth, offset,
feedback [MOD RATE / DEPTH] & affect entire = on, press (LOWER)
FX Stutter [STUTTER / CUSTOM 1] = on, press (UPPER)
FX Stutter - ramp speed [STUTTER / CUSTOM 1] = on, press & turn (UPPER)
Quick Reference Commands
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Context Action Command
Song View
Song Clip parameter adjustment Hold [PAD] on the grid + turn (UPPER) or (LOWER)
Song Change section assignment /
Colour [SHIFT] + [SECTION]
Song Section repeats / share status Press [SECTION] + turn (SELECT)
Song Move row Hold [PAD] of row to move + turn (SCROLL▼▲)
Song Clone clip Hold [PAD] of master clone clip + press [PAD] of another row
Song Solo section Tap [SECTION] pad
Song Solo clip (arm) Hold (SCROLL◄►) + press clip’s [LAUNCH] pad
Song Solo clip (Immediate) Hold (SCROLL◄►) + [SHIFT] + press clip’s [LAUNCH] pad
Song Un-solo Press clip’s [MUTE] pad
Song Instant mute / launch [SHIFT] + [MUTE] pad
Song Delete clip Hold [PAD] of clip to delete + press [SAVE / DELETE]
Song Drag clip instance to arranger Hold [PAD] + press [SONG] + turn (SCROLL◄►) then
release pad
Song Record to arranger Hold [RECORD] + press [SONG]
Looping Create audio clip Hold [PAD] of empty clip + press (SELECT)
Looping Set input source for audio clip Hold [LEARN/INPUT] + Press [PAD] of clip
Looping Loop record In record mode, press [PLAY] with armed, empty audio clip(s)
present
Looping Close loop recording Press [LAUNCH] pad of clip
Looping Close loop + immediate solo Hold (SCROLL◄►) + press [LAUNCH] Pad to close loop.
Looping Loop record during playback In record mode, unmute armed, empty (audio) clip
Looping Overdub Hold [RECORD] + press [PAD] of clip row underneath
Looping Continuous overdub layering Hold [RECORD] + press [AUDITION] Pad of row underneath
Looping ‘Loop pedal’ record Record loop while no other clip is playing / unmuted and
metronome is off
Looping Grab tempo from audio clip Hold (TEMPO) + press [PAD] for clip row (song view) or any
pad in clip view
Looping Select MIDI switch LOOP target Enter audio clip or hold clip row in song view + press switch
Looping Auto extending instrument clip
record In record mode, unmute armed empty clip during playback
Quick Reference Commands (Cont.)
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Context Action Command
Arranger View
Clip Place clip instance [PAD]
Clip Delete clip instance [PAD] Leftmost start pad of an instance
Clip Clip instance length Hold [PAD] start + press [PAD] end on the same row
Clip Move clip instance horizontally Hold [PAD] + turn (SCROLL◄►)
Clip Change instance clip Hold [PAD] + turn (SELECT)
Clip Make clip instance unique [SHIFT] + [PAD] creates a ‘white’ clip instance
Clip Adjust clip instance parameters Hold [PAD] + turn (UPPER) or (LOWER) for the selected
parameter
Clip Enter clip view for a clip [PAD] of any clip instance pad other than the rst / leftmost
Clip Drag ‘unique’ clip instance to song
view Hold [PAD] + [SONG] + turn (SCROLL▼▲) then release pad
Row Move track Hold [AUDITION] pad + turn (SCROLL▼▲)
Instrument Mute / unmute track [MUTE] pad for row
Instrument Solo track Press & hold (SCROLL◄►) + [MUTE] for instrument
Instrument Change or Add new instrument Hold [AUDITION] pad + turn (SELECT) or
press [INSTRUMENT] type
Instrument Delete track row Hold [AUDITION] pad + [SAVE / DELETE]
Instrument Audition instrument [AUDITION] - Songs root note or snare drum in kit mode
Arrangement Clear arrangement Press & hold (SCROLL◄►) + [BACK / UNDO]
Audio Create new audio track Empty lane [AUDITION] + press (SELECT)
Audio Set input source for audio track [LEARN / INPUT] + [AUDITION] pad of audio track
Audio Record audio from current position [PLAY] while in [RECORD], with armed audio present
Clip View
Clip Change clip colour [SHIFT] + turn (SCROLL▼▲)
Clip Change clip preset, MIDI Ch, CV
out Turn (SELECT)
Clip Adjust clip length [SHIFT] + turn (SCROLL◄►)
Clip Duplicate / multiply and append
clip content [SHIFT] + press (SCROLL◄►)
Clip Horizontal clip shift / nudge L-R Press & hold (SCROLL▼▲) + turn (SCROLL◄►)
Clip Playback from current screen Press & hold (SCROLL◄►) + [PLAY]
Clip Clear clip Push (SCROLL◄►) + [BACK / UNDO]
Clip Change Clip Direction [SHIFT] + [DIRECTION]
Direction may not be labelled on the faceplate. Pad is located
to the right of the OSC SYNC pad on the FM MOD 1 Column.
Quick Reference Commands (Cont.)
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Context Action Command
Clip View (Cont)
Note Note length Hold [PAD] start + press [PAD] end on the same row
Note Note length - long Press [PAD] start. Navigate grid - turn (SCROLL◄►).
Hold (SCROLL◄►) + press [PAD] end on the same row
Note Note velocity Hold [PAD] on the grid + turn (SCROLL◄►)
Note Note repeat Hold [PAD] on the grid + hold and turn (SCROLL▼▲)
Note Note play probability % Hold [PAD] of note + turn (SELECT) anticlockwise / left
Note Set dependance on rst note Hold All [PAD]s together + turn (SELECT) anticlockwise / left
Note Iteration dependance for a note Hold [PAD] of note + turn (SELECT) clockwise / right
Note Copy notes Hold [LEARN / INPUT] + press (SCROLL◄►)
Note Paste notes Hold [LEARN / INPUT] + [SHIFT] + press (SCROLL◄►)
Note Nudge individual notes horizontally Hold [Pad] + press and turn (SCROLL◄►)
Parameter Automate a parameter While recording, LED on; turn (UPPER) or (LOWER) of
selected parameter
Parameter Per note parameter change Hold [PAD] of note start + turn (UPPER) or (LOWER) of
selected parameter
Parameter Delete parameter automation [SHIFT] + press (UPPER) or (LOWER) of selected parameter
Parameter Copy automation Hold [LEARN / INPUT] + press (UPPER) or (LOWER) of
selected parameter
Parameter Paste automation Hold [LEARN / INPUT] + [SHIFT] + press (UPPER) or
(LOWER) of selected parameter
Sample Load sample [AUDITION] + [LOAD]
Sound Sound Editor [SHIFT] + [PAD] of shortcut as labelled or press (SELECT)
Preset Preset load interface [LOAD] + [SYNTH] or [KIT]
Audio Audio clip trim Press [PAD] of rightmost column at the end of the waveform
Euclidian Seq Number of events on the row Hold [AUDITION] + press & turn (SCROLL▼▲)
Euclidian Seq Row length Hold [AUDITION] + turn (SCROLL◄►)
Euclidian Seq Rotate / Shift events or notes Hold [AUDITION] + press & turn (SCROLL◄►)
Quick Reference Commands (Cont.)
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Context Action Command
Sound Editor
Sound Editor Move cursor Turn (SCROLL◄►) to navigate
Controls Parameter knob assignment Hold [LEARN / INPUT] + turn (UPPER) or (LOWER)
parameter control
Controls MIDI knob assignment Hold [LEARN / INPUT] + turn (MIDI) Control of external
device
Controls Unassign MIDI control knob [SHIFT] + [LEARN / INPUT]
Preset Save preset [SAVE]
Parameter Apply a change to entire kit Press & hold [AFFECT ENTIRE] while changing parameter
i.e. Polyphony, mode, reverse, speed, pitch/speed)
Synth, Keyboard, MIDI, CV Clips
Synth Synth resample [RECORD] + [AUDITION] or grid [PAD]
Synth Load blank synth [SHIFT] + [SYNTH]
Synth Save synth preset [SAVE / DELETE] + [SYNTH]
Synth
Scales Cycle through default scales [SHIFT] + [SCALE]
Scales Change root note [SCALE] + [AUDITION] pad row of new note
Scales Chromatic scale [SCALE] to turn it OFF, LED unlit
Scales Create scale In chromatic mode - scale OFF;
Select [PAD] notes, then press [SCALE]
Scales Alter current scale Hold [AUDITION] pad + press & turn (SELECT)
Transpose Transpose current clip an octave Press & turn (SCROLL▼▲)
Transpose Transpose current clip a semitone In chromatic mode - Scale OFF;
[SHIFT] + press & turn (SCROLL▼▲)
Transpose Transpose ALL clips a semitone In scale mode - scale ON;
[SHIFT] + press & turn (SCROLL ▼▲)
Note Create full screen ‘drone’ note Hold [PAD] rst column + press [PAD] last column of grid
MIDI Assign MIDI CC to parameter knob
(MIDI Track) Press & hold (UPPER) or (LOWER) + turn (SELECT)
Quick Reference Commands (Cont.)
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Context Action Command
Kit Clips
Kit Change colour of specic row [SHIFT] + [AUDITION] + turn (SCROLL▼▲)
Kit Create new kit [SHIFT] + [KIT]
Kit Save kit preset [SAVE / DELETE] + [KIT]
Kit Move row Hold for row [AUDITION] + [MUTE] + turn (SCROLL▼▲)
Kit Delete row [PAD] for row to delete + [SAVE / DELETE]
Sample Slice a sample [SHIFT] + [KIT], Turn (SELECT) to choose sample,
[SHIFT] + Press (SELECT)
Sample Record sample from input [AUDITION] + [RECORD] to start recording. [RECORD]
again to end
CV Set kit row output to gate [AUDITION] + press [CV]
CV Set kit row CV gate [AUDITION] + turn (LOWER) - must be set as a CV row
MIDI Set kit row output to MIDI [AUDITION] + press [MIDI]
MIDI Set kit row MIDI channel [AUDITION] + turn (LOWER) - must be set as a MIDI row
MIDI Set kit row MIDI note [AUDITION] + turn (UPPER) - must be set as a MIDI row
Quick Reference Commands (Cont.)
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NOTES
14.3 Deluge CPU Performance
Processing power and CPU management
Deluge does not enforce rm limits on how many tracks or voices may
sound at once thus allowing the user as many as they wish. The ultimate
limitation will inevitably be based on Deluge’s CPU loading especially from
concurrent voices or effects. Under conditions of high CPU loading, Deluge
will switch off a synth or sample voice to lower its load. Deluge will attempt
to do this in the most subtle way possible, preferring to switch off voices
which are “releasing”, and those which have been sounding for the longest
time.
Unaffected sample voices are very light on the CPU. This has been tested
with a measure of up to 110 sounding at once. For synth voices, the most
simple ones are light enough to allow around 64 to play.
The Deluge’s analog-modelled oscillator types and drive lter consume a
little more CPU than the other types, but not enormously more.
Considerations for CPU power :-
• Analog-simulated delay, time stretching, and pitch shifting (where
pitch and time are treated independently - including live audio input)
are the highest CPU users.
• All other effects and synth features, though lighter, will add to the
CPU’s load as well.
• Synths with unison switched on will multiply the amount of
processing power that that synth consumes.
• Arpeggiation can generate a lot of CPU-eating voices very rapidly,
which can add up if polyphony is on (is set to POLY) and if the
release time is long. Try changing these parameters if you notice
voices cutting out on your song.
• There is a slight CPU overhead for each sound present in the
Deluge’s currently loaded song - even if it is not sounding at a given
moment. This may begin to affect CPU performance if you have
more than 50 to 100 sounds loaded. For this reason, you may wish
to refrain from importing large folders of samples as kits where
these are not in-fact used. Multi-sampled instruments, count as just
one sound regardless of how many separate samples they contain.
• Voice priority can be manually set for a sound, to tell the Deluge
which voices to consider (or not) dropping rst - see sound editor.
• See sample interpolation / pitch for some additional notes on CPU
usage.
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Sample interpolation / pitch
Whether or not actual “pitch shifting”, the process of treating pitch and
speed independently, is applied, another process called interpolation is
needed anytime a sample needs to be played back at a different pitch, or if
its sample rate is different to the Deluge’s native 44.1kHz.
Since rmware V2.1, Deluge utilises 16-point windowed-sinc interpolation
for high-quality sample pitch adjustment with minimal aliasing. If you prefer
the more “bitcrushed” sound of linear interpolation, which was used prior to
V2.1, see the INTErpolation setting in the sound editor.
Songs and presets created with pre-V2.1 rmware which include sample
pitch adjustment will continue to default to linear interpolation, to keep your
older projects sounding the same.
The 16-point windowed-sinc interpolation uses a little more CPU power
than the lower-quality linear interpolation, but not very much more, thanks
to the hardware acceleration features of the Deluge’s CPU. If the Deluge’s
CPU becomes overloaded, it may revert to using linear interpolation in
some cases. It is not recommended that you manually switch to linear
interpolation purely for the purpose of saving CPU power - it won’t have this
effect in all cases.
Sample and RAM management
The Deluge streams audio samples directly off the SD card, meaning there
is no practical limit on the amount of sample content that may be used per
song, and the user does not have to wait for all sample data to be read
when loading a song.
You may eject the SD card at any time, the only adverse effect being that if
the Deluge is playing any sample, it may stop, and samples may not play
correctly until the card is reinserted.
The Deluge has 64MB of working RAM, which is mostly available to hold
the currently loaded song’s synths, parameters, and sequenced notes. It’s
unlikely that the 64MB limit would ever be reached - this would be enough
to hold over 2 million notes.
There may be cases, if both songs contain a lot of samples (i.e. near to the
Deluge’s 64MB RAM limit), where the newly loaded song may fail to play
some sounds for the rst couple of seconds. However, the Deluge does
everything it can to avoid such a case, by rst discarding any not-currently-
playing samples in the old song, and if necessary delay the loading of any
not-currently-playing samples in the new song until the old song has been
discarded completely.
NOTES
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NOTES
14.4 USB Host Mode for Devices
The USB connection can also be used to host USB MIDI devices. In order
to use this feature, you must power your Deluge via its DC power socket
(centre-negative) - the feature is not available when running the Deluge on
its battery.
The Deluge is able to deliver a little bit of power to connected devices, but
this is very limited. More basic controllers without too many LEDs should
work in many cases, but bigger controllers with advanced features may not.
If your MIDI controller has the option to provide it with power externally, that
will enable it to work in most cases.
Deluge supports one USB MIDI ‘hub’ devices as a host. Powered USB
Hubs are also useful in powering the Deluge as well as other connected
USB devices. Multiple hubs especially when more than four connected may
not operate correctly and ‘MAXIMUM NUMBER OF USB DEVICES
ALREADY HOSTED’ is displayed if more than four devices are connected.
Deluge will display ‘USB HUB ATTACHED’ when a connected hub device is
detected and working and ‘USB DEVICE DETACHED’ when a device is
detached.
If your device doesn’t work and you get no error message, it may be a
power issue - see above.
MIDI USB devices are supported for MIDI input and output.
▌DELUGE AS USB HOST WITH A USB DEVICE
1. Connect the USB device to Deluge with the USB connection
2. Connect a DC power supply to Deluge. Host mode does not work when
Deluge is operating from its battery
3. Power ON Deluge
4. USB Host mode will be activated.
5. The USB device can now be connected and reconnected. A reboot is
required if a PC is to be connected.
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14.5 Deluge Legacy Shortcuts 1.0
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System & General14
14.6 Acknowledgments
Thank you to those in our amazing community and to all users who have supported the Deluge. Thank
you to our beta testers who have provided valuable feedback
Thank you to those who have generously donated synth presets for our ofcial collection,
• Marcel Bellve, tinyurl.com/y73dozlt
• NJM, soundcloud.com/staysun
• Guilherme Gomes, ohdeo.com
• Steve Swisher, youtube.com/steveswisher
• Stephen Scoeld
• Luke Rowell, disasteradio.org
• Ron Cavagnaro, youtube.com/channel/UCAuuJw6Au8-k1WDIqmvmnSA
• Jeremy Blake (Red Means Recording), youtube.com/jjbbllkk
• Joey Esposito - Moralz, soundcloud.com/moralz
• Travis Hampton, youtube.com/channel/UCltwiftFumcCro94jT5YA4Q
• Matt Bairstow, soundcloud.com/tactile-af
• Jani Hakala, soundcloud.com/moobius
• Pawel Czubak, soundcloud.com/dj-spoyler
• Neil Baldwin, marmotaudio.co.uk
• Brad Antone
• Franz Keller, youtube.com/VJFranzK
• Daniel Stern
• Michael Bath, soundcloud.com/workergray
• Ron Rapprich, soundcloud.com/ron-rapprich
• Leonard Ludvigsen aka Icoustik
• Michael J. Bulaw - Too Mere, soundcloud.com/meremush
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Thank you to those who have generously donated Kit presets for our ofcial collection,
• Andrew Stirton (Frugal), soundcloud.com/frugaltunes Fairburg, fairburg.bandcamp.com
• Electronisounds http://electronisounds.com
• Leonard Ludvigsen aka Icoustik
• «hodeur» https://soundcloud.com/hodeur
• James R Closs, http://redmeatrecords.uk
• Amiga909, https://mixcloud.com/roman_hats/
• Reciprocal Sound, https://reciprocalsound.com/
• Danny Taurus, https://meatbeats.com
The Deluge ofcial guidebook and producer guide
The Deluge guidebook is a collaboration between Synthdawg and Synthstrom Audible where Ian
Jorgensen and Rohan Hill have provided essential information and guidance. In addition a special
mention to Michael J Bulaw who has also been a valuable contributor throughout the development
of the guide and has provided feedback and input as an integral member of the collaboration team.
System & General 14
294 Deluge Ofcial Manual
NOTES
COMMUNITY GUIDE
15
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Deluge Unit
▲▼
◄► UR
Select
Tempo
LR
AUDITION
/ SECTION
MUTE /
LAUNCH
Grid
Load
New
Load
New
Load
Select
New
Press PressOperate in order Turn
Symbols next to
each other
▲▼
Learn / Input
Shift
Hold and andHoldOperate together Turn
Multiple ‘+’ signs + +
▲▼
Red Arrow - Hold rst, then turn
Push & turn dials
KitShift
+
HoldOperate together and Press
Single ‘+’ plus sign
Description DescriptionExample Example
Select
‘H’ in the black hold arrow
H
Long press dials
Function
Parameter
Button Position on the 8x16 Grid
where 1,1 in red starts top left pad.
Black arrows start top right.
Shortcut Locator
Select
All Clip Types
Arranger Mode
Song Mode
Specic
clip
types
Global
Context /Mode
indicators
For command to work,
must follow the ref
command rst or be in
same end-state
PreReq
MC01
Prerequisites
C
A
S
GKitMIDI
MC01
C C C
63
OSC 1
TYPE
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Zoom Level ◄► ◄►
To View To Change
White notes in song and clip
mode require zooming in to see
exact position in the timeline
Scroll Grid ◄►▼▲ Up/Down Left/Right
Undo Redo Undo Redo
If a preset is changed or you
enter sound editor undo/redo
history is cleared
Load
New
Load
New
Load
New
Load
New
Load
New
Save
Delete
Load
New
Load
New
Load
New
Back / Undo
Load
Save
Load
Save
+
+
+
+
Back / Undo
Shift
Shift
Shift
New
Delete
New
Delete
New Song
Delete Song Select Scroll to
song to
delete
Select
Select
Select
Select
Select
For gapless play, hold
to delay launch if large
samples are included
Hold SHIFT & Turn SELECT to
fast scroll songs on display
Load Song
Load Song
Keep current tempo Tempo
Select
Load Song
Delay Song Change
Save Song
QWERTY
Keyboard Searches
...In song loading where the
keyboard is hidden to enable
viewing scrolling content.Tap
grid to bring up keyboard.
When loading, saving or
browsing, the deluge QWERTY
keyboard can be used. It pops
up automatically, except..........
Song slots with a ‘.’ after its
name means it already exists
and ‘OVERwrite’ will ash when
trying to save. A,B,C designate
version iterations of same song.
GL
GLOBAL
GL01
GL11 GL02
GL12 GL03GL04GL05GL06GL07GL08GL09GL10
Q
A S
W
Tap Tempo
+
Shift
Metronome
Change Tempo TempoTempo or Press and turn for 1 BPM
increments. See SQ10 for
secret tempo power up.
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GL
GLOBAL
◄►
To then scroll the
le / directory
names....
Save Song
Collect All Samples
Pad Refresh Rate
GL13GL14GL15GL16GL17GL18GL19GL20
Settings Menu
Open Sound Editor
Select
Select
Tempo
Swing Default 50%
is no Swing
Swing interval is 1/16th notes by
default but can be adjusted in
the settings menu.
+
Shift
Back / Undo
Redo
File System Up Back UP one level from within
the le system.
Power on deluge from an off
state whilst holding the SHIFT
button. One rmware bin le
must be in the SD Card root
folder
The sound editor offers more
setting options than available
via the shift + grid shortcuts
This option saves the song and
creates a folder with the same
name and save all used sample
les inside under / SONGS
Used to change pad refresh
rate which can help when video
recording the pads.
Adjust Brightness
Firmware Update
Shift
Learn
Power On
+
+
+
+
+
Shift
Shift
▼▲
Save
Delete
Clip
Select
Select
SelectSelect
H
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Make Long Notes Select the two grid buttons on
the same row of the grid
Select the two grid buttons on
the same row of the grid
Make Long Notes ◄►
◄►
Move to next
screen
Blank / Unused
row
On, then or or
Counter-Clockwise
Multiple notes can
be selected
Counter Clockwise = Probability
Clockwise = Iteration
Adjust Note Velocity New notes added will default to
the last velocity setting. Default
is 64, Range is 0-127.
When probability is the same
and all notes will follow action
of rst note in the sequence
(sound or note). A ‘.’ Signies
probability group exists.
Cross - Screen
+
+
+
+
+
+
+
+
+
+
Note Probability
Note Probability
Select
Select
Select
Copy / Paste applies to all
notes in the vertical columns at
the current zoom level,
including those notes not
visible, above and below the
grid
Copy / Paste applies to all
notes in the vertical columns at
the current zoom level,
including those notes not
visible, above and below the
grid
Cross-screen mode is linked to
zoom level. Cross-screen mode
on/off if wanting to apply
changes at different zoom levels
Copy Notes
Learn / Input
Learn / Input
Paste Notes
Across the next screen
Set note iteration
Group
Select
Cross Screen Editing
Real-time note cloning
Add to a kit
Add Instrument / Row
Double and append
Note Zoom Level
128th & 256th Level
Record Live
Notes into Deluge sequencer
Scroll to sample, back to go up
one level.
SQ
SEQUENCING
SQ01SQ02SQ03SQ04SQ05SQ06SQ07SQ08SQ09SQ10SQ11SQ12
Shift
+
Duplicate Clip Content
◄►
◄►
◄►
C
C
C
C
C
C
C
C
G
Shift
Kit Kit
C
Tempo
R
Play Record
Resample
C
Learn / Input
◄►
300 Deluge Ofcial Manual
◄►
◄►
Horizontally Left / Right
SQ
SEQUENCING
SQ13SQ14SQ15SQ16SQ17SQ21 SQ19SQ23 SQ18SQ22 SQ20SQ24
Shift
+
+
Reduce Clip Length
Re-order Kit Clip Row
Euclidian Seq Events
Note Repeat
Euclidian Seq Rotate
Poly Rhythms
Shift All Clip Notes +
+
Clear Clip
Change Clip Colour
Change Row Colour
Clip Play Direction
Note Nudge
Euclidian Seq Length
+
+
+
+
+
+
+
+
Shift
Shift
Shift
C
C
C
C
C
C
C
C
▲▼
▲▼
▲▼
Back / Undo
Redo
Instrument row in a kit clip
Individual Notes
Row Length
Shift / Rotate Events or Notes
Up or Down
Number of Events / Notes
▲▼
▲▼
Kit
Kit
C
C
C
C
◄►
◄►
◄►
◄►
15Pad may not be labelled on the grid
+
+▲▼
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Stop / Launch Clip
Song Mode ON, Button Lit (not ashing)
Fast Scroll Song List
Stop / Start of next loop Stop / Start instantly
Source clip
row
Destination clip
row
Clip turns blue, other
mute pads dim
Can immediately solo >1 clip.
Can solo >1 clip.
Press Mute/Launch to unsolo
On A Blank / Unlit Row To return to song mode
To return to song mode
All audition / section rows of the same
colour will ash then launch
Hold for 1 Sec Change INFInite to # times
for section to repeat. Display
will countdown.
Create New Clip Will create and enter clip view.
Can create unlimited clips.
Scroll up/down in song mode to
view more rows.
+
+
+
+
+
+
+
+ +
Enter Clip
Move Row Clip
Select
Select
Will cycle through all existing
colours. If the end is reached a
new colour will be created.
Maximum 12 sections / colour.
Clip will begin in time when the
current longest playing clip
loops / starts again
Press select to cancel section
switch during countdown
Clip Section Colour
Song
Song
Song
Launch Section
To view / edit
Up or Down
Change for section or create new
Section Repeat
Share Status
Clone Clip
Delete Clip
Solo Clip
Arm
Solo Clip
Immediate
Destination row can be another
existing clip - clones clip will be
inserted.
Cannot undo delete.
SV
SONG VIEW
SV01SV02SV03SV04SV05SV06SV07SV08SV09SV10SV11SV12
Shift
Shift
Shift
S
S
Load
New
▲▼
Save
Delete
Shift
S
◄►
◄►
302 Deluge Ofcial Manual
LR
LR
UR
UR
Or
Or
Or
Clip Type ...
Hold row
button
Or Or
ON
LED will ash with the name of
the clip and clip-type LEDs will
light up (eg MIDI)
Pressing SELECT on an empty
clip also changes it to an audio
clip.
Select
Per Clip (Song View)
PRESET or Clip Type
Of a Clip or Instrument name
and type on clip row
Per Song (Song View)
SV
SONG VIEW
SV13SV14SV15SV16
+
+
Clip Parameter Change
Change Existing Clip
Check Name
Song Parameter Change
Song View ON, Button Lit (not ashing)
Song
Affect Entire
Synth MIDI CV
S
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Deluge Ofcial Manual
Resample / Record
All samples must be preloaded onto the SD Card in the /Samples folder (or a sub folder) only
Repeat Rec + Play before end of
loop. If playing already, Hold
Rec + Play to Quantize Rec to
start loop.
Loop Resample
To Stop
Choose ‘ALL’
Choose ‘SLICE’
Scroll to parent folder of the
samples wanted, or a sample
within the folder.
Scroll to sample.
Select # of slices 2-256
Record Sample
Rename
Better for ofine recording
instead of using Audio Clip or
Live Looper Recording.
Scroll to sample and press
select. Also, Shift+ Browse grid
shortcut on an existing row to
open browser.
+
+
+
+
+
+
+
+
+
+
....
....
+ +
Load Sample
Load Sample
Select
Select
Select
SelectSelect
Rec to Stop.
Beware of CPU/Mem overhead
when loading large amounts of
samples into kits. Best to keep
KIT les minimal for best
performance. Note: Does not
apply to multi-sampled synths.
Note: can add more samples to
the sliced kits (SQ09) but not
slices to existing kits. Only 1
sliced sample per kit possible
After recording samples into a kit, the Deluge digitally normalises the volume level of a recorded sample to make it as loud as
possible without clipping. Note: Recorded audio clips are not normalised in this way.
Synth Resample
Load All Samples
All audio output
Into a kit
Kit row or instrument
Into a kit row
Into a kit or synth silently
From SD Card folder to a kit
Slice Sample
RS
RECORDING / RESAMPLING - SAMPLES IN KITS
RS01RS02RS03RS04RS05RS06RS12 RS07RS08
Shift
Shift
Shift
Shift
R
R
R
R
Record
Resample
Record
Resample
Record
Resample
Record
Resample
Play
Kit
Kit
Kit
Play
Record
Resample
Record
Resample
Record
Resample
Shift
Load
Load
New
New
Select
Select
Select
Select
Select
SelectSelect
Kit
Syn
Syn
Kit
Kit
Kit
C
C
C
C
C
C
or
Select
H
Select
H
Q
A S
W35
NAME
QWERTY
304 Deluge Ofcial Manual
On an empty row
Right most column Red ‘End Point’
Appears column
Choose a ‘.’ Input source. Pre-
requisite (AC03) for this feature.
Must be in Clip Mode, not Song
or Arranger, to delete current
Audio Recording.
Tap new position on the grid to
shorten or lengthen.
Clip is still time-stretched and shortened
clips in waveform view play at slower speed
to t same time window. Limited use cases
for this - may be better to record samples
(RS03).Then may need to run ‘LO09’ to
apply original tempo again.
May need to run ‘LO09’ to apply original
tempo again.
Must be in Clip Mode
*AC02 / AC04
Input Sources & Monitoring
• LEFT: Default. Left or Mono input (line or mic). Use for internal Mic too and disconnect any cable from the line in port
• RIGHT: Second mono input if using left already
• STEREO: Stereo line or mic input
• BALANCED: For mono signal via TRS cable - but balanced output into Deluge line in.
• MIX: Deluge audio output, minus master FX, level adjustment and reverb
• OUTPUT: Deluge audio output, with post FX and reverb. Same output as when resampling. Normally not the best option for
recording or bouncing audio clips though - use MIX instead.
• OFF - No audio input, recording disabled.
‘.’ After the input source enables audio monitoring. Applies to LEFT, RIGHT, STEREO and BALANCE Options only.
In Song View
In Arranger View
Audio clip in Song View *
Audio Thru Monitoring in
Arranger View *
Of Audio Wave
Change Audio Clip End / Loop
Change Audio Clip Waveform
Audio Clip Waveform
AC
AUDIO CLIPS
AC01AC02AC03AC04AC05AC06AC07AC08AC09
+
+
+
+
+
+
+
+
Create New Audio Clip
Create New Audio Track
Input Source
Input Source
Change Colour
End Point / Loop Length
Waveform Start / End Point
Adjust Length
Clear Audio Clip RecordingClear Audio Clip Recording
Select
Select
Select
Select
Select
Select S
S
Learn
Learn
◄►
Back / Undo
Redo
Select
Select
Select
C
C
C
Audio
Clip
Audio
Clip
Audio
Clip
Shift
Shift
Shift
▲▼
◄►
A
A
11
SAMPLE 1
WAVEFORM
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Deluge Ofcial Manual
New Synth / New Kit
◄►
Save as New Preset
or
or
Does not work in kit view
Select ‘CHOKe’
New root note
Row: Grey /
Unassigned
Scroll to preset
you want to clone
Unlit
Hold
CLONe
ON
Note Keyboard View
Shift
Shift
Save
Delete
+
+
+
+
+
+
+
+
Clear Notes & Automation
Choke Group
Select
Select
Select
Select
Cycle Default Scales
Change Root Note
Chromatic Scale
Alter Current Scale
Of current scale
Setting Up
Select
Select
Select
Clone Preset
For Synth or Kit
Can now setup kit sounds from
the synth engines, e.g. using
FM Drums
A single preset can only appear
in one active clip so need to
CLONe the original preset for
multiple instances in same song.
Good practice is to Clone rst if
tweaking and to avoid affects on
inter-dependant songs.
Can still change presets and
parameters in keyboard view.
When playing will stop all
other notes in the same kit set
to choke.
Can set from keyboard view in
similar way
All note rows in this mode are a
semitone apart
To sharpen or atten a note.
Scale must be lit or else all
notes / semitones present.
Prepend Shift + to do so silently
Load
New
Load
New
MS
MODIFYING SOUNDS
MS01MS02MS03MS04MS05MS06MS07MS08MS09MS10MS11
Kit
Scale
Scale
Scale
Kit
Kit
Synth
Synth
Synth
Synth
C
Syn
Syn
Syn
Syn
Syn
Kit
Kit
C
C
C
C
C
C
C
Back / Undo
Redo
+
P
78
VOICE
POLYPHONY
306 Deluge Ofcial Manual
Silently
Current Clip by Octave
Current Clip by Semitone
All Clips by Semitone
MS
MODIFYING SOUNDS
MS12MS13MS14MS15MS16MS17
+
+
+
+
+
Shift
Shift
Shift
Shift
Kit Clip Affect All
Select Kit / Instrument Row
Hold
Grid Shortcut
Limited to Polyphony, Mode,
Reverse, Speed, Pitch/Speed.
Applies to all rows in a kit.
Row is selected, instrument or
sample name ashed in LCD
screen but no note sounds.
Can then modify parameters,
change presets etc
Change Clip Preset
Transpose Clip
Transpose Clip
Transpose Clip
Select
Select
Affect Entire
P
Syn
Syn
Kit
C
C
C
▲▼
▲▼
▲▼
C
C
ON
OFF
Scale
Scale
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Deluge Ofcial Manual
Create New Synth
Choose Range
Select Sample Type
Or... Shift + Browse or Audition + Browse
Scroll through folders to select a
sample, or a parent folder for multis
BOT-TOP Shown.
See (WF02) prior to
selecting.
Select Upper or Lower Range
Counter-Clockwise = Lower
Clockwise = Higher
Adjust Range Adjust Selected
Range
Insert new range
or
Delete selected range. Can keep
deleting until back at ‘BOT-TOP’
Create Drone note on C3
to match pitch.
Both record and song buttons ash
Live record parameter changes. Also record MIDI notes and
parameter changes on pre existing and MIDI learned clips
In this mode.......
and / or OSC 2 IN*
Song Mode
&
Shift
Shift
Shift
Shift
+
+
+
+
BOT-TOP Range Option
BOT-TOP Range Option
Select
Select Select
Select
Select
Single Cycle Waveforms
Sound Test
Select range of notes / keys to
load into when following (WF01)
and open le browser
and browse to sample
and browse to sample
Select
Select
External Sound Source
as an oscillator
Record to Arranger
Mode
Can pitch shift around source
by changing from C3 to hi or lo
notes or play chords with
several notes in seq at once.
Use a stereo to mono adapter
and get one sound source on
OSC1, INL and another on
OSC2, INR
Play or song stops recording.
While this mode is active you
cannot change to clip or
arranger modes. If you unmute a
clip after its start point, the
arranger will record place the
whole instance into arranger
A. Press once to load as a chromatic sample - same sample, different pitches.
B. Hold and turn to select BASIc to load a sample with no pitch detection
C. Hold and turn to select MULTi for multi-sampling. See (RS14)
D. Hold and turn to select SINGle for single cycle waveforms. See (RS11)
- Sample <20ms. Follow (WF01), Option A. Deluge will automatically transpose to a C and set loop mode.
- To force samples to same mode. Follow (WF01) Option D. Deluge will auto transpose to a C and set to loop mode.
Deluge detects the pitch of provided samples regardless of lename, though best to order multi-samples on SD card Low to High where possible.
Sound test when ‘BOT-TOP’
edit mode is active.
Default range ‘BOT-TOP’ is active
and used typically for single samples
and can be retained or changed for
multi samples.
WF
WAVEFORMS, RECORD-TO-ARRANGER, MULTI-SAMPLING
Loading Samples & Multi-samples as Synths
Record to Arranger
Step
1
Step
2
Step
3
WF01WF02WF03WF05 WF04
Synth
Play
Syn
C
+
Load
New
◄►
Save
Delete
Song Song
+
+
Record
Resample
Record
Resample
S
LR UR
R..........
63
OSC 1
TYPE
308 Deluge Ofcial Manual
Live recording to existing
arrangement
To edit; Start, End and Loop points
And move along the waveform
+
-
Points of the sample
Create and move loop start
Create and move loop end
Delete loop start and / or end
WF
WAVEFORMS, RECORD-TO-ARRANGER, MULTI-SAMPLING
WF06WF07WF08WF09WF10WF11WF12
Append Recording
Waveform View
Zoom In and Out
Change Start / End
Loop Start Point
Loop End Point
Delete Loop Points
Everything to the right of the
play bar in arranger is deleted
and new recording appended.
Can UNDO if a mistake is made.
Click anywhere on the green or
red bar until they ash. Then click
on the target column to move to.
For start, hold anywhere on the
blue start loop-bar and press the
start green bar. For end, hold
anywhere on the purple end loop-
bar and press the end red bar.
Loop points will disappear.
Flashing
Arranger Mode
Song Mode
..........
Move play bar to point where
you want to append new live
recording to arranger
Hold GREEN bar and click on
the grid to the right to
create.........
Hold RED bar and click on the
grid to the left to create.........
and / or
… Loop START. Bar can be moved
same way as start / end bar.
… Loop END. Bar can be moved
same way as start / end bar.
Song
Song Song
+
Record
Resample
Record
Resample
◄►
Record to Arranger (Cont)
Waveform
11
SAMPLE 1
WAVEFORM
12
SAMPLE 2
WAVEFORM
S
or
&
or
Shift
+
+ +
◄► ◄►
A
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Deluge Ofcial Manual
Add Clip
Arranger View ON, Button ashing
This command is fundamental
to arranger principles
This command can be undone
and redone.
Change / Select
To mute or
Click on instance
tail only
To audition
Mute pads turns blue.
Can solo >1 instrument
at same time
Fully lit left-most grid button will
delete instance from arranger only
Unsolo press blue
Start End
+
+
+
+
+
+
+
Clear Arranger Clips
Move Clip Instances
Select
Used to shorten as well as
lengthen clip instances.
Audition will sound a synths root
note or a kit row instance
Move Row Up / Down
Song
Change Instance Length
All clip instances
Into arranger
Instance’s clip
From arranger
Horizontally across grid
of clip
Mute / Unmute
or audition instrument
to view or edit
Solo Instrument ◄►
◄►
◄►
Enter Clip
Scroll Timeline
with progress bar
Start Playback
From current screen
Pressing play after entering a clip
in this way will continue arranger
from the start of this clip
Only works when play is on and
progress bar is visible
Play will begin from the left most
column visible
AV
ARRANGER VIEW
AV01AV02AV03AV04AV05AV06AV07AV08AV09AV10AV11AV12
Delete Clip Instance
S
M
▲▼
Back / Undo
Redo
◄►
Cross - Screen
Play
A
A
A
A
A
A
A
A
A
A
A
A
A
310 Deluge Ofcial Manual
Arranger Mode ON, Button ashing
LR UR
Or Chosen
E.g. to save white instance as
its own clip. Can scroll before
releasing to place instance.
Can scroll before releasing to
place instance.
Applies to currently visible
screen. Notes ‘falling off’ left
side deleted. Press back to undo
Playing instruments will be
indicated by coloured lit audition
buttons. Once a button is
pressed all the audition buttons
are lit showing loop mode active.
Play will switch from clip loop
mode to arranger at left most
column visible. Will change at
end of loop, in time with seq.
If row contains unique / white
instances they will be lost
completely.
Only way to rename tracks is in
arranger mode.
Not for Audio Clips
Select
Select
Song
◄►
Of clip instance.
From Arranger to Song Mode
From Song to Arranger Mode
88 BPM Not Required
From arranger to song mode
From song loop to play in arranger
Change existing preset or clip type
From within arranger view
From arranger
AV
ARRANGER VIEW
AV13AV14AV15AV16AV17AV18AV19AV20AV21AV22AV23
+
+
Adjust Clip Parameter
Copy Clip
Copy Clip
Insert / Delete Time
Switch Loop Play Mode
Switch Loop Play Mode
Change Instrument Preset
Add New Instrument Clip
Delete Instrument & Row
Rename Track
◄►
◄►
A
A
S
S
Shift
Shift
+
+
+
+
+
Grid button of clip
instance.
Grid button of clip
instance.
Greyed out button,
unused row.
Until
ashes
or
Song
Song
Song
▲▼
Counter Clockwise = Delete Time
Clockwise = Insert Time
A > S
S > A +
Play
Or
Or
Or
Or
Or
Or
Synth
Synth
MIDI
MIDI
CV
CV
+
+
Save
Delete
Q
A S
W
P
Make Clip Unique Left most grid button.
The coloured instance will turn
white to indicate unique, but
contains all note and parameter
data too.
Instance made unique (white)
A
A
A
A
A
A
A
A
A
A
A
A
35
NAME
QWERTY
311
Deluge Ofcial Manual
UR
LR UR
PD
PARAMETER DIALS
LRLR UR UR
Parameter Indicator
Pan
Left & Right
Release
Resonance /
FM
Delay Amount
Reverb
Mod Depth
Underlined parameters identify the default setting
Custom 1
(Pitch)
Custom 2
(Bitcrush)
-
-
LPF* Options
24db, Drive, 12db
Level
Attack
Cutoff /
FM
Delay Time
Sidechain
Mod Rate
Stutter Rate
Custom 3
(Sample Rate)
-
-
LPF*, HPF, EQ
Delay Output
Normal, Ping Pong
Compressor Sync
Slow (8th Notes)
Fast (32nd Notes)
Modulation Type
Flanger, Chorus, Phaser
Stutter Enable
-
Delay Type
Digital, Analog
Reverb Room Size
Medium, Large, Small
Modulation
Depth, Feedback, Offset
-
-
ON
Affect Entire
ON
Affect Entire
312 Deluge Ofcial Manual
LR UR
Can also use external MIDI
from a controller that has been
LEARNed
More assignable options via
sound editor. Ensure parameter
(not just category) is selected.
Check LCD screen for parameter
variation when selected and
adjusted. Also check XML le.
Deleting clip notes does not
delete automation. They exist
independently. Use (MS03) to
delete both.
Can copy between different
parameters, clips and song les.
Automation is copied one
parameter at a time at current
zoom level
Notes set using this method will
remain set until the next
sequence note starts
Of Deluge parameters
Check parameters assigned.
Of parameters
Of recorded parameters.
Of parameters
Of copied parameters
Per note in clip view
Per clip in song view
PD
PARAMETER DIALS
PD01PD02PD03PD04PD05PD06PD07PD08
+
+
+
Assign Gold Dial Control
Check Gold Dial Control
Record Automation
Delete Automation
Copy Automation
Paste Automation
Parameter Change / Lock
Parameter Change / Lock
Shift
Shift
Shift
Shift
+
+
+
+
+
+
Parameter Grid ashes
Parameter Grid ashes
Learn / Input
Learn / Input
Learn / Input
+
+
?
?
Grid Shortcut
Grid Shortcut
LR
LR
LR
LR
LR
UR
UR
UR
UR
UR
Chosen
or
or
Chosen
or
or
or
or
RRecord
Resample
LR
LR
LR
UR
UR
UR
C
S
Play
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Deluge Ofcial Manual
Setup MIDI Sequencing
MIDI Out from Deluge to External Synths, Drums etc
MIDI Sequencing
‘None’ means nothing assigned External MIDI Device CC Modify External Parameter
Select Parameter
Deluge labels do not
apply. Use any button
to map function.
Select MIDI Channel 1-16
Parameters with automation
recorded ‘.’ are not shown with
this command so no automation
can be written in error.
Settings Menu contains several MIDI, CV and Gate parameters which are not specied
above. These include MIDI Thru, PPQN etc. These settings apply to all songs.
Multiple MIDI Channels / Notes
on each row of a kit can be set
+
+
+
+
Change Dial Control
Select
Select
MIDI Note Output
Kit
Of notes
Of parameters.
Pre-Req (MC01)
Change MIDI Parameter but
keep automation.
In a kit clip.
MC
MIDI COMMANDS
MC01MC02MC03MC04MC05
MIDI
C
MIDI
C
MIDI
C
MIDI
C
MIDI
C
MIDI
MIDI
or
or
LR
LR
UR
UR
LR UR
Or
CC with a ‘.’ Indicated in the LCD
screen shows that automation is
already recorded.
Of MIDI parameters
Record Automation LR
LR
LR
UR
UR
UR
or
or
or To record per step automation
Select
MIDI Channel
Select
MIDI Note Value
R
+
Record
Resample
Play
Select
+
+
Shift
+Select
314 Deluge Ofcial Manual
Any already learned MIDI
functions will ash when learn
button alone is held.
Once learned, Clip does not
need to be visible to report into.
Press on ‘load’ clip and will
ash to show enabled. On all
other clips sync-scaling button
will be LIT but not ash.
In Synth; any audition / row
pressed will assign all. In kit,
just instrument / row pressed is
learned. Deluge will learn any
incoming MIDI note data and
map it to the clip
Can trigger Play/Rec, Clip
Mutes etc from Song Mode with
ext controller. Deluge uses
MIDI notes not CC values for
mapping.
Ext Controller
Ext Controller
Ext Controller
To play Deluge Synth or Kit
Via external MIDI Controller
Of Deluge parameter
MIDI Notes into Deluge grid
Pre-requisite (MC06)
For unusual time signatures
Individual kit instrument / rows
Of Deluge parameters
MC
MIDI COMMANDS
MC06MC07MC08MC09MC10
MC11
MC12MC13MC14
+
+
+
+
+
External Controller
Trigger Deluge Song
Un-Learn Ext Controller
External Control
Record External Notes
Sync Scaling
Mute By External MIDI
Un-Learn Ext Controller
Shift
Shift
+
+
+
+
On
On
or Rec, Play etc
or Rec, Play etc
Applies to
(MC06) and
(MC07)
Applies to
(MC09)
Play
Sequence
Song
MIDI In from External Controller to Deluge (to Synths, Drums etc)
Learn / Input
Learn / Input
Learn / Input
Learn / Input
Learn / Input
Learn / Input
C
C
C
C
S
S
G
Shift
Shift
+
+
Parameter Grid ashes
Parameter Grid ashes
Grid Shortcut
Grid Shortcut
Nudge MIDI Clock Tempo
◄►
R
++
Record
Resample
Play
Sync-scaling
Ext Controller
Ext Controller
4/4
MKit
C
315
Deluge Ofcial Manual
Toggle Record Arm
In Song Mode
Clip will not play when recording loops
Clip will play when recording loops
Armed to record. Overdub will record automatically on
new audio track. All will be audible.
Armed to record. Overdub will record on this audio
track. Will then be the only one audible.
By default audio clips are
already armed with purple
ashing mode.
Initial loop recording requires
Armed & Empty Audio clips (LO01).
To close loop recording but keep
playing use (LO03) or (LO04)
Of recording clip row
Red
Red Flash
Purple Flash
Green
(RED)
Press to unmute
Hold
On
On
On
On
+
+
+
+
Start Loop Record
Useful for MIX/OUTP Loops
Initial loop recording requires
Armed & Empty Audio clips (LO01)
Of row directly underneath the
existing audio clip. Will auto insert
if already there.
Of row directly underneath the
existing audio clip. End of loop,
new loop row will automatically be
added
Loop recordings are not saved by default anywhere. To save them to
SD, rst save song (GL09) and / or save + collect all samples (GL19).
Close Loop Recording
Song
Close Loop Recording
Set arm status for clips
Armed clips explained
And immediately play in solo
Record Loop
Record Overdub
Record Overdub
Save Loops
During playback
With continuous layering
To SD Card
◄►
LO
LOOPER
LO01LO02LO03LO04LO05LO06LO07LO08LO09
S
R
R
R
R
ARecord
Resample
Record
Resample
Record
Resample
Record
Resample
Record
Resample
Record
Resample
Record
Resample
Record
Resample
Play
Play
Play
Play
Tempo Detection
For ‘loop pedal’ recording Shift
+To toggle
metronome OFF
Tap Tempo Start with a blank song. Deluge
will estimate and set the BPM for
loop recording based on the audio
received and loop close point.
316 Deluge Ofcial Manual
LO
LOOPER
In Song Mode
FM Modulation Ratios
Common FM Ratios and how to set them in Deluge. Deluge uses
semitones and cents instead of ratios.
Song
Preset Tempo
Grab Tempo
Enable Count-In
For Loop Recording
From existing audio clip
Before audio recording
Synth
C
LO10LO11LO12
1.2.3
Shift
+
+
Select RECOrd COUNt in
New Row Set Clip as
Synth or Kit
Of Audio Clip row. Will
detect and set tempo.
Tempo Once created no note data is
required. New audio clip loops will
be based around this set tempo.
Can also detect tempo from the
audio clip view.
Tempo + Any Grid Pad.
Tempo
Ratio Semitones & Cents
1:2 12
1:3 19,02
1:4 24
1:5 27,86
1:6 31,02
1:7 33,69
1:8 36
1:9 38,04
1:10 39,86
1:11 41,51
1:12 43,02
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Deluge Ofcial Manual
SHORTCUTS
Version 3.0
Example Shortcut symbols
used in the guide.
81
SAMPLE 1
MODE
13
REVERB
ROOM SIZE
81
MOD SRC
AFTERTOUCH
12
SAMPLE 2
WAVEFORM
318 Deluge Ofcial Manual
SHORTCUTS
Version 3.0
Sample 1
MasterDistortion
Oscillator 1
Envelope 1LPF
FM Mod 1Dir
SidechainTreble EQ
Sample 2
VoiceUnison
Oscillator 2
Envelope 2HPF
FM Mod 2
Arpeggiator
LFO 1
LFO 2
Delay
NameBass EQ
Mod FX
Reverb
X
Y Mod Source
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Left Right
Same Note Unison
Octave
Major Seventh
Minor Seventh
Major Sixth
Minor Sixth
Perfect Fifth
Tritone
Perfect Fourth
Major Third
ISOMORPHIC CHORDS
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Left Right
Minor Third
Major Second
Minor Second
Major Triad
Minor Triad
Suspended 2
Suspended 4
Augmented
Diminished
ISOMORPHIC CHORDS
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The Following people have contributed to the making of this community guide:-
• Jon Hutton. Author and developer of the original and rst community guide. The
inspiration and core design for this refresh.
• Adam Robertson. Contributor to the original display guide.
• AdventureKid: Resource and guide for single cycle waveforms. Link
• Mikhail Sladkomedov. Contributor to the FM Ratios.
• Flutehead. Contributor to the original guide faceplate shortcuts graphic overview.
• Manycyber. Contributor to the original guide isomorphic chord illustration.
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NOTES
INDEX
16
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Index
A
Acknowledgments 292
Affect Entire 27, 29
Alpha Numeric Keyboard 30
Arming Audio Clips 176
Arpeggiator 102
Arranger 154
Arranger View 18
Audio Clip 143, 175, 180
Audio Inputs 174
Audio Playback Modes 194
Audition / Section 5
Auto Extend Mode 43
B
Battery 7
Bitcrush 217
BPM 17
C
Chords 54
Clip Length 60
Clip View 18, 20
Cloned Clips 144
Collect Media Function 151
Continuous Overdubs 203
Count In 44
CPU Performance 288
Cross Screen 62
Custom Parameter Affect Controls 131
CV 6, 18, 265, 267
D
Decimation 217
Delay 222
Distortion 217
E
Envelopes 125
EQ 219
Euclidean sequencing 70
External Microphone 6
F
File Structure 12
Filters 98
Firmware 278
Fixed Length Mode 43
FM Synthesis 75
Foot Controller 206
G
Gate 6, 268
Global MIDI Commands 206, 247–248
Grid 4
Grid Shortcuts 92
Index
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H
Headphone Output 6
I
Internal Microphone 5
Isomorphic Chord Shapes 55
Iteration Dependance 64
K
Keyboard Mode 4
Kit 18
Kit Presets 15, 23, 112
Kits 107
L
Layer 208
Legacy Shortcuts 291
Loading 147, 172
Loop 191, 193, 203, 208, 210
Loop Margins 209
Looping 202
Low Frequency Oscillators 125
M
MIDI 18, 206, 235, 241
MIDI Differentiation 237–238
MIDI Thru 243
Mod FX 229
Mode 190
Modulation 5, 117
Modulation Routing Advanced 123
Monitoring 195
MPE 258–259, 261
Multi-Samples 185
Multiple Samples 114
Multiply Clip Length 61
Mute / Launch 5, 21
N
Note length 48
Nudge 243
O
On/Off 6
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Index
P
Pad Colours 281
Pan 68
Parameter Affect Controls 4
Parameter Affect Group 27
Parameter Automation 66, 70
Pitch 188
Pitch Shifting 196
Play direction 36
Polyphony 99
Power 4, 7, 16
Probability 64
PSU 3, 6
R
Re-Sampling 171, 189
Recording 171, 190
Recording Pattern 40
Regular overdub 203
Reverb 224
Reverse 190, 194
Root note 52
S
Samples 173
Sampling 181, 184
Saturation 217
Saving 147
Scale 5, 50
Scroll 56
SD Card 3, 5, 8–9, 12, 171
Sections 145
Sequence 20
Sequencing 34, 56
Sidechain Compressor 127
Single Cycle Waveforms 104
Slicer 183
Song view 18, 137
Sound Editor 90
Stutter Effect 232
Subtractive Synthesis 74, 76
Swing 38
Sync-scaling 251
SYNTH 18
Synth Presets 13, 22
System Architecture 9
System Settings 276
Index
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T
Tempo 5, 17, 38, 192, 249
Tempo Magnitude Matching 250
Time Stretching 196
Transferring Presets 26
Transpose 52
Trigger clock 268
Triplets view 47
U
Undo / Redo 21
Unique Clips 162
Unison Mode 100
USB 4, 6–7
USB Host 290
V
Velocity 45
Voices 99
W
Waveform Editor 191
Waveform View 190
Wavetable Synthesis 76, 79, 89
Compliance information
FCC compliance for United States
This equipment has been tested and found to comply with the limits for a Class B digital
device, pursuant to Part 15 of the FCC rules. These limits are designed to provide
reasonable protection against harmful interference in a residential installation. This
equipment generates, uses and can radiate radio frequency energy and, if not installed
and used in accordance with the instructions, may cause harmful interference to radio
communications. However, there is no guarantee that interference will not occur in a
particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the
user is encouraged to try to correct the interference by one or more of the following
measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and the receiver.
• Connect the equipment into an outlet on a circuit different from that to which the
receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.
You may also nd helpful the following booklet, prepared by the FCC: "How to Identify
and Resolve Radio-TV Interference Problems." This booklet is available from the U.S.
Government Printing Ofce, Washington D.C. 20402.
Changes and Modications not expressly approved by the manufacturer or registrant of
this equipment can void your authority to operate this equipment under Federal
Communications Commissions rules.
In order to maintain compliance with FCC regulations shielded cables must be used with
this equipment. Operation with non-approved equipment or unshielded cables is likely to
result in interference to radio & television reception.
CE compliance
This product is CE marked to denote conformity with Directives
2014/30/EU (Electromagnetic Compatibility) and 2014/35/EU (Low
Voltage), as amended.
Environmental Protection
Waste electrical products should not be disposed of with household
waste. Please recycle where facilities exist. Check with your local
authority or retailer for recycling advice.
328 Deluge Ofcial Manual
© Synthstrom Audible 2022
The Deluge Manual
Fifth Edition v4.0.1 OS
www.synthstrom.com
www.facebook.com/synthstromaudible
All rights reserved. This book or any portion thereof may not be reproduced or
used in any manner whatsoever without the express written permission of the
publisher except for the use of brief quotations in a book review. This book and
its contents are the property of Synthstrom Audible.
Produced in partnership with Synthdawg.
www.synthdawg.com
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