Manual

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WELCOME
Welcome to Rob Papen Vecto!

Vecto is a four-oscillator vector synthesizer that allows users to draw in vector paths to shape
the sound in many ways. Included are a large range of oscillator waves, plus sampled
waveforms and lots of different modulation options and preset vector paths to help create the
unique Vecto sound!

Due to the interesting range of waveforms, from classic analog modelled ones, Additive,
Spectrum and high quality sampled waveforms, the sound options are dazzling deep! Two filters
are added with 28 Filter types and 2 top notch effect processors finish the audio route with
blister.

Rob Papen and Team, February 2019

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 NAVIGATING VECTO
First, we’ll give you a quick overview of Vecto, so you can find your way around. You will find all
the details that make up Vecto in the following chapters.

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 1 Presets and In this section, you select Presets and Banks and gain access to the
Globals Bank Manager, External MIDI Controller Setup and this manual.
Click on the Vecto logo to open the Back Panel
2 Oscillators The Oscillator area contains all the controls to adjust the
parameters of the oscillator. It also contains the XY Pad
3 Filter, Play This section contains the controls to shape the raw sound of the
Mode and oscillators through filtering and volume control
Amplifier
4 Modulation The modulation section contains LFOs and an Envelopes as
modulation sources and an 8-slot Modulation Matrix
5 Effects Vecto’s effect section contains a Chorus, Phaser / Flanger and
Delay / Reverb
6 Arpeggiator The Arpeggiator is fully programmable in 16 steps

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CONTROLS
Vecto uses controller knobs, sliders, buttons and drop-down menus to adjust its parameters.
You operate the controls with the mouse. Click-and-hold the control and move it to the desired
value. While you move the control, its name and value are shown in Vecto’s read-out screen,
which is located at the top of the plug-in panel.

If you hold the shift-key while moving the mouse, you can make minor adjustments with high
accuracy. Consider this a fine-tuning method. To reset a control to its default value you can
either double-click or ctrl-click the control.

There are three kinds of buttons:

On / Off Buttons The value toggles between on and off with every mouse click. An
example is the Draw Osc button.
Radio Buttons Select one option out of several predefined settings by clicking on
the desired value, as in the Filter Envelope invert buttons
Trigger Buttons A Trigger Button starts an action, such as the sound preview.
Menu Buttons Whilst the menus are technically not buttons, in practice they work
like radio buttons. The first click opens the menu which lists all
possible values. With a second click, you select the value. The ECS
button is an example of this type of button.
Right clicking (or control-click on Mac) on a control opens the midi / control menu. This menu
displays the parameter name, its current value and which midi control is linked (latched) to the
parameter. It allows you to select from the following:

Set to default Sets the control to its default value

Set to Zero Sets the controller to zero (0)

Set to minimum Sets the control to its minimum value

Set to maximum Sets the control to its maximum value
Set to mid Sets the control to its medium value
Set to value Enter the value as a numerical value in a text box
Set to random Sets the control to a random value
Increase Increases the control by 1%
Decrease Decreases the control by 1%.
Set value Enter the value as a numerical value in a text box
Latch to midi Latches the control to the next first midi control received.

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MIDI Control through Latching
Latch to MIDI Latches the control to the next MIDI control message received.
Unlatch MIDI Clears the Vecto parameter from any MIDI controls.
Set MIDI CC Enter the MIDI Controller as a numerical value in a text box
Clear MIDI Clears all MIDI latching.
As an example, to latch Volume to an external midi expression controller, right click on the
Volume Knob and select Latch to Midi in the pop-up menu. Next, move the midi Expression
controller. From now the Expression controller will move the Vecto Volume knob. You can still
operate the Vecto Volume knob directly in Vecto though.

The latched MIDI controllers are global and will work for all Presets and active Vecto
instruments in your host.

Note: In the Preset section you can save or load your whole MIDI (latch) controller setup to
hard-disk. This function is called ECS (External Controller Setup). For an explanation of this
function, please see the ECS chapter later in this manual.

Modulation Settings
The third part of the MIDI / Control menu gives access to modulation routing. More details are
provided in the Modulation Matrix chapter.

Modulated by Displays the modulation source that controls this parameter.

Modulate by XY Free Sets the XY Free Destination Menu to this parameter.
X/Y
Set Modulation To Creates an entry in the Modulation Matrix that has this parameter as
its destination.
Default Modulation Slot Sets all the entries in the modulation matrix that have this parameter
Amount as their destination, to the default amount.
Bypass / Un-Bypass Bypasses or un-bypasses all modulation matrix entries using this
Modulation Slot parameter as a destination.
Clear Modulation Slot Clears all entries in the modulation matrix that have this parameter
as their destination.

Drag and Drop Controls

You can drag and drop controls onto the modulation matrix or the XY Free destination menus.
When you drop the control, the control is added to the modulation matrix or the XY Free menu.

Computer Keyboard
You can select Presets and Banks using the computer keyboard. Vecto’s back panel is where
you enable and disable this function. To access the back panel, click on the Vecto logo.

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Note: Rolling the mouse wheel up and down scrolls through the Presets

Up Arrow key Previous Preset.

Down Arrow key Next Preset.
Right Arrow key Increase Preset number by 32 (useful in the Bank Manager)
Left Arrow key Decrease Preset number by 32 (useful in the Bank Manager)
Page Down key Next Vecto Bank
Page Up key Previous Vecto Bank

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PRESETS and GLOBALS

Vecto uses a Preset menu to select and manage Presets. Please note that this is in addition to
the Bank Manager section in Vecto, which is aimed at managing Presets in the context of
Folders.

To select a Preset, click on the Preset display to open the Preset Menu. The top five entries in
the menu give you access to the Presets in the current Folder. They are grouped in sub-menus
of 50 entries each. To step through the Presets one by one, use the < and > keys, these will
take you to, respectively, the previous or next Preset in thecurrent Folder.

Please note: The Presets are stored as individual files on your hard drive. The Banks are
Folders on your hard drive and the Presets are the files within these Folders. You may store up
to 256 Presets in a Folder but have an unlimited number of Folders.

Quick Browser
The Quick Browser shows all the available Folders and their Presets. When you select a Preset,
the Preset itself and its corresponding Folder will be loaded.

Recently Browsed
Recently Browsed displays a list of all recently used Presets. Selecting an entry loads that
Preset. The Clear Recent function removes all entries from this menu.

Favorites
Favorites shows the list of Presets that were saved in the 001 Favorites Folder. Selecting an
entry loads that Preset.

Save Current Preset in Favorites

This will save the current Preset to the ‘001 Favorites’ Bank Folder. The Favorites feature is
used for collecting Presets that you use often. This Folder can hold up to a maximum of 256
Presets. If you have more Favorites than that, you’ll need to create a new Folder, for instance
one called ‘001 Favorites 02’.

Keep in mind that this new Folder will not be used with Save Current Presets in Favorites. This
function is hard wired (connected) to the original Favorites Folder. You can use the Bank
Manager to manage multiple Favorite Folders and copy Presets between them.

Please note: Vecto has a feature in the Bank Manager called Star. This allows you to highlight
favorite Presets and work with them as if they resided within a single Folder. The Star function
and Favorites Folder complement one another and allow you to work with your most cherished
sounds.

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Save Preset
Save Preset writes any changes you have made to the current Preset to disk, overwriting the
old version.

Save Preset As
Save Preset As writes any changes you have made to the current Preset to disk with a new
name. This Preset will be saved in the current Folder.

Save Preset in Folder

Save Preset in Folder writes any changes you have made to the current Preset to disk in a
Folder other than the current Folder. Vecto will prompt you to select the Folder you want to use.

Rename Preset

Rename Preset asks you for a new Preset name. The Preset will be then saved with the new
name. The older version of the Preset is deleted.

New Preset

New Preset creates a new Preset with default settings.

Load Preset

This function loads a Preset from disk or any other attached storage, including USB drives.

Revert to Original Preset / Revert to Edit Preset

This is the same function that you find as a button in the top section of Vecto. It allows you to
toggle between, and compare, an edited Preset and the original version of that Preset.

Clear Preset

This function sets all parameters to their default values but doesn't change the Preset name.

Default Preset

This function sets all parameters to their default values and changes the Preset name to
Default.

Bank
Vecto uses a Bank menu to select and manage Bank Folders. Please note that this is in
addition to using Bank Manager section in Vecto. To select a Bank Folder, click on the Bank
display to open the Bank Menu. To step through the Banks one by one, use the Page Up and
Page Down keys. These will take you respectively to the previous or next Bank Folder.

Create New Folder

This creates a new Folder on your hard disk in the following location (by default)

• PC: Documents\Rob Papen\Vecto\Bank Folder\

• Mac: Applications\Rob Papen\Vecto\Bank Folder\

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On a PC you can select any Folder to install the Banks to in the installer, though we recommend
that you use the documents Folder.

Edit / Orig
As soon as you start editing a Preset (i.e. change a Vecto control), the Edit button will light up. If
you the click on the Orig button it will return the Preset to its original settings (Please note that
your edited sound is still available!). To return to the edited Preset, click on the Edit button and it
will reflect all changes that you have made previously. This function allows you to compare the
original Preset with the edited one, to hear the differences and impact of any parameter
changes.

Direct Access Buttons

Across the Presets and Globals section you find four buttons that give you direct access to
various Vecto functions. These are:

Manager Click to open the Bank Manager

Note (C3) Click to play a C3 note to audition the current Preset
ECS Click to open the ECS menu
Help Click to open the Vecto manual

Vecto Logo
A click on the Vecto logo takes you to the Back Panel. The Back Panel hosts several global
settings and infrequently accessed controls.

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EXTERNAL CONTROLLER SETUP (ECS)
Vecto responds to external Midi messages to change its sound parameters dynamically. The
assignment of external Midi messages to Vecto controls is defined in the ECS. ECS is short for
External Controller Setup. It contains all assignments of midi controllers to Vecto controls that
are being targeted for real time manipulation. Remember, you set each individual midi controller
assignment by using the right button (or control-click on a Mac) menu and selecting latch to
midi. You may unlatch midi controls the same way or clear all midi control assignments. The
ECS button allows you to load and save a complete external midi controller setup. Once set, it is
shared by all Presets and all instances of Vecto that are loaded in your DAW.

Load ECS Load ECS opens the Folder that holds ECS set-ups. The Vecto
installer creates a Folder called ECS that holds all ECS files
Save ECS Save ECS saves the midi set-up you created so you may use it in
other songs. It is saved as an ECS file
Clear Midi This clears all midi settings for Vecto. Useful if you want to start from
scratch

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OSCILLATORS

An oscillator is a tone generator. It is the first building block in the sound construction process.
The frequency setting of the oscillator determines the pitch of the sound. The selected
waveform defines the sound’s initial tonal character, or timbre. Vecto uses 4 oscillators per
voice (note played).

Oscillator On/Off
Clicking on the numbered LED-style buttons in the label area turns the corresponding oscillator
On and Off.

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Waveform Type
The waveform selection is a two-step process. First choose the Wave Category, and then use
the Wave Select dial to select the oscillator wave or sample within the Wave Category.

Wave Category Waveform

Analogue Waves Classic waveforms: Sine, Square, Triangle, Saw, White Noise and Pink
Noise
Additive Waves Additive waveforms
Spectral Waves Spectral waveforms
Samples 1 – 3 Samples and sample sets (s suffix)
Big Samples Multi samples with keyboard splits
Tuned Percussive Tuned percussion samples
Samples
Percussive Samples Drum and percussion samples
FX Samples Special effect sounds

Octave
The octave control sets the base pitch of the oscillator in octave increments. An octave is
equivalent to 12 semitones. The range of this control is from -2 octaves to +2 octaves.

Semi
Semi sets the coarse tuning of the oscillator in semitones from -48 semitones (-4 octaves) to
+48 semitones (+4 octaves).

Fine
Fine controls the fine-tuning of the oscillator in cents, from -100 cents to +100 cents.

Spread
Spread adds multiple oscillators to the main oscillator with a slightly higher and slightly lower
pitch than the main oscillator. In practice it fattens up the sound. The spread control sets the
difference in oscillator pitch and higher settings will make the effect more pronounced. The
spread function is only available for analogue, additive and spectral waves.

Sub
Sub controls the volume of the sub-oscillator. The sub-oscillator is tuned to one octave below
the oscillator. The sub-oscillator knob lets you select two different waveforms. A counter
clockwise position produces a sinus waveform. Turn it clockwise and it produces a square
waveform. The centre position turns the sub-oscillator off. The sub oscillator also works when
selected waveform is a sample.

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Drift
Drift creates slight pitch variations. This can make a sound livelier and is an essential ingredient
for when you want to simulate the behaviour of older analogue synthesizers that are built
around slightly unstable and temperature sensitive electronic circuits.

SMA
The Symmetry Modulation Amount is part of a hardwired modulation path that is incorporated in
each oscillator. It sets the modulation amount. You will have encountered this function in other
synthesizers as Pulse Width Modulation or PWM. In Vecto, the Symmetry function and its
modulation apply to Additive and Spectral waveforms too. Hence the more generic name.

Speed
The SMA function is provided by an LFO. The LFO generates a slow running sinus-shaped
control signal that modulates the symmetry point. The Speed knob sets the frequency of the
LFO.

Symmetry
This setting controls the symmetry of the Analogue, Additive and Spectrum waveforms. The way
it affects the sound differs from waveform to waveform. What it does is that it moves the
midpoint of the waveform. It is most commonly used with the Square waveform. Here the
symmetry control alters the pulse width of the waveform, from very narrow pulse waveforms to
normal square waves. In Vecto it also works for Additive and Spectral waveforms.

Pan
The Pan control places the output of the oscillator in a stereo image (Left – Right).

Volume
This control sets the volume of the oscillator in decibels.

Free
The Free button is used to select the reset-behaviour of the oscillator. If Free is turned Off, the
oscillator waveform is reset to its zero phase position each time you play a note. When Free is
turned On, the oscillator is free running; i.e. it is not reset when you play a note. In Free mode
the attack is less pronounced, which may be useful for pad sounds.

Sync (Oscillator 2 – 4 Only)

The Sync control allows you to synchronise the pitch of oscillators 2 to 4 to the pitch of
Oscillator 1. The synchronised waveform is reset every time Oscillator 1 waveform ends its
cycle. This essentially cuts of the synchronised waveform and resets it to zero, in sync with
oscillator 1. Because of the reset, the synced oscillator waveform will undergo abrupt changes
in its shape. These abrupt changes are audible as additional overtones (harmonics). The pitch
controls of oscillators 2 – 4 now operate as a harmonics control.

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Volume Control and Inv
Each oscillator has its own modulation source for controlling its volume. The options include X/Y
position of the XY Pad, the free LFOs, the Envelopes and the CV input. The Volume Control
modulation lets you create dynamic mixes of the four oscillator signals before they go the filter.
This dynamic mixing sits at the heart of vector synthesis. The Invert (Inv) button inverts the
modulation signal so that when the control signal increases, the oscillator volume decreases.
The Inv button is invaluable when you want to create crossfades between oscillators that use
the same Volume Control source.

Delay
The Delay introduces a delay between the playing of a note and sound of the oscillator. Use the
Delay setting to create miniature arpeggios or to separate attack from sustain across multiple
oscillators.

Reverse
The Reverse function works with sample-based waveforms and plays the samples backwards.

Routing
The Routing control sets the destination of the oscillator signal. The destination options include
Filter 1, Filter 2, Filters 1 & 2, Mod FX, Delay FX, Mod and Delay FX, Oscillators 1- 4 (for FM or
Frequency Modulation).

Retrigger
The Retrigger function works with sample-based waveforms. It retriggers the samples after a set
interval.

KB Track
The track switch enables and disables keyboard tracking. It controls whether the pitch of the
oscillator follows the keyboard or is fixed regardless of the note played.

Modulation Matrix and Oscillator control destinations

In addition to the controls listed earlier, several oscillator parameters can be accessed through
the modulation matrix. Use the following as destination in the modulation matrix to gain
additional control over the oscillators. There is also an additional Modulation Source.

Phase Modulation Destination Controls the phase of the waveforms

Offset Modulation Destination Controls the start position of the samples
Feedback Modulation Destination Creates a feedback loop around the oscillator
through frequency modulation
Retrigger Modulation Destination Allows you to retrigger the oscillator via the
Arpeggiator
Osc Retrigger Modulation Source Allows you to retrigger the XY path, the envelopes,
the LFOs when the oscillator retriggers

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XY CONTROLS
Vecto uses a central XY controller to create a
dynamic mix between the oscillators. This gives you
the classic set-up for vector synthesis. The XY Pad
is also a generic modulation source. As an example,
use X/Y values to control filter cutoff frequency and
resonance.

You can move the red dot manually across the XY

pad (use the mouse to click and drag) when the XY
pad is in Direct Mode. Use the LED Style buttons at
the top of the pad to switch between the different
functions of the XY Pad.

Vector On/Off
When Vector Mode is off then the volume of the 4
oscillators is not controlled by the XY Pad position.
When it is turned on, the volumes of the oscillators
are under the spell of the XY pad.

Direct Mode
In Direct Mode, the red dot and wherever you drag it
to, is what determines the X and Y values. You may
want to use this in a live situation or when you need absolute control. For even more control,
use the dedicated X and Y controls to set the horizontal and vertical position.

Record / Replay Mode

In Record mode, Vecto records the dot’s position as you drag it across the grid. Use the Record
and Replay buttons to switch between the modes.

In Replay mode, the red dot moves automatically along the pre-recorded path. The path is
represented on the XY Pad by a number of dots and transition lines between the dots. You can
re-shape the path by dragging the dots to where you want them.

To help you create your own paths for playback a number of preset shapes and commands to
manipulate the paths are included. Access the pre-recorded paths via the Command Menu.

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Mode
The Vecto XY Pad operates in Poly, Free or Mono mode. The mode setting determines how the
XY responds when you hit one or more keys simultaneously.

Poly Mode Each note you play has its own XY path and each path starts from
the zero position.

Free mode The XY path is free running and all the notes share the same XY
path and is not reset when you press a key. In Free mode the XY
path is always looped.

Mono mode Similar to free mode, but the XY path is reset when your press a
key.

Steps
The Steps control sets the number of points in the XY path. The choices are 4, 8, 16 or 32
steps.

Loop Start
Loop Start sets the starting point of the XY path. When set to Single, every note played will start
at the predetermined start point. In Free mode, the path plays back from wherever it was left,
and loops through the complete path.

Time quantization
The time quantization sets the resolution for how often the XY values are being updated as
Vecto traverse through the XY path. When the setting is off, the update happens as often as
possible and the XY transitions are smooth. Use lower resolution settings for rhythmic effects.

Space Quantization
The space quantization sets the resolution for the actual XY. When the setting is off, the path
follows the XY points exactly. Use other settings to move the path along the XY pad’s grid
points.

Smooth
This controls how much the XY path's shape is smoothed out. At high amounts any sharp
angles are smoothed out.

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Sync To
By default, when the XY path is replayed, it takes the same time for playback as it took to record
it. The playback time can also be mapped to a set period, for instance a beat, independently of
the recording time. The “Sync-To” menu allows you to set that playback interval. In the
Off-setting, the XY cursor does not move. You can still invoke the dynamics of the XY Pad by
using the XY Path Pos modulation destination. For instance, set one of the modulation slot
sources to Mod Wheel and the destination to XY Path Pos and the amount to maximum. Move
the mod wheel while playing a note and you’ll see the XY cursor. You don’t need to set the
Sync time to Off to use path position modulation. Any modulation will simply be added to the
path. For instance, adding a LFO modulation will make a path wobbly on playback.

Speed / Speed Control / Speed Source

As well as being able to sync to a set period, you can also modulate the speed. So The Speed
knob changes the playback speed from taking 1/16 of the regular time, to 16 times the regular
time. Speed Ctrl / Speed Source allows you to modulate this speed changing using the normal
range of modulation sources.

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XY Menu / Command
The Command button or a right click in the XY display opens the XY Menu with the following
options:

Edit Position Enables editing of the path’s points

Edit Grouping Single Only the selected point is edited
Edit Grouping Narrow The 3 points preceding and following the current position are selected for
editing
Edit Grouping Wide The 8 points preceding and following the current position are selected for
editing
Reset Position Resets the XY position
Reset All Resets all the XY settings
Reset Modulation Resets all the XY modulations controls
Copy Copies the current XY settings
Paste Pastes the last copied XY settings
Set to circle, square, … Sets the XY path to a circle, square and other preset shapes
Reverse Reverses the XY path, so it will be traversed backwards
Flip Horizontally Flips the XY path horizontally
Flip Vertically Flips the XY path vertically
Rotate Rotates the XY path by a set number of degrees
Snap to Grid Snaps the XY path to a set number of grid points
Smooth Smooths the XY Path
Scale X & Y Scales the XY path around the centre by a set amount
Undo Undo the last command
Latch X/Y Latches the X/Y position to the next received Midi CC control
Set X/Y CC Opens an input box where you can set the Midi CC to link the X/Y
position to
Unlatch X/Y Unlatches the X/Y Midi latching
Load Loads a previously saved XY Preset
Save Saves the current XY settings in a Preset

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FILTER 1 AND 2
Vecto includes two high quality analogue modelled filters that
apply subtractive filtering to the soundwaves generated by the
oscillators. The filters have their most used modulation
parameters hard-wired in the Vecto structure, such as
Envelope, Velocity and Modulation Wheel. The controls are the
same for both Filter 1 and Filter 2. Select which filter to edit via
the LED-style switch in the top right corner of the filter panel.

Filter Select
The LED-Style buttons 1 and 2 select Filter 1 or Filter 2 for
editing.

Filter Path Routing

The Filter 1 Path and Filter 2 Path controls set the routing of the
oscillator signals through the two filter sections (1 and 2). It
allows you to use the two filters in series, or in a parallel
configuration. For a serial configuration, direct the oscillator
signals to Filter 1 and set the Filter 1 Path setting to Filter 2. For a parallel set-up send the
oscillators to both filters and set the Filter 1 Path Setting to anything but Filter 2.

Both Filters can be directed to the Mod FX, Delay FX or Dry (bypassing both FX units).

Filter Type

Bypass The filter is in bypass mode and any sound passes through
unaffected

6dB LowPass Low frequencies pass through this filter; frequencies above
the Cutoff frequency are reduced by 6dB per octave. For
example: a frequency 2000Hz is 6dB softer in volume if the
Cutoff frequency is set to 1000Hz.

6dB HighPass High frequencies pass through this filter; those below the
Cutoff frequency are reduced by 6dB per octave. The filter is
open if the Cutoff frequency knob is turned fully counter-
clockwise.

12dB LowPass Low frequencies pass through this filter; those above the
Cutoff frequency are reduced by 12dB per octave.

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 12dB LowPass 2 This is an additional 12 dB LowPass filter with an alternative
tonal character

12dB HighPass High frequencies pass through this filter; those below the
Cutoff frequency are reduced by 12dB per octave. The filter
is fully open if the Cutoff frequency control knob is turned
fully counter-clockwise.

12dB HighPass 2 This is an additional 12 dB HighPass filter with an

alternative tonal character

18dB LowPass Low frequencies pass through this filter; those above the Cutoff
frequency are reduced by 18dB per octave.
18dB HighPass High frequencies pass through this filter; those below the Cutoff
frequency are reduced by 18dB per octave. The filter is fully open
if the Cutoff frequency knob is turned fully counter-clockwise.
24dB LowPass Low frequencies pass through this filter; those above the Cutoff
frequency are reduced by 24dB per octave.
24dB LowPass 2 This is an additional 12 dB LowPass filter with an alternative tonal
character
24dB HighPass High frequencies pass through this filter; those below the Cutoff
frequency are reduced by 24dB per octave. The filter is fully open
if the Cutoff frequency knob is turned fully counter-clockwise.

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 12dB BandPass This filter mode is a combination of 12dB LowPass and 12dB
HighPass filters. Only those frequencies near the filter Cutoff
frequency pass through (a band of frequencies), the resonance
(Q), controls the width of this band so that low and high
frequencies are removed.
12dB BandPass 2 This is an additional 12 dB BandPass filter with an alternative
tonal character
24dB BandPass This filter mode is a combination of a 24dB LowPass and 24dB
HighPass filter. Only those frequencies near the filter Cutoff
frequency pass through (a band of frequencies), the resonance
(Q) controls the width of this band, so low and high frequencies
are removed.
24dB BandPass 2 This is an additional 24 dB BandPass filter with an alternative
tonal character
12dB Notch The frequencies in the region around the filter Cutoff frequency
are reduced in volume (12dB), the resonance controls the width of
this region.
12dB Notch 2 This is an additional 12 dB Notch filter with an alternative tonal
character
24db Notch The frequencies in the vicinity of the filter Cutoff frequency are
reduced in volume (24dB), the resonance controls the width of this
region.
24dB Notch 2 This is an additional 24 dB Notch filter with an alternative tonal
character
36dB LowPass Low frequencies pass through this filter; those above the Cutoff
frequency are reduced by 36dB per octave.
36dB HighPass High frequencies pass through this filter; those below the Cutoff
frequency are reduced by 36dB per octave. The filter is fully open
if the Cutoff frequency knob is turned fully counter clockwise

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 Comb Positive This is a very short delay, which emphasizes the comb filter
frequency. The Cutoff frequency controls the length of this delay
and resonance (Q) the feedback of the filter.
Comb Negative This is a very short delay, which reduces the comb filter
frequency. The Cutoff frequency controls the length of this delay
and resonance (Q) the feedback of the filter.
Vox filter Vocal Filter, which adds a voice-like filtering to the sound. In Vox
filter mode, the distortion knob controls the vowel of the filter.
Vowel Sets the vowel formant (a,e,i,o and u) as used by the vox
filter
Formant 2 Band Vocal Filter, which creates a vocal character based on 2 bands. In
Formant 2 mode, the distortion knob controls the separation of the
bands.
Formant 4 Band Vocal Filter, which creates a vocal character based on 4 bands. In
Formant 2 mode, the distortion knob controls the separation of the
bands.
Ring Ring Modulation effect, Q alters the amount of ring modulation.

Filter Controls

Frequency
The Cutoff Frequency sets the frequency at which point the filter starts attenuating harmonics in
the sound. For instance, if you set the Cutoff to 2000Hz and use a 12dB Lowpass filter, it
reduces any frequencies above 2000Hz, and frequencies at 4000Hz will be reduced by 12dB.
The Cutoff frequency can be static at a single programmed frequency, but for more dynamic
sounds, try modulating the Cutoff Frequency with the Filter Envelope, Keyboard tracking,
Modulation Wheel and LFO.

Q (Resonance)
Q is the resonance level of the filter. Sounds at and directly around the filter cutoff frequency are
emphasised by the resonance. For the 6dB filters types it has no effect though, because the
filter’s slope is not steep enough. In the Ring filter it controls the amount of ring modulation. In
the Comb Filter it controls the amount of feedback and in the Vox filter the bandwidth of the
formant filters.

Volume and Pan

The volume and panning controls should be self-explanatory: one sets the output volume of the
filter, the other positions the filter output in a stereo field.

Tip: Consider setting one of the filters to Bypass and use the panning control to pan the output
of the oscillators without filtering them or use it for panning modulation effects.

Rob Papen Vecto 23

Vowel
In the Vox filter this controls the vowel of the filter. For Formant 2 / 4 filters, it controls the
separation of the filter bands.

Cutoff Frequency Modulation

Modulation Wheel (ModWhl)

This control lets the position of the modulation wheel determine the cutoff frequency of the filter.
The strength of the Mod Wheel – Filter Frequency coupling is set by the level of this control.

Envelope (Env)
The envelope moves the filter cutoff frequency, following the contour of the envelope. The
Envelope is part of the Filter section. Keep in mind that if you use negative modulation, the
control signal is inverted: as the envelope level rises the filter frequency is lowered.

Velocity (Vel)
Typically, the harder you strike the keys, the more the filter opens. When you use negative
modulation values the filter closes with increasing velocity. If Vecto is in sequencer mode (Play
mode) the sequencer velocity settings drive the filter frequency.

Track
Again typically, the Cutoff frequency increases, i.e. the filter opens, with notes played higher on
the keyboard. When you use negative modulation values, the filter closes with increasing note
pitch.

Filter Envelope
An envelope is a time-based modulation source in a synthesizer. When triggered – typically by
playing a note – it moves from 0% up to 100% and back to 0% when you release the key. The
Filter Envelope determines how the timbre of a sound changes while holding a note. A typical
application of a filter envelope is to sweep through the frequency range of the filter.

The first part of the envelope is known as the attack stage. It represents the time it takes for the
envelope to reach 100%. If you open the Attack knob, it takes longer to go from 0 to 100%. With
Attack closed, the envelope starts at 100%.

After the attack stage, with the envelope at 100%, the decay stage starts. The decay stage
brings the volume down to the sustain level. If the sustain is set to 50%, the decay brings the
volume down to 50% and stays there for as long as the key is held. If you use a long decay, it
takes long to reach the sustain level. This is useful for evolving pad sounds. Short decay times
are a god ingredient for percussive sounds. If the sustain level is 100% the impact of the decay
stage is effectively eliminated.

Rob Papen Vecto 24

The sustain stage is characterised by a (sustain) level setting. After the attack and decay stage,
the envelope reaches the sustain stage and remains here for as long as you hold a key. The
sustain level is the level of this sustain stage and as such is main control for the perceived
volume of a sound.

If the fade control is set to zero, the envelope behaves as a classic ADSR envelope If you open
the fade amount in a positive direction, the sustain turns into a second attack. So after the
Decay reaches the Sustain level the envelope level will rise to 100% as set by the Fade time. If
you open the fade amount in a negative direction the sustain changes into a second decay. In
this case after the Decay reaches the Sustain level the envelope level falls back to 0% in the
time set by the fade control.

The envelope release stage starts when you release a key. The envelope fades out from the
sustain level to 0% in the time set by the release control.

Rob Papen Vecto 25

AMPLIFIER
While the oscillator section controls the pitch and the filter
section the timbre, the amplifier section is responsible for the
volume of the. It amplifies the signal and modifies the volume.
An important component of the amplifier section is the Volume
Envelope. The envelope defines the loudness contour. The
amplifier section also contains the velocity control. This sets the
response of Vecto to the velocity information.

Volume
The Volume sets the overall volume of the Patches. Use this control to adjust the relative
volumes between Patches in a Folder.

Velocity (Vel)
The Velocity control determines how the volume responds to changes in note velocity. It applies
to notes played on a keyboard and those triggered by the Vecto arpeggiator.

Velocity shape
The velocity shape changes Vecto's velocity curvature response to the keyboard input or host
input. The control ranges from Exponential (negative values) to linear (0) to Logarithmic
(positive values). The default setting is linear (0).
Note: many keyboards already have a built-in velocity curvature response setting. The default of
0 is probably the best to use. This setting is also saved as part of a patch.

Lin
With the Line switch activated, all the envelope segments have linear shapes (i.e. a straight line
form one envelope point to the next). Leave the Lin switched turned off for the Velocity Shape
control to take effect.

Pan
The pan control places the sound in a stereo image. The range moves form hard left, through
the centre to hard right.

Volume Envelope
The Volume Envelope determines the loudness contour of a sound. An envelope is a time-
based modulation inside a synthesizer. When triggered – typically by playing a note – it moves
from 0% up to 100% and back to 0% when you release the key. The Volume Envelope
determines the volume contour of a sound.

The first part is known as the attack stage. It represents the time it takes for the envelope to
reach 100%. If you open the Attack knob, it takes longer to go from 0 to 100%. With Attack
closed, the envelope starts at 100%.

Rob Papen Vecto 26

After the attack stage, with the envelope at 100%, the decay stage starts. The decay stage
brings the volume down to the sustain level. If the sustain is set to 50%, the decay brings the
volume down to 50% and stays there for as long as the key is held. If you use a long decay, it
takes long to reach the sustain level. This is useful for evolving pad sounds. Short decay times
are a god ingredient for percussive sounds. If the sustain level is 100% the impact of the decay
stage is effectively eliminated.

The sustain stage is characterised by a (sustain) level setting. After the attack and decay stage,
the envelope reaches the sustain stage and remains here for as long as you hold a key. The
sustain level is the level of this sustain stage and as such is main control for the perceived
volume of a sound.

If the fade control is set to zero, the envelope behaves as a classic ADSR envelope If you open
the fade amount in a positive direction, the sustain turns into a second attack. So after the
Decay reaches the Sustain level the envelope level will rise to 100% as set by the Fade time. If
you open the fade amount in a negative direction the sustain changes into a second decay. In
this case after the Decay reaches the Sustain level the envelope level falls back to 0% in the
time set by the fade control.

The envelope release stage starts when you release a key. The envelope fades out from the
sustain level to 0% in the time set by the release control.

Rob Papen Vecto 27

PLAY MODE
The Play Mode section contains controls to set the Play settings
for Vecto.

Play Mode
Poly Multiple notes can be played at the same time. Vecto is polyphonic
Mono Only a single note can be played at a time. Any new note will stop previous
note.
Legato Similar to mono but if you play overlapping notes, the envelopes and LFOs
will not be retriggered for the new note.
Arpeggiator Any notes played will trigger the sequencer (See the Arpeggiator section)

Port Mode
Portamento mode (the amount of portamento is controlled by the Port Amount control)

None No portamento.
Constant Rate The note pitch changes at a constant rate from one note to the next.
Greater keyboard note ranges take a longer time.
Constant Time The note pitch changes between notes always take the same time,
regardless of note range.
Held Rate This mode works the same as constant rate, but only affects
overlapping notes (legato style)
Held Time This mode works the same as constant time, but only affects
overlapping notes (legato style)

(Portamento) AMT
This control sets the rate or time for the portamento effect.

Chord Mode
Up to 8 notes can be set up as chord. Vecto will play the chord for every key played.

Number of Chord Notes

Sets the number of notes in the chord, from 1 (Off) to 8.

Rob Papen Vecto 28

Chord Note Selector
This control selects the chord note for editing. Every chord note has its own tuning (Semi) and
panning (Pan)

Chord Note Semi

Sets the semitone offset for the select Chord Note relative to the note played.

Chord Note Pan

Sets the panning position for the select Chord Note.

Strum
The Strum function introduces a slight delay between the Chord Notes. The strumming effect is
similar to that when playing a chord on a guitar the individual strings are plucked one after
another.

Please Note: Chord Mode can be very CPU intensive. Please bear this in mind when activating
Chord Mode.

Rob Papen Vecto 29

MODULATION
You find Vecto’s modulation section in the bottom
left hand corner of the panel. The modulation
section holds 2 Envelopes, 2 LFOs and a
modulation matrix with 8 slots. The modulation
section is a treasure trove for subtle or complex
sound-shaping options.

Envelope 1 and 2
An envelope is a time-based modulation source in a synthesizer. When triggered – typically by
playing a note – it moves from 0% up to 100% and back to 0% when you release the key. A
typical application of a modulation envelope is to sweep a targeted parameter (destination)
through a range of values.

The first part of the envelope is known as the attack stage. It represents the time it takes for the
envelope to reach 100%. If you open the Attack knob, it takes longer to go from 0 to 100%. With
Attack closed, the envelope starts at 100%.

After the attack stage, with the envelope at 100%, the decay stage starts. The decay stage
brings the volume down to the sustain level. If the sustain is set to 50%, the decay brings the
volume down to 50% and stays there for as long as the key is held. If you use a long decay, it
takes long to reach the sustain level. This is useful for evolving pad sounds. Short decay times
are a god ingredient for percussive sounds. If the sustain level is 100% the impact of the decay
stage is effectively eliminated.

The sustain stage is characterised by a (sustain) level setting. After the attack and decay stage,
the envelope reaches the sustain stage and remains here for as long as you hold a key. The
sustain level is the level of this sustain stage and as such is main control for the perceived
volume of a sound.

If the fade control is set to zero, the envelope behaves as a classic ADSR envelope If you open
the fade amount in a positive direction, the sustain turns into a second attack. So after the
Decay reaches the Sustain level the envelope level will rise to 100% as set by the Fade time. If
you open the fade amount in a negative direction the sustain changes into a second decay. In
this case after the Decay reaches the Sustain level the envelope level falls back to 0% in the
time set by the fade control.

The envelope release stage starts when you release a key. The envelope fades out from the
sustain level to 0% in the time set by the release control.

Vel > T
This control allows you to change the envelope times based on note velocity (how hard you
strike a key). A positive value here means that forte notes produce faster envelopes. A negative
value has the opposite effect: piano notes get the faster envelopes.

Rob Papen Vecto 30

Key > T
This control allows you to change the envelope times based on note pitch. A positive value here
means that higher keys produce faster envelopes. A negative value has the opposite effect:
higher notes get slower envelopes.

Sync
Sync is a switch that enables automatic triggering of the envelope, synchronised to your DAW’s
tempo setting.

LFO 1 and 2
The Vecto modulation section has two LFOs. Both LFOs
have an identical set of controls to determine their
behaviour.

Waveform type
The available waveforms are Sine, Triangle, Saw Up, Saw
Down, Square and S&H. The waveform determines the modulation pattern of the LFO. Sinus
and Triangle are often used because these move the LFO up and down in a smooth fashion.
The other waveforms are more suitable for a more pronounced impact.

Mode
The LFO reset type has three different modes:

Poly In poly mode, each note played has its own LFO.
Free The LFO is free running and all the notes share the same LFO. The LFO
is always running and does not reset when you press a key.
Mono Similar to free mode. All notes share the same LFO. However, when you
press a key in Mono mode, the LFO is reset to its initial phase (start
position)

LFO Speed
The speed control determines how fast the LFO cycles through its selected waveform. It is
measured either in hertz (cycles per second) (Sync Off) or note lengths (Sync On). The speed
range runs from 0.03 Hz to 27.5 Hz.

LFO Sync Off / On

If you turn Sync on, the Speed of the LFO will be based on your DAW’s tempo. It will
synchronise with the song tempo. In Sync Mode, please use the Speed parameter to select the
desired beats / divisions setting.

Rob Papen Vecto 31

Free Modulation Slots 1 – 8
There are eight different modulation matrix slots, and
they are used in order until a blank modulation slot is
encountered. You need to ensure that there are no
blank slots in-between populated modulation slots.

The source column gives you access to all

modulation sources. There are a total of 35
modulation sources available

The amount control defines the modulation strength

for each modulation slot. It sets the level of impact
the modulation source has on its destination or target. It speaks for itself that depending on the
selected source and the amount the effect ranges from subtle variations to outrageous
manipulation. The amount control is an intelligent one. It displays its value according to
destination type. For example if the destination is pitch, then the modulation amount is shown in
semitones. If the modulation targets are time based, such as the Speed of an LFO, the range
goes from 25% up to 400%, which is from 25% of the original speed (i.e. ¼ as fast) to 400% of
the original speed (i.e. 4 times as fast).

The destination column lists which parameter is subject to the programmed modulations. You
have a choice of 159 destinations here.

Rob Papen Vecto 32

ARPEGGIATOR
Vecto incorporates a classic
style arpeggiator that plays
notes one after another,
drawing from all keys that are
held down. The playback order
happens in a variety of octaves
and patterns. The arpeggiator has a built-in pattern sequencer. Each step of the pattern
sequencer has individual on/off and velocity settings.

To turn on the arpeggiator, select arpeggiator (Arp) in the Play Mode section.

Steps
The number of steps in the arpeggiator ranges from 1 – 16.

Speed
This control sets the speed of the arpeggiator relative to the speed of your DAW, for example
2 x tempo or ¼ x tempo.

Octaves
The octave setting gives you the option to play the arpeggiated notes in multiple octaves,
relative to the original notes. For example, an octave setting of 2 means that the original notes
will play first, followed by the same notes one octave higher.

Rob Papen Vecto 33

Arp Mode
The arpeggiator mode controls the order in which the arpeggiator plays its notes

Up The notes are played from low to high

Down The notes are played from high to low
Up/Down The notes are played from low to high followed by from high to low
Down/Up The notes are played from high to low followed by from low to high
Random The notes are played in random order
Ordered The notes are played in the order in which they were triggered, i.e.
first note played first, and last note played last
Rev. Ordered The notes are played in the reverse order in which they were
triggered, i.e. last note played first, and first note played last
Ordered Up/Down The notes are played from first to last followed by last to first
Ordered Down/Up The notes are played from last to first followed by first to last
Chord The arpeggiator plays all notes as chord in a rhythmic pattern
Mod Free Creates a freely running arpeggiator that can be used as a modulation
source
Mod Mono Creates the Arpeggiator with every key played to be used a s a modulation
source

Please Note: when the arpeggiator is not activated in Play Mode, it can still be used as a
modulation source.

Swing
Swing is a control that allows you to change the rhythmic feel of the arpeggiator. It does this by
slightly moving every other note relative a fixed timing grid. Whether it suits your work depends
very much of the musical piece you are working on, so you we encourage you to experiment
with different values here.

Length
The length control can be used to set the arpeggiator note duration for all steps simultaneously
at an identical value. This setting is relative to the step size, i.e. from 1% to 100%. Please note
that you will need a 100% value for tied notes.

Vel / Key
The velocity of the steps in the arpeggiator sequence can be controlled by their programmed
values, by the velocity of the key played that is used to trigger the arpeggiator or a combination
of both. The Vel / Key control sets the balance between these.

Rob Papen Vecto 34

Latch
Latch frees your hands. When latch is turned on you don’t need to keep holding notes for the
arpeggiator to continue playing. Tip: you can use also the sustain pedal to latch and unlatch the
arpeggiator.

Sync
The Sync switch synchronises the arpeggiator your DAW’s tempo. It is On by default.

Vel
Vel sets the programmed velocity value for each step. The impact of the programmed value is
determined by the setting of the Vel / Key control

Step 1 – 16 On/Off
Click on a step number to mute and un-mute it.

Rob Papen Vecto 35

FX SECTION
Each Vecto Patch incorporates up to
two independent high-quality effects.
The effects are connected in series.
Each effect type comes with default
parameter settings and can be used
straight away upon selection. If you
make any changes to the effect
controls however, it will remember
these. This allows you to experiment
with different effect types, while
keeping any changes you made intact.

Effect 1 / 2
The LED-style switches next to the FX labels turn the effect sections On and Off.

Mix
The Mix control sets the balance between the original synth signal and the effect signal. Slide it
fully left to hear the original signal only. As you start moving the Mix to the right, more and more
effect signal will become audible.

Effect Types
Type sets the effect type for the effect units. FX 1 delivers the modulation effects: Chorus,
Ensemble, Phaser, Flanger and Widener. FX2 takes care of the delays and reverbs.

Rob Papen Vecto 36

Chorus
The chorus effect combines the original signal with one or more copies of the input. All copies
are slightly delayed. The effect simulates multiple players playing the same music. In practice, it
creates a richer sound. An LFO is used to modulate the delay time(s)

Length Length sets the delay time used to create the Chorus effect

Width Width sets the maximum modulation amount of the delay time
(length)

Speed Speed sets the frequency of the LFO that drives the delay time
modulation.

Spread Spread introduces different modulation speeds for the left and right channel

LP Filter LP Filter sets the low pass filter frequency applied to the chorus effect.
HP Filter HP Filter sets the high pass filter frequency applied to the chorus
effect.
Widen Widen creates a stereo image

Ensemble
This effect uses 6 choruses, each having its own setting, to give the effect of several copies of
the sound playing simultaneously.

Length Length sets the delay time used to create the Ensemble effect

Width Width sets the maximum modulation amount of the delay time
(length)

Speed Speed sets the frequency of the LFO that drives the delay time
modulation.

Spread Spread introduces different modulation speeds for the individual chorus units
that make up the Ensemble effect

LP Filter LP Filter sets the low pass filter frequency applied to the Ensemble
effect.
HP Filter HP Filter sets the high pass filter frequency applied to the Ensemble
effect.
Feedback Sets the feedback amount from ensemble output to input
Amount Amount sets the intensity of the Ensemble effect

Rob Papen Vecto 37

Phaser
A phaser uses several comb filters that create moving peaks and troughs in the frequency
spectrum. It gives the effect of continuous movement in the sound.

Stages Stages sets the number of comb filters used to create the Phaser effect

Pitch Pitch sets the initial frequency of the comb filters

Spread Spread sets the extent to which the individual comb filters are
distributed across the frequency spectrum

Feedback Feedback determines how much of the phased signal is fed

back to its input

Width Width sets the maximum amount of modulation of the filters

Speed Speed determines how fast the filters move through the
frequency spectrum

Pan Pan sets the amount of panning modulation

Q Q sets the amount of resonance of the comb filters

Rob Papen Vecto 38

Flanger
The Flanger effect is created by creating two copies of the sound source with one of these
subject to a very short modulated delay. In contrast with the chorus effect, the delay time is
even shorter. The result is an enriched signal with comb filter characteristics. It is sometimes
described as a whooshing sound.

Length Length sets the delay time used to create the flanger effect

Width Width sets the maximum modulation amount of the delay time
(length)

Speed Speed sets the frequency of the LFO that drives the delay time
modulation.

Feedback Feedback determines how much of the delayed signal is fed

back to its input. In the context of the Flanger effect, increased
feedback creates a more pronounced effect with a high level of
resonance peaks.

Pan Pan sets the amount of panning modulation

LP Filter LP Filter sets the low pass filter frequency applied to the Ensemble
effect.
HP Filter HP Filter sets the high pass filter frequency applied to the Ensemble
effect.

Stereo Widener
This widener is a spatial effect that broadens a sound’s soundstage.

Amount Stereo widening amount

Width Maximum change to the stereo widening amount

Speed Speed that the stereo widening amount changes.

LP Filter Low pass filter frequency.

HP Filter High pass filter frequency.

Rob Papen Vecto 39

Stereo Delay
The stereo delay is made up of two tempo-based delays. The Tape Delay creates its delay
effect by emulating the characteristics of an echo effect created by an analogue tape delay.
Each of the audio channels (Left and Right) uses its own delay line. This effect type is useful for
making deep pad sounds if you use different delay times for left and right, e.g. 1/8* (Left) and
1/4 (right).

Left Delay Left Delay sets the delay time in musical note values for the left
channel.

Right Delay Right Delay sets the delay time in musical note values for the
right channel.

Cross Cross sends feedback from the right channel to the left channel
and vice versa
Mod Mod introduces a variation in the delay time

Feedback Feedback determines how much of the delayed signal is fed

back to its input. It is useful for creating dense delay patterns.

LP Filter The LP Filter applies a low-pass filter to the delayed signal. The
control sets the filter frequency. Use it in combination with the
feedback control

HP Filter The HP Filter reduces the low frequency content in the delayed
signal. The control sets the filter frequency. Use it to take out
some of the woolliness of the delayed signal.

Rob Papen Vecto 40

Reverb
This effect reproduces the sound of acoustics in rooms using different sizes and reflections.

Pre-Delay Pre-delay determines the time it takes for the first reverb
reflections to appear

Size The Size control represents the size of the reverberation room.

Length Length sets the duration of the reverb

Damp The Damping control sets the amount of low-pass filtering

applied to the early reflections of the reverb signal
Spread Spread introduces variations in delay times and reverb duration

HP Filter The high pass filter is applied to the overall reverb signal. The
control sets the filter frequency. Use it when the input signal
contains many low frequencies and the reverb signal becomes
boomy.

LP Filter The LP Filter applies a low-pass filter to the reverb signal. The
control sets the filter frequency. Use it to create a gentler and
more natural reverb effect.

Rob Papen Vecto 41

BANK and PRESET MANAGEMENT

In the Manager Section, you find and organize your Presets and Banks. A click on the Manager
button opens the Preset Manager page. Click on it once more to return to the Main page.

There are four sections: Presets, Find, Search Category and Set Category. For each section,
the Banks are visible on the right-hand side.

PRESET MANAGER
Click on the Preset button to open the Preset screen. This lists the Presets in the current Folder
(Bank). Presets in Vecto are single.fxp files stored in Folders (Banks), you can have up-to 256
Presets in a single Folder.

In the Preset screen, the current Preset is highlighted in gray, and clicking on a Preset will load
it. Shift - clicking allows you to select a range of Presets and Ctrl - clicking allows you to select
non-consecutive Presets. A right click on a Preset previews it.

Rob Papen Vecto 42

Star Presets
While in the Preset screen in the Bank Manager
you can mark any Preset with a Star if you like the
Preset. The Star appears after each Preset name
and can be checked and unchecked with a mouse
click. With so many Presets available in Vecto, the
Star system helps you to recall favourite Presets
that you encountered in previous Vecto sessions.

To filter on Star-marked Presets, click on the Star

symbol adjacent to the Preset button. Vecto will
only display Star Presets.

Behind the scenes, Vecto builds a file that contains

all the Star Presets. This can be found in your
documents Folder (see below). Use this file to
back-up your Star settings or to use your Preset
selection on a 2nd computer system.

The file that holds the Star info is called Star.txt. It can be found here in the following locations:

• PC: Documents\Rob Papen\Vecto\Bank Folder\Star.txt

• Mac: Applications\Rob Papen\Vecto\Bank Folder\Star.txt

We recommend to backup this file regularly and copy it over to a 2nd system if you have Vecto
installed there too.

Rob Papen Vecto 43

Preset Commands
Select All Selects all Presets.
Unselect All Deselects all Presets.
Load Loads a Preset using a file dialog screen. Vecto will attempt to
move to the current Folder for this Preset. If it can't then it will put it
in the 98 Unsaved Preset Folder.
Save Overwrites the current Preset with any changes you have made to
it.
Save As Saves the current Preset with a different name, the original Preset
still exists.
Copy Copies the current or selected Presets.
Cut Copies the current or selected Presets, but when you paste them
the original Preset(s) are deleted.
Paste Pastes the last copied Presets. This is primary used for copying
Presets from one Folder to another.
New Creates a new Preset with default settings.
Delete Deletes the current or selected Presets. When a Preset is deleted,
the extension of its name is changed to.~fx from.fxp, so you can
recover it manually.
Rename Renames the current Preset. This means that the original version is
deleted (its extension is changed from to.~fx), and the Preset is
saved with the new name.
If in doing any of the above you create too many Presets for that Folder (I.e. over 256), then the
Preset is moved to the 98 Overflow Preset Folder.

Rob Papen Vecto 44

Find

Clicking on the Find button shows the Find Preset screen. This allows you to search through all
the Banks for Presets that are named in the search for text box.

To search for the text “Seq”, for instance you enter “Seq” in the “Search For” box, and then
press “Find”, and all Presets that contain the string “Seq will be listed”. Presets are displayed in
the format B[Bank no][Preset no]Name of Presets, and Presets in the current Bank are shown
against an aqua background. The current Preset is highlighted in gray.

Clicking on a found Preset will load it. Unless you have saved the current Preset, any changes
will be lost. Right Clicking on a found Preset will preview it. Clicking on Clear will clear the
search.

Rob Papen Vecto 45

Search Category

Clicking on the Search Category button will display the category search screen. In Vecto,
Presets can have tags in the categories Type, Tempo/Feel and Timbre. Clicking on a tag in a
category will toggle that tag. The Preset section will show all Presets with a matching tag.

As with Find, Presets are listed in the format B[Bank no][Preset no]Name of Presets. Presets in
the current Bank are highlighted with a light gray background. The current Preset is also
highlighted in gray. Clicking on a found Preset will load it. Unless you have saved the current
Preset, any changes will be lost. Right Clicking on a found Preset will preview it.

Clicking on Clear will clear the current search tags.

Rob Papen Vecto 46

Set Category

Clicking on the Set Category button displays the Set Category screen. Here you can set the
tags for the Presets in the current Bank, clicking on a tag will toggle it on / off. You can select
Presets and set their tags. These tags will be saved with this Preset when you click on Apply
and Save.

You can select ranges of Presets with shift + left click (for continuous ranges) or ctrl + left click
for non-continous Presets. Select All will select all Presets in the current Folder, and Unselect
will deselect all Presets in the current Folder. In these ranges all tags are visible. If all selected
Presets share a tag, their background is highlighted in light gray. If the Presets do not share the
tag, the tag is highlighted in darker gray.

Clicking on Clear will clear all tags for the selected Presets.

Clicking on Set to Current, will set the tags for all the selected Presets to the tags for the current
Preset.

Rob Papen Vecto 47

Clicking on Combine Selected will set the tags for the selected Presets to be the combination of
the individual Presets tags. For example, if you have two Presets selected and one Preset has
the tag “Bass”, and other the tag “Dark”, after pressing Combine Selected, both Presets will
have both tags i.e. “Bass” & “Dark”.

BANK MANAGER
The Banks are always visible on the right side of the Manager screen. In Vecto, Banks are
Folders on your hard drive in which Presets are stored. In the Bank Screen, the current Bank is
highlighted in gray. A click on a Bank loads it and moving the scroll bar on the right scrolls
through available Banks.

Bank Commands
Copy Copies the current Folder; all the Presets in that Folder are copied
to this new Folder.
New Creates a new Folder.
Delete Deletes the current Folder, by renaming it to ~[original name of
Folder]. For example, deleting the Bass Folder will cause it to be
renamed as ~Bass, so you can recover it later if you need to.
Rename Renames the current Folder, deleting the original Folder (by
renaming it with a ~ as explained above).
Update Rebuilds Vecto's Folder and Preset structure. You may to do this if
you have altered Vecto Presets or Folders outside of Vecto.

Rob Papen Vecto 48

BACK PANEL

A click on the Vecto logo reveals the back panel. The back panel contains several global
controls that affect all instances of Vecto. Typically, the settings you make here are of the type
Set-and-Forget; i.e. you only need to do it once right after installation of the plug-in. Think of
these as a collection of preferences.

MIDI Channel
The MIDI Channel setting selects the MIDI channel to which Vecto will respond. The Omni-
setting means that Vecto responds to messages on any MIDI-channel.

Midi Program / Bank Change

These switches enable Vecto to respond to Midi Bank Select and Midi Program Change
commands to select Banks and Presets. If set to Off, Vecto will ignore any Program Change
and Bank Select commands received over Midi.

Rob Papen Vecto 49

External Midi Control Capture Mode
The Capture Mode switch, when enabled, ignores incoming MIDI controller messages that are
latched to a Vecto control, until the value of the MIDI controller matches that of the value of the
Vecto control. It prevents sudden jumps in parameter values that otherwise may occur as soon
as you touch a latched external MIDI controller.

Computer Keyboard on/off

You can leaf through the Presets and Banks using the computer-keyboard. The assigned keys
are:

Up Arrow Button Previous Preset

Down Arrow Button Next Preset
Left Arrow Button Decrease Preset number by 32
Right Arrow Button Increase Preset number by 32
Page Up Previous Vecto Bank
Page Down Next Vecto Bank

Preset Changed Warning

With the Warning button turned On, Vecto will warn you when you try to change Presets and
your current Preset has not been saved yet.

Big Screen
The Big Screen switch enlarges the Vecto window to 133% of its original size. This setting is
recommended for high-resolution screens. Depending on the host (DAW), you may need to
close and re-open Vecto, or close and re-open the project for the changes to take effect. You
can also select between normal screen size and big screen size in the Preset menu.

A4 (Global) Tuning
Global Tuning sets the reference tuning for Vecto. The default frequency is A4 440 Hz. The
tuning range is one semi-tone up and down.

Tuning Scale
It is possible to work with alternative tuning scales. Vecto comes with several tuning definition
tables upon installation. These are accessible through a drop-down menu. Click on the current
tuning name to display all the available tuning scales. Simply select the required scale from the
menu. Be aware that this setting affects all instances and sounds of Vecto. Click on the Reset
label to revert to Standard Tuning.

Rob Papen Vecto 50