Model 82 Sequencing Mono Synth

Overview

Softube Model 82 Sequencing Mono Synth is our new modeled version of one the best selling analogue mono-synthesizers of the 80s. It is a powerful analogue mono-synth with built-in step-sequencer and arpeggiator. The original hardware launched in 1982, hence the name. This synthesizer packs a lot of punch and is very versatile despite its simple structure.

We expanded on the original concept by introducing optional output distortion and stereo doubling, as well as modern features such as tempo sync for the LFO and DAW sync for the Sequencer and Arpeggio. There’s also an expandable panel that features control over velocity, aftertouch, and modulation behavior.

There are also 3 options for the visual style - grey, blue and red. To further add to this, the Softube Model 82 installer also includes an array of modules to be used within Softube Modular.

Getting Started

Model 82 is a monophonic synthesizer – what does that mean?

Well, it means that it will play only one note at a time, just like the original hardware. Model 82’s voice-structure is a simple, yet powerful concept: it contains a single VCO featuring two waveforms with a sub-oscillator, a great sounding filter, and a snappy envelope. Model 82’s powerful sound can be edited swiftly from the front-panel switches and sliders. This clear and approachable workflow of Model 82 makes the creation of great sounds fast and easy.

Front panel
Bender wheel
Modulation trigger button
Bend and LFO range performance controls
Keyboard

On top you can see the front-panel – this is where you can program Model 82 by clicking and dragging sliders and switches that will change different aspects the produced sound. On the bottom left of the plug-in screen you'll see the Bender wheel and the Modulation trigger button. Above this are the bend and LFO modulation range performance controls. On the bottom center and right you'll find the on-screen keyboard that will reflect your playing. It can also be used to program the sequencer and demo your sound.

Quick tweaking sounds

Click here to view the full-sized image in a new tab

Here some general quick directions on editing sounds:

Add vibrato: The VCO Mod parameter will add vibrato while the LFO Rate will change the speed of that vibrato.
Make your sound duller or brighter: Increase or decrease the VCF freq parameter in the lowpass filter section to your liking.
Adjust the start of your sound: Increase the attack to make the sound softer or decrease it for a swift and hard sound.
Extend your sound duration after keys have been released: Increase the ENV Release parameter for a longer lingering note. If this effect cannot be heard – then increase ENV Sustain level and/or change the VCA Mode switch to ENV (the figure depicted top position of the switch).

Browsing presets

At the top left of the Model 82 plug-in window are two arrows buttons, a preset name drop-down menu, and a short-cut symbol for Softube Preset Collection. This is where you access all presets available for Model 82, both the ones we created for you and the ones you create yourself.

If you want to browse the presets with full overview, information, options for filtering etc – click on the Preset Collection window to bring up this window. For a more casual preset browsing - simply use the back and forward buttons to scroll up and down in the order selected or filtered in the Preset Collection window. Notice that you can filter out all factory presets in Preset Collection to only browse your own User library if needed (see separate description in the user manual for Softube Preset Collection).

In Model 82, many Factory presets include pre-programmed sequences. Try them by clicking on the Sequencer Play-button. If you selected a DAW Sync mode, make sure to start your DAW transport in order to hear the sequence.

Sound architecture

Click here to view the full-sized image in a new tab

Here follows a short description of each of Model 82's sections.

Modulator: This section contains the LFO/internal clock. It is used for modulating pitch, pulse-width, and the filter cutoff. It can be used for internal clocking of Model 82's built-in sequencer and arpeggiator, as well as triggering of the envelope when Envelope mode is set to LFO. Four different types of modulation are available through the waveform dial. Modulation speed can be changed with the LFO Rate slider.

VCO: This is the heart of Model 82: the VCO (Voltage Controlled Oscillator) generates the basic tone of this synthesizer. It simultaneously can output variable pulse and sawtooth waveforms. The Modulation and Pulse Width sliders affect the amount of modulation from the LFO. The Range dial changes the octave of the VCO.

Source Mixer: The sliders set the individual levels of the variable pulse-width and sawtooth waveforms as well as the related sub-oscillator and noise level. The Sub Octave switch determines the octave and waveform of the sub-oscillator.

VCF: This is the VCF (Voltage Controlled Filter) section of Model 82. It is a 24dB/octave lowpass filter with feedback (resonance) that is used for shaping the sound of the VCO, sub-oscillator, and noise. The VCF is controlled through the cutoff frequency and resonance sliders. Three modulation sliders (Envelope, Modulation, Keyboard) determine how much each modulation type affects the filter cutoff frequency.

ENV: This is the envelope section of Model 82. The ADSR (Attack, Decay, Sustain, Release) Envelope describes a triggered series of timed events, typically triggered by the note start. The envelope is used to represent the natural sound properties in a formalized model.

The Envelope in Model 82 can be used for controlling either the width of the VCO pulse waveform, the filter cutoff frequency and/or the VCA (Voltage Controlled Amplifier) meaning that both aspects of timbre and loudness can be affected.

Pitch: In this section are the (fine) tune of the VCO and the Octave offset of incoming MIDI notes, as well as controls for Portamento (Glide) mode and rate. Portamento mode set to Auto is often referred to as “fingered portamento”, which means that portamento is activated when when two notes are played legato.

Sequencer: Model 82 has a built-in step-sequencer that can handle up to 100 steps of note information. Each step can store information on note value, rest (pause) and legato (tied note from previous step). Click load to record notes. The sequencer also records and plays back note velocity, which is an addition to the original hardware.

The playback pace is determined by either the LFO/internal clock (preset, original behavior) or the DAW sync divisions. Pressing the play button will playback of the programmed sequence. When DAW sync is the clock source, the DAW transport needs to play in order for the sequencer to run.

Arpeggio: This section controls the Arpeggio (broken chord) functionality of Model 82.

When one of the Arpeggio modes (Down, U&D or Up) is activated, playing more than two notes will alternate between the notes in an order determined by the arpeggio mode. The rate of the arpeggiator is set either by the LFO/internal clock (preset, original behavior) or by the DAW sync divisions in the Sequencer section.

Key: This section contains the hold and sequence transpose functionality. Hold can be used either to hold a played note indefinitely while you're tweaking your sound, or to latch an arpeggio while in arpeggio mode. The sequence transpose function can only be activated in either sequence playback mode or in latched arpeggio mode in order to set a transpose offset to a played back sequence (see further description below).

VCA: This section controls the VCA (Voltage Controlled Amplifier), via the envelope (continuous, dynamic control) or “gated” behavior.

Output: This section controls the final output tone and overall volume of Model 82. Doubling and Drive effects allow you to expand Model 82's overall sound past the monophonic and clean sound of the original hardware. See further detailed description below.

The Control section: The parameters in this section determine how much the pitch-bend and modulation wheel on your MIDI controller-keyboard affect pitch, filter and vibrato. The vibrato either will turn on instantly through the trigger button (original hardware behavior) or react continuously (can be turned on in the expansion panel and reflected in the fading trigger button LED). The on-screen pitch-bend wheel is virtually “sprung”, which means that it will repel back when moved and released on screen reflecting its real-world counter-part. Both the bender and trigger (mod-wheel) parameters are by default linked to the MIDI pitch-bend messages and MIDI CC#1 through the MIDI link functionality and can be unlinked if desired.

The Keyboard: The Model 82 UI features a on-screen keyboard for fast use during sound design. You can also use the on-screen keyboard to record notes into the step-sequencer or latch an arpeggio. Without reaching for your MIDI keyboard you have the possibility to trigger sounds. The built-in keyboard plays notes equal to a MIDI velocity (64) level and is meant as a tool for instant sound reference.

The Expanded View: The side panel contains the additional velocity and aftertouch options, as well as the MIDI modulation Trigger mode. You can also change between different UI colors. To open the side panel, click on the upper right side of the Model 82 panel (indicated by a right-faced arrow).

The Arpeggiator

Arpeggio means “broken chord”. It is a function that plays back two or more held notes in any of the three orders – Down, Up & Down or Up. Clicking on one of the three arpeggiator buttons (Down, U&D or Up) at any time will activate the arpeggiator. A lit LED shows which mode is selected. Click the lit arpeggio button to stop the arpeggio and return to normal synthesizer "play" mode. An arpeggio can be latched/held using the hold button (see separate description below).

The arpeggio tempo is derived either from the LFO speed or DAW sync if one of the DAW sync buttons in the Sequencer section is activated.

The Sequencer - Loading/recording a sequence

The sequencer can hold up to 100 notes.

Click the Load button to set Model 82 into sequence recording mode. If notes were previously played, load inputs notes where the playback position last left off. The load button overrides the arpeggio or sequence playback modes.

In load/record mode each incoming note played will advance the recording one step. Notes can be entered both from the GUI keyboard or via incoming notes from a MIDI keyboard.

Click on the rest button (transpose) to insert a rest and advance the sequencer one step. The legato button (hold) is a flag that can be set for the current position to sustain a note between the previous and this current step. Click the Legato button again to turn off the flag.

The Sequencer - Playback of a sequence

Click the Play button to set the sequencer into playback mode:

Immediately the sequencer will begin playback of the previously recorded notes in memory from step 1.

The default internal tempo of the sequencer is derived from the LFO rate. If the internal clock/LFO is used to determine the sequencer’s tempo, it will keep playing regardless of the tempo or state of your DAW.

Click the Play button while in playback to stop the sequencer and exit to normal synthesizer "play" mode again.

Click the Load button while in playback of the sequencer to add notes from the current position.

DAW Sync

To clock to DAW sync tempo division select any of the four DAW sync buttons. The four DAW sync buttons are exclusive which means that only one division can be active at once.

Click on an active DAW sync button to turn off DAW sync mode and revert the sequencer and arpeggio tempo to internal LFO.

(Syncing the LFO to the DAW Tempo itself while using the LFO DAW sync switch can create unexpected results as the LFO itself never stops, not even when tempo synced.)

The Hold Function

This latching button can be used with the sequencer (performs legato notes) or arpeggio (latches arpeggio). In normal synthesizer mode it will send an eternal gate to the synthesizer (drone mode).

The Transpose Function

This is the sequencer and arpeggio transpose button. Each incoming note from the GUI keyboard or incoming MIDI notes will transpose the sequence or arpeggio with an additional offset derived from C2 as normal reference pitch.

Clicking on the transpose button again will exit transpose mode and pitch will again be reset to the original recorded pitch.

Detailed Parameter description

Here follows a detailed description of all parameters of Model 82 in the order they are listed in your DAW:

Tune: This is the master tuning of Model 82. It affects the pitch of the VCO up and down a half semitone, but not the keyboard tracking of the filter (exactly like the original hardware).

LFO Sync: This parameter selects between DAW tempo sync and free running mode.

LFO Tempo Sync: When the LFO tempo sync is turned on, each LFO cycle is quantized into division of a beat ranging from one cycle every 4th bar to one cycle each 16th note. This parameter is controlled from the same slider as the LFO (free running) rate described below.

LFO Rate: This slider adjust the speed of Model 82's LFO (Low Frequency Oscillator) from a minimum speed of around 1/10Hz to maximum of around 100Hz.

LFO Waveform: This toggle switch sets the output waveform of the LFO. You can choose between Triangle, Square, Random, and Noise. The triangle waveform is great for vibrato, while the square is better for automatic trills or chopped/gated notes. Random instantly created your “R2D2” effect. Noise modulation is great to add grit or dirt to your sound.

Note that the LFO can be reset from incoming notes when Model 82 is set to Env Mode: LFO (see further description below).

VCO Mod: This slider controls the amount of pitch-modulation applied from the Modulator/LFO section.

VCO Range: This dial set the range in which the VCO operates. The dial switches between four different octaves labeled 16 ́, 8 ́, 4 ́ and 2 ́. At 8 ́an A3 with the Octave switch set to “M”, and normal tuning, will produce a note with a fundamental at 440hz.

VCO Pulse Width: This slider affects the pulse-width of the VCO Square/Pulse output. (The VCO Square slider needs to be raised in the source mixer to hear this.) The Pulse Width slider will work as a manual offset when the VCO PW Source is set to Man. It can also be work as an offset amount control for either the LFO triangle wave output controlling the pulse-width (VCO PW Source set to LFO) or the Envelope controlling the pulse-width (VCO PW Source set to Env).

Click here to view the full-sized image in a new tab

VCO PW Source: This switch sets the behavior of the VCO Pulse Width slider mentioned above. When the VCO Pulse Width slider is set to 0 (min), the Square output will always be a perfect symmetrical square wave.

VCO Pulse: This is the Source Mixer volume control of the pulse wave output of the VCO. It sets the relative volume level against the other outputs of the VCO prior to the filter.

VCO Sawtooth: This is the Source Mixer volume control of the sawtooth wave output of the VCO in the Source Mixer.

VCO Sub: This is the Source Mixer volume control of the Sub-oscillator in the Source Mixer. The oscillator is a square wave or mix of square waves derived from the pitch of the VCO. It will always be in perfect phase with the VCO and appear one or two octaves below the pitch range set with the VCO Range dial.

VCO Sub Octave: This slider controls the Sub-oscillator mix in the Source Mixer. It sets the relative volume level against the other VCO outputs and noise before this mix enters the filter.

VCO Noise: This slider set the amount of white noise mixed into the filter from the Source Mixer section.

VCF Freq: This slider is the most important one in the filter section. It controls the lowpass filter cutoff frequency. The cutoff frequency represents the reference point for all the other kinds of modulation (keyboard tracking, the envelope generator, and the modulation from the LFO/Modulator). The higher this slider is set, the more the filter opens up. At the slider’s max (10) position, the filter is completely open.

VCF Res: This parameter controls the internal feedback of the filter. Higher feedback creates a resonant peak around the cutoff frequency of the filter. At a certain point (resonance set to about 8 or 9), the filter begins to self-oscillate. The self-oscillation creates a nice sine-oscillator that can be tuned and played via the keyboard tracking of the filter (see below).

VCF Env: This slider set the amount of influence the envelope generator will have on the cutoff frequency. The higher this slider is set, the more the envelope will affect how the filter will opens up based on the attack, decay, sustain and release.

VCF Mod: this parameter sets the amount of influence the LFO/Modulator will have on the filter cutoff frequency. The higher this slider is set, the more dramatic the movement will be for the filter cutoff frequency. LFO modulation of the filter cutoff can be used to create everything from slow subtle movements, to tremolos, and auto-wah effects. Random and Noise outputs from the LFO/Modulator will create interesting movement and effect when used to control the filter cutoff.

VCF Keyb: This slider sets the amount of filter cutoff frequency tracking by notes played. At maximum amount the cutoff frequency of the filter will track accurately enough for the user to “play the filter” while it is self-resonating (set LPF Res above 9). Try it!

VCA Mode: This switch determines whether the Voltage Controlled Amplifier will be controlled from the envelope (ENV) or “gated”. When ENV is selected, the Model 82 amplitude volume will change over time in accordance with the controlling signal from the envelope generator. When set to GATE, the volume is simply turned on and off from the keyboard. No volume “swelling” or “decaying” will be applied to the VC. The great thing about the VCA Gate setting is that you’re free to use the envelope to control the filter anyway you want without affecting the amplifier!

ENV Mode: This parameter controls how the Envelope will be triggered. It also affects the keyboard priority:

In Gate+Trig mode, the keyboard will work in last note priority mode, meaning that each new note will trigger the envelope regardless of legato playing. When a note is held and the second played and then released, the first note will also re-trigger. (This behavior is consistent with the original hardware)
In Gate mode, only the first held note will trigger the envelope will pitch will use a low note priority, meaning that lower pitches take priority over higher pitches.
In LFO mode, the LFO will trigger a new envelope based on the LFO rate (when the LFO lamp indicator lights up). This mode also employs a low note priority. Each new note will reset the LFO (the exception is when LFO is Tempo synced to the DAW).

Click here to view the full-sized image in a new tab

The ADSR envelope generator is a keyboard-triggered time-controlled series of events outputting timed changes in voltage output. This means that different phases represent that of an acoustic sound described in its Attack, Decay, Sustain and Release phases.

ENV Attack: This is the Attack phase, which is the swelling phase, from zero to the maximum value of the envelope.

ENV Decay: This parameter controls the Decay phase which is the subsequent falling time taken until the Sustain level is met.

ENV Sustain: This parameter controls the Sustain level That determines the held level as long as the MIDI key (or gate voltage) is held.

ENV Release: This is the control of the Release phase, which is the ending time starting when the key (or gate voltage) is released. It determines the time it takes until the envelope has reached zero again - the end point.

Portamento: This knob set the glide time between notes when Portamento Mode is set to “on” or “auto” and overlapping notes/legato are played. Maximum glide time is about 6-7 seconds.

Portamento Mode: This parameter set whether portamento/glide is applied between notes. The glide rate is set by the Portamento knob while the Portamento Mode (Auto, On, Off) sets the behavior. “Auto” is also called fingered portamento, meaning that portamento will only be applied when overlapping notes are played (legato). This also applies to the internal sequencer playback when a “legato flag” is set on one step. It does not apply to the arpeggiator. "Off" turns off portamento.

Octave: This switch is an offset plus or minus one octave for the UI keyboard and incoming MIDI notes. It also affects filter keyboard tracking (as opposed to the VCO Range, which only affects the VCO and not the filter).

VCO Bend Range: This parameter sets the range of the pitch-bend of the VCO, from zero up to a maximum of +/- 12 semitones. The default value is +/- 2 semitones (1.67). Here are some other values that can be set by the user:

Value: 2.50, minor third

Value: 3.50, major third

Value: 6.00, perfect fifth

Value: 10.00, octave

VCF Bend Range: This parameter sets the range of the pitch-bend to the filter cutoff frequency.

LFO Mod Range: This is the maximum amount of LFO to pitch and filter modulation introduced via the modulation trigger or incoming MIDI modulation (CC#1). This modulation is added to the (initial) amount set by the VCO Mod parameter.

Bender: This is the on-screen pitch-bend wheel. It is virtually “sprung” which means that it will repel back when moved and released on screen. (like its real-world counterpart) By default, this parameter is linked to the MIDI pitch-bend messages through the MIDI link functionality and can be unlinked if desired. When moved, this parameter bends the pitch up or down the amount set by the VCO Bend Range parameter and/or opens and closes the filter cutoff by the amount the set by the VCF Bend Range parameter.

Trigger: This button reflects the tact-switch that the hardware original had built into its bender when pushing it upwards. The modulation behavior produced from clicking on this UI button will always be the same. The MIDI keyboard behavior can be changed from classic static (on/off) to a more modern/continuous one in the expanded panel (see description below).

Drive: This parameter overdrives the output signal with a fuzz-like flavor. This option mimics the effect that performers would achieve when using the original hardware with overdrive pedals.

Doubling: This knob spreads Model 82 in stereo. It emulates a doubling of the played bass line, lead synth, or whatever you’re playing. At minimum (0) doubling is disabled, but then is engaged to full mono doubling with the knob at 12 o'clock (5), to a fairly wide stereo spread at max (10).

Volume: This master volume knob determines the overall output level of Model 82.

SEQ DAW Sync: These buttons (1/4, 1/8, 1/8T and 1/16) synchronize the internal sequencer and arpeggiator of Model 82 to your DAW. When these buttons are engaged, you need to start transport in your DAW in order to engage sequencer playback or arpeggiation.

Key Mode: This controls how Model 82 handles incoming notes from the on-screen keyboard or MIDI notes from your DAW. Default mode is Key, “Load” mode is for sequencer step recording, “Play” is for sequencer playback, and “Down”, “U&D” and “Up” are the three arpeggiation modes (see separate description).

Key Hold: This is the hold functionality used to hold notes (drone) in key mode or latch (hold) arpeggios in any of the three arpeggio modes.

By clicking on the upper right side of the Model 82 panel, the side expander panel becomes available with additional “pro-tweaking options”:

Trigger Mode: This parameter sets one of two behaviors on how external MIDI modulation will be interpreted by Model 82:

Original – this turns modulation abruptly on or off at MIDI CC#1 value 63. It mimics the behavior of the tact-switch found in the original hardware. This is indicated via the trigger LED is either lit or unlit.
Continuous – this gradually introduces modulation to the maximum value set by the LFO Mod Range parameter. This is indicated by the continuous fading of the trigger LED.

VEL to VCF: This parameter controls the MIDI note velocity to filter cutoff. When this parameter is increased the dynamics of a MIDI keyboard will affect the cutoff frequency of Model 82. This also affects notes played back from the sequencer or arpeggiator.

VEL to VCA: This parameter controls the MIDI note velocity to Amp (output volume). Increased value of this parameter will increase the dynamics range capable of being performed on a MIDI keyboard. At maximum, a velocity value of zero will appear silent.

AT to VCF: This parameter controls the MIDI channel’s pressure influence on the filter cutoff. When this parameter is increased, aftertouch will affect the cutoff frequency of Model 82.

AT to VCA: This parameter controls the MIDI channel’s pressure to Amp (output volume). Increased value of this parameter will increase the dynamics from the aftertouch of Model 82. At maximum, an aftertouch value of zero will appear silent while maximum aftertouch will reach the output volume set by the Volume knob.

Color: By clicking on one of the three differently colored miniatures of Model 82, you can change the color to either grey (default), red, or blue. The color does not alter the sound of Model 82.

View: By clicking on the upper right side of the Model 82 panel, the side expander panel with additional “pro-tweaking options” becomes accessible.

Creating sounds – tips and tricks

There are some “hidden” features in Model 82 that might not be so apparent at first. Here are some cool tricks:

Use the LFO square wave to create pseudo-transposition. This is a great trick for creating “octave jumps” (VCO mod at 5.73 or 7.56) for example.
Use LFO reset creatively with DAW synced sequencer. The LFO reset still receives note-reset while playing back a DAW synced sequence. Use this to your advantage to reset the LFO that triggers the envelope (in ENV mode: LFO) from your DAW while using the programmed pitch information for the sequencer.
Use the LFO reset to create note controlled “sample and hold”. Set Env Mode to LFO and set the LFO to a very slow rate while using the RND output to the filter modulation. Each new note will now trigger a random modulation offset to your filter, great for robotic bass action.
Use the self-oscillation of the filter as a second oscillator. When balanced properly against the oscillator outputs, the self-oscillating filter can be used as a second oscillator to great effect as it features its own keyboard tracking.
Abuse self-oscillation of the filter together with high levels oscillators in order to create cool intermodulation distortion.

Model 82 modules in Modular

Model 82 can also be used in Softube Modular as six separate modules, here a brief description:

Model 82 ARP

This is the ARP section of the Model 82. The module expects MIDI input from your DAW/keyboard and external clocks into the clock input or reset jacks. You can also sync it to your DAW by engaging any of the four DAW sync modes.

Model 82 VCO

This is the tone part of the Model 82 also including sub, noise generator and mixer. The PW control is either manual (offset) or external (attenuator). There are two modulation inputs, one DC coupled linear (Mod) and one AC coupled (FM) for pitch-modulation around zero.

Model 82 VCF-VCA

This combined module is the filter and VCA block of Model 82. It is pre-patched together with a separate output for the filter pre-VCA. The CV input attenuator is internally connected to 5V when the VCA CV in jack is not patched.

Model 82 ENV

This is the ADSR envelope of Model 82. It triggers on a gate above 2.5 volts. If triggered by a short pulse or trigger, it will enter the release phase pretty much immediately.

Model 82 LFO

This is the Modulator part from Model 82. It outputs triangle or square wave, clocked random or noise. CV control over rate is possible, although maximum rate is about 100hz. DAW sync control is also available in the modular module.

Model 82 FX

This is the output drive and doubling effect of Model 82 in a module. It adds tonal control over the drive. External CV control of the drive effect is also available.

Credits

Kristofer Ulfves –  Project lead, sound design, presets, testing and user manual
Jacopo Lovatello – Tech lead, DSP models
Arvid Rosen – Mentoring, DSP models
Oscar Öberg – Sequencer and Arpeggiator programming
Björn Rödseth – Framework support
Patrik Holmström – UI programming
Pelle Sernander – UI programming
Nis Wegmann – GUI design
Markus Krona – QA Testing
Johan Bremin – QA Testing
Todd Urban – Product Marketing Management, user manual, testing

Before we start, let's get this out of the way

Model 82 Sequencing Mono Synth