User Guide: Powered by RPCX

User Guide
Powered by RPCX
Welcome
QUAD was the first ever Rack Extension synthesizer built from the ground up for Reason
by the Rob Papen team and is now also available as VST/AU/AAX plug in.
It features two Oscillators with a seemingly simple arsenal of classic waveforms. The sonic
palette is huge though, through the vast modulation possibilities that QUAD has to offer.
The Oscillators can be combined by using many cross-modulation functions – thus
generating a wide range of harmonics. The next steps in the sound sculpting are the Phase
Distortion and Wave Shaper. These tools are brought to life by four XY-Pads, which can be
moved through an extensive modulation matrix.
QUAD’s Oscillators are complemented by two top notch analogue modelled filters, an
arpeggiator and two high quality effects processors.
Welcome to the new refreshing synthesizer QUAD – not only available in Reason but available
to all!
Rob Papen and the RPCX team, April 2020
Rob Papen QUAD 2

Controls
QUAD uses controller knobs, sliders, buttons and drop-down menus to adjust its parameters. You
operate the controls with the mouse. In most cases, you click-and-hold the control and move it to
the desired value. As you move the control, the readout at the top of the screen displays the
parameter name and its value.
If you hold the shift-key while moving the mouse, you can make minor adjustments with high
accuracy. Consider this to be 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 Free button in the oscillator section.
Radio Buttons 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 (Note Symbol)
to the left of the Preset Browser
Menus
Drop-down menus Drop-down menus work similarly to radio buttons, as they select one out of
many predefined values. The first click opens a menu which lists all
possible values. The second click selects the value. The QUAD Menus
also have – and + buttons incorporated that select the previous and next
menu item.
MIDI / Control Menu

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 do the following:
• Set control values
• Assign MIDI CC numbers
• Work with modulation paths
Rob Papen QUAD 3

Set Control Values
The control value menu items operate directly on the control value.
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% or to the next menu-entry
Decrease Decreases the control by 1%.or to the previous menu-entry
MIDI Control through Latching

The Latching constructs sets up connections between MIDI Continuous Controllers (CC) and
QUAD controls.
Latch to MIDI Latches the control to the next MIDI control message received.
Unlatch MIDI Clears the QUAD 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, go through the
following steps:
1. Right click on the Volume Knob
2. Select Latch to MIDI in the pop-up menu
3. Next, move the MIDI Expression controller.
From now the Expression controller will move the QUAD Volume knob. You can still operate the
QUAD Volume knob directly in QUAD though. The latched MIDI controllers are global and will
work for all Presets and active QUAD instruments in your host.
Note: In the Preset section you can save or load your whole MIDI (latch) controller setup to disk.
This function is called ECS (External Controller Setup). For an explanation of this function,
please see the ECS section later in this manual.
Rob Papen QUAD 4

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.

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 as
Amount their destination, to the default amount.
Bypass / Un-Bypass Bypasses or un-bypasses all modulation matrix entries using this parameter
Modulation Slot 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. When you drop the control, the
control is added to the modulation matrix.
Computer Keyboard
You can select Presets and Banks using the computer keyboard. QUAD’s back panel is where
you enable and disable this function. To access the back panel, click on the QUAD logo.
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 QUAD Bank
Page Up key Previous QUAD Bank
Note: Rolling the mouse wheel up and down scrolls through the Presets
Rob Papen QUAD 5

Presets / Folder / Globals
Presets
QUAD uses a Preset/Bank menu to select and manage Presets. Please note that this is in
addition to the Bank Manager section in QUAD, 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 the current 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 unlimited 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 displays 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: QUAD 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.
Save Preset
Save Preset writes any changes you have made to the current Preset to disk, overwriting the
old version.
Rob Papen QUAD 6

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 writes any changes you have made to the current Preset to disk in a Folder other
than the current Folder. QUAD will prompt you to select the Folder you want to save the Preset
in.
Rename Preset
Rename Preset asks you for a new Preset name. The Preset will be then saved with that new
name and delete the older version of that Preset (by renaming it as a ~fx file).
New Preset
New Preset will create a new Preset which uses the default settings.
Load Preset
This function lets you load a Preset from a hard disk or any of your attached storage, including
USB drives.
Revert to Original Preset / Revert to Edit Preset

This is the same function that you find with Edit / Org button in the top section of QUAD It
allows you to toggle between and compare an edited Preset and the original version of that
Preset.
Clear Preset
This function sets the Preset to the default states of all the parameters but doesn't change the
name.
Default Preset
This function sets the Preset to the default states for all the parameters, and sets the name to
Default.
Bank
QUAD uses a Bank menu to select and manage bank Folders. Please note that this is in
addition to using the Bank Manager section in QUAD. 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\QUAD\Bank Folder\
• Mac: Applications\Rob Papen\QUAD\Bank Folder\
On the PC you can select any Folder to install the banks to in the installer, though we
recommend that you use the documents Folder.
Rob Papen QUAD 7

Edit / Orig
As soon as you start editing a Preset (i.e. change a control in QUAD), the Edit button will light
up. If you then 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 reset all changes that you 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.
ECS (External MIDI Control)

QUAD can modify its sound parameters dynamically in response to MIDI Messages received
from an external controller. The assignment of external MIDI Messages to QUAD controls is
stored in the ECS. ECS is short for External Controller Setup. It contains all assignments of
MIDI controllers to QUAD controls that are being targeted for real time interaction. Remember,
you can set each individual MIDI controller assignment by using the right mouse button (or
control-click on a Mac) menu and selecting latch to MIDI. You can also unlatch MIDI controls
the same way or clear all MIDI control assignments.
The ECS button allows you to load and save the entire external MIDI controller setup. Once
set, it is shared by all Presets, and all instances of QUAD that are loaded into your DAW.
Load ECS This opens the Folder that holds the ECS setups. The installer of QUAD
installs a Folder named ECS that stores all the ECS files.
Save ECS This gives you the option to save the MIDI setup you have created and use it
in other songs. It is saved as an ECS file.
Reset all This clears all the MIDI settings for QUAD Handy if you want to restart from
MIDI scratch.
Help
The Help button opens the QUAD Manual (this file).
Manager
The Manager button opens QUAD's Bank Manager screen.
QUAD Logo
Clicking on the QUAD logo takes you to the Back Panel. The Back Panel lets you access global
settings and infrequently used controls.
Rob Papen QUAD 8

Oscillator 1 and 2
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 tonal character, or timbre. QUAD uses up to 2 Oscillators in per voice (note played). The
Oscillators are available as Oscillator 1 and Oscillator 2, each with their own settings.
Oscillator On/Off
The LED-style buttons in the label area turn the corresponding Oscillator On and Off.
Waveform Type
Use the menu below the On / Off button to select the wave-type or waveform used by the Oscillator.
QUAD offers several classic waveforms: Sine, Square, Triangle, Saw, White Noise and Pink Noise. In
addition, there are many additive and spectral waveforms to choose from.
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.
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. In some FM or Ring Modulation
algorithms or for special effect sounds, you may want to switch Off tracking.
Octave
The octave control sets the base pitch of the Oscillator in octave steps. An octave is equivalent to 12
semitones. The range of this control is from -2 octaves to +2 octaves.
Rob Papen QUAD 9

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 that of 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. A Spread
setting of 0 generates the sound of a single Oscillator.
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.
Drift
Drift, over time, adds a slight deviation from to the Oscillator pitch. This can make a sound fuller and
is an essential ingredient for when you want to simulate the behaviour of older analogue synthesizers.
It represents to a certain extent the unstable and temperature dependent electronic circuits in
synthesizer history.
Volume
This control sets the volume of the Oscillator that continues to the filter section. When the Oscillator is
used as the modulator for frequency or ring modulation, it controls the modulation amount. The
Volume controls can be used to set the between both Oscillators.
Filter (Oscillator 1 Only)

The Filter switch allows you to disable the Oscillator output to the filter. This may be useful when you
are using Oscillator 1 as a modulation source rather than a sound source as is the case with FM and
ring modulation configurations. Typically, you will want to leave this switch on so that Oscillator 1
sound flows through the filter.
Sync (Oscillator 2 Only)

The Sync control allows you to synchronise (Sync) the Oscillator 2 Pitch to the pitch of Oscillator 1. In
Hard Sync mode, Oscillator 2’s waveform is reset every time Oscillator 1 waveform ends its cycle.
This essentially cuts of the Oscillator 2 waveform and resets it to zero, in sync with Oscillator 1.
Because of the reset, the Oscillator 2 waveform will undergo abrupt changes in its shape. These
abrupt changes are audible as additional overtones (harmonics). The pitch control of Oscillator 2 has
now become a harmonics control.
In the example below, Oscillator 2 is hard synced to Oscillator 1 where Oscillator 1 is tuned 3
semitones below Oscillator 2. When Oscillator 1 completes its cycle, you can see Oscillator 2 being
reset to its initial position, resulting in a spike in the waveform towards the end of its wave cycle. This
is what generates the additional harmonics.
Rob Papen QUAD 10

In Soft Sync mode, Oscillator 2’s waveform is also coupled to Oscillator 1’s wave cycle, but in a much
gentler fashion. When Oscillator 1 finishes its wave cycle, it reverses the synced Oscillator 2
waveform direction. Oscillator 2 retains its own pitch, but the reversal of its waveform introduces
additional overtones in the Oscillator output. It is a much more subtle effect than hard sync.
Rob Papen QUAD 11

Oscillator Modulation Functions
QUAD offers several modulation types that allow Oscillator 1 to control Oscillator 2 and vice versa.
Each modulation function has Amt 1 and Amt 2 controls to set specific parameters for the modulation
function type.
The menu to select the modulation function and the Amt1 and Amt2 controls can be found in the
bottom right hand corner of the Oscillator 2 section, just to the right of the XY pads.
This chapter lists the modulation functions and the role of the Amt 1 and Amt 2 controls. In many
cases, the effect of the modulation function is illustrated with waveform graphics. As the sonic impact
of the modulation functions can sometimes be unpredictable, we suggest that you experiment with
each modulation function and make yourself familiar with the workings of the Amt 1 and Amt 2
controls.
Ring Modulation (Ring)

Ring modulation multiplies Oscillator 1 with Oscillator 2 to create a new waveform.
Amt 1 Sets the amount of ring modulation.
Amt 2 Sets the balance between the bipolar range (-1 to 1) and unipolar range (0 to 1)
of the modulation signal (Oscillator 1).
The difference between bipolar and unipolar ring modulation, is displayed in the following picture:
Phase Modulation (PM)

Phase modulation changes the output of Oscillator 2 by using the output of Oscillator 1 to change the
phase of Oscillator 2. QUAD employs cross-phase modulation, which allows Oscillator 2 to modulate
the phase of Oscillator 1. This creates a more complex waveform.
Amt 1 Sets the modulation amount of Oscillator 1 to Oscillator 2
Rob Papen QUAD 12

The following picture shows the Oscillator 2 waveform after phase modulation:
Frequency Modulation 1 (FM1)

Frequency modulation works by using the output of Oscillator 1 to change the frequency of Oscillator
1. QUAD employs cross-frequency modulation, which means that Oscillator 2 to can change the
frequency of Oscillator 1. This creates a more complex waveform.
Below is an example of frequency modulation:

FM2 is a non-pitched Sample & Hold modulation algorithm. Instead of the frequency modulation by
Oscillator 1 being continuous, the amount of frequency modulation is updated at set intervals.
Oscillator 1 is sampled every interval and the sampled value is used to modulate the Oscillator 2
frequency.
Amt 1 Sets the FM amount
Amt 2 Sets the Sample & Hold interval
Rob Papen QUAD 13

Here is an example of sample & hold FM:

FM3 is a tuned Sample & Hold modulation algorithm. It is similar to FM2 but the Sample & Hold
interval follows the pitch of Oscillator 2. Oscillator 1 is sampled every interval and the sampled value
is used to modulate Oscillator 2.
Amt 1 Sets the FM amount
Amt 2 Sets the Sample & Hold interval

FM4 uses alternating modulation amounts between the two Oscillators. The modulation level varies
with every cycle. The modulation level in the first cycle of Oscillator 2 is determined by Amt 1 amount.
The modulation level in the second cycle is set by Amt 2 amount. This pattern repeats for all following
odd and even waveform cycles.
Feed 1
In the Feed 1 modulation function, Oscillator 2 modulates itself. It feeds back on itself in a frequency
modulation loop. At low modulation amounts, it would transform a sine wave towards a saw wave. At
high levels a chaotic waveform ensues.
Amt 1 Sets the modulation amount
Amt 2 Sets the balance between self-modulation and frequency modulation. (0 –
self, 100% – FM)
Rob Papen QUAD 14

Feed 2
The Feed 2 modulation function is a delayed feedback modulation.
Amt 1 Sets the modulation amount
Amt 2 Sets the delay time
Feed 3
Feed 3 alternates the feedback level for Oscillator 2. The first cycle of Oscillator 2 is modulated at
Amt 1 amount, and second cycle is modulated at Amt 2 amount. This pattern then repeats itself.
Sign
Sign uses the polarity of one Oscillator to change the polarity of the other Oscillator.
Amt 1 Sets the balance between the modulated signal and direct signal
Amt 2 Sets the direction of modulation between Oscillator 1 and Oscillator 2.
Rob Papen QUAD 15

The difference between sign of Osc 1 * absolute value of Osc 2, and sign of Osc 2 * absolute value of
Osc 1 can be seen here:
Min/Max
The Min/max function outputs a blend of the minimum and maximum values of Oscillator 1 and 2
Amt 1 Sets the balance between the modulated signal and the direct signal of Oscillator
2
Amt 2 Sets the balance between the minimum of Oscillators 1 and 2 and maximum of
Oscillators 1 and 2.
Rob Papen QUAD 16

The following graph shows the difference between the minimum and maximum values:
Mix
The Mix algorithm dynamically mixes the outputs from Oscillator 1 and Oscillator 2. It plays
Oscillator 1’s output, followed by Oscillator 2’s output. The frequency with which it alternates is
determined by Amt 2.
Amt 1 Sets the Mix level of Oscillator 1
Amt 2 Sets the frequency of alternating between Oscillator 1 and Oscillator 2
Cross
The cross-modulation function plays a set number of cycles of Oscillator 1, followed by a set number
of cycles of Oscillator 2.
Amt 1 Determines the number of cycles to played from each Oscillator
Amt 2 Sets the extent at which the Oscillator pitch drives the number of cycles played.
What follows is a display of a sine wave and a saw wave combined in the Cross algorithm:
Rob Papen QUAD 17

Skew
In Skew, the FM amount is controlled by the phase of Oscillator 1.
Amt 1 Sets the FM amount for minimum phase of Oscillator 1
Amt 2 Sets the FM amount for maximum phase of Oscillator 1
Filter Modulation
In this modulation function, Oscillator 1 modulates the cutoff frequency of a low pass filter. Oscillator 2
is fed through the filter. If you select a noise waveform for Oscillator 1, the filter will operate as a band
pass filter.
Amt 1 Sets the centre frequency of low pass filter
Amt 2 Sets the resonance amount
String
String uses Oscillator 2’s output in a string model (Karplus-Strong), to generate plucked sounds.
Amt 1 Sets the length of string in the model
Amt 2 Sets the level of damping in the model
Rob Papen QUAD 18

Phase / Waveshape Distortion
The waveforms as generated by the Oscillators are subject to further modulation through Phase
Distortion and Wave Shaping. You select these in the XY Pad section of QUAD as explained in the
next chapter. Each Phase Distortion and Wave Shaper type has two controls to define the effect.
By distorting this phase or the oscillator output, you can generate many new types of sound from the
basic waveforms. Phase distortion shapes the phase of the oscillator, waveshape distortion shapes
the output of the oscillator. Phase is best thought of as an index of the position within a single cycle
waveform. Typically, the phase runs in a linear fashion from beginning to the end of the waveform and
jumps back to the beginning when it has reached the end. With Phase distortion the waveform is not
read in a linear manner. While Phase Distortion works at the creation of waveform, Waveshape
Distortion affects an already present waveform whose shape is subject to additional manipulation.
Distortion Types
The remainder of this chapter lists the various distortion and shaping algorithms and the functions of
the Amt 1 and Amt 2 controls. Where applicable the algorithms are illustrated by a series of four wave
form representations. In these illustrations:
• The first waveform is the Phase Distortion modulator
• The second waveform is the effect of the Phase Distortion on a sine wave
• The third waveform represents the Wave Shaper modulator
• The fourth waveform displays the effect of the Wave Shaper on a sine wave
2 Point
2 point applies phase distortion to the signal. Amt1 and Amt 2 control the mid-point position.
Amt 1 Sets the x coordinate of the mid-point.
Amt 2 Sets the x coordinate of the mid-point.
And
And applies a binary And-function to achieve bit reduction of the signal
Amt 1 Sets the multiplication factor of the And-function
Amt 2 Sets the mask value of the And-function
Rob Papen QUAD 19

Cos1
Cos 1 uses a cosine function to modulate the input signal
Amt 1 Sets the frequency of the cos wave
Amt 2 Sets the symmetry level between positive and negative wave cycles
Cos2
Cos 2 uses a range of cosine frequencies as modulators. The Amt 1 and Amt 2 controls set the width
of the frequency window.
Amt 1 Sets the start frequency,
Amt 2 Sets the end frequency.
FM - Waveshaper only
FM applies classic frequency modulation to the signal
Amt 1 Sets the level of FM
Amt 2 Sets the frequency of the FM
Feed
Feed puts the signal in a (delayed) feedback loop which feeds the signal back onto itself.
Amt 1 Sets the delay of the feedback loop
Amt 2 Sets the feedback level.
Fold
Fold introduces distortion by amplifying the signal, clipping it, and subsequently folding over the
clipped sections of the waveform.
Amt 1 Sets the frequency of the fold-over distortion.
Amt 2 Sets the level of the fold-over distortion.
Rob Papen QUAD 20

Fuzz
Fuzz is based on a classic fuzz pedal distortion.
Amt 1 Sets the frequency of the fuzz-distortion effect
Amt 2 Sets the level of fuzz distortion
Gap
Gap is a distortion effect that modulates the input with a square wave. It introduces abrupt on/off
changes in the waveform.
Amt 1 Sets the frequency of the square wave modulation source
Amt 2 Sets the modulation level
Hard
Hard is a limiter which clips the signal at a pre-set level and subsequently boosts the signal.
Amt 1 Set the clipping level for the signal.
Amt 2 Sets the level of post-limiting boosting.
Oct1
Oct1 is an octave effect. It doubles the frequency of the input dynamically and separately for the
negative and positive cycles of the wave
Amt 1 Sets the level of the negative wave cycle
Amt 2 Sets the level of the positive wave cycle
Rob Papen QUAD 21

Oct 2
Oct 2 moves the signal up by one or more octaves.
Amt 1 Sets the range of the octave effect.
Amt 2 Sets the level of octave effect.
Oct3
Oct 3 multiplies the input signal across a frequency range set by the Amt 1 and Amt 2 controls.
Amt 1 Sets the start of the pitch range
Amt 2 Sets the end of the pitch range
Or
Or applies a binary Or-function to achieve bit reduction of the signal
Amt 1 Sets the multiplication factor of the Or-function
Amt 2 Sets the mask value of the Or-function
PWM / PWM2 WS Only

PWM and PWM 2 apply Pulse Width modulation to the signal. In PWM 1 the modulation speed is
fixed (set by Amt 2). In PWM 2 the modulations speed tracks the note played.
Amt 1 Sets the amount of PWM,
Amt 2 Sets the frequency of the PWM
Rez1 / Rez2
Rez 1 and Rez 2 distort the signal based on resonance peaks,
Amt 1 Sets the amount of resonance
Amt 2 Sets the frequency of the resonance.
Resonance 1 example:
Rob Papen QUAD 22

Resonance 2 example:
Saw
The saw wave modulation uses saw waves to introduce sharp peaks in the frequency spectrum in a
programmable frequency range
Amt 1 Sets the start of the frequency range
Amt 2 Sets the end of the frequency range.
Shift1 / Shift2 PD Only

Shift 1 changes the frequency (pitch) of the input.
Amt 1 Sets the amount of frequency shifting
Shift 2 Phase Distortion changes the pitch in different amounts for odd and even numbered wave
cycles
Amt 1 Sets the amount of pitch shifting for odd cycles
Amt 2 Sets the amount of pitch shifting for even wave cycles.
Static
Static adds static noise to the sound
Amt 1 Sets the level of the static noise.
Amt 2 Sets the average frequency of the static noise.
Trans
Trans distorts the transients only. Transient are the sharp peaks that occur at the beginning of
waveform.
Amt 1 Sets the transient frequency range
Amt 2 Sets the level of distortion
Rob Papen QUAD 23

X/Y Pad
QUAD’s X/Y Pads are for quick and easy programming of your sounds. There are four XY Pads at
your disposal. Two pads control the Phase Distortion parameters for Oscillators 1 and 2. The two
other pads control the Wave Shaping parameters for the Oscillators. Each XY Pad lets you modify the
value of two parameters with a single movement: every position on the pad is represented by an x-
value and a y-value that drive the pad’s associated control values. Each pad has a type menu to
select one of the Phase Distortion and Wave Shaping types as described in the previous chapter.
While you can leave each XY Pad in a fixed position, they come into their own when you move the XY
position across the pad as part of the composition you’re working on. Your DAW (sequencer) will
assist you in accomplishing this. It will record the movement of each pad as part of the sequence.
Simply hit record in your DAW’s transport bar and use the mouse on the X/Y screens. The movement
will be recorded as automation. By using overdub techniques, you will be able to change all four XY
Pads simultaneously.
An alternative way to create dynamic XY Pads is to draw in the movement manually. The trick here is
to create an automation lane for each of the Amount controls. Please refer to your DAW’s manual for
details on how to achieve this.
Rob Papen QUAD 24

Filters 1 and 2
QUAD 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 QUAD structure, such as Envelope,
Velocity and Modulation Wheel. This makes sound
editing easier and faster. Filter 1 and Filter 2 controls
are the same for both filters. 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 Routing
The Routing menu sets the routing of the Oscillator
signals through the two filter sections (1 and 2). It
allows you to set the two filters in series, or in
parallel configuration. In the Serial setting, all
Oscillator signals go to filter 1. The output of the
Filter 1 is subsequently fed to Filter 2. Filter 2 feeds
into the amplifier section.
The Parallel configuration feeds all Oscillators to both filters simultaneously. The output signals of
both filters are then mixed again and passed on to the amplifier.
In Oscillator configuration, Oscillator 1 feeds into Filter 1 and Oscillator 2 feeds into Filter 2.
Filter Type
Bypass The filter is bypassed and the 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.
12dB LowPass 2 This is an additional 12 dB LowPass filter with an alternative
tonal character
frequency are reduced by 12dB per octave. The filter is fully
open if the Cutoff frequency control knob is turned fully counter-
Rob Papen QUAD 25

clockwise.
12dB HighPass 2 This is an additional 12 dB HighPass filter with an alternative
tonal character
open if the Cutoff frequency knob is turned fully counter-
clockwise.
24dB LowPass 2 This is an additional 12 dB LowPass filter with an alternative
tonal character
open if the Cutoff frequency knob is turned fully counter-
clockwise.
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 near 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
Rob Papen QUAD 26

open if the Cutoff frequency knob is turned fully counter
clockwise
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.
Vocal 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.
12dB Z Analog model zero-delay 12db filters, there are LowPass (LP),
HighPass (HP), BandPass (BP) and Notch (N) variants.
24dB Z Analog model zero-delay 24db filters, there are LowPass (LP),
HighPass (HP), BandPass (BP) and Notch (N) variants.
Filter Controls
Frequency
The Cutoff Frequency sets the frequency at which point the filter starts attentuating 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.
The modulation doesn't move the Cutoff control knob from its initial position, but if you add any kind of
modulation (change the silver colour control knobs) the Cutoff frequency is internally modulated.
Rob Papen QUAD 27

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 you use it for panning modulation effects.
Vowel
In the Vocal filter it controls the filter’s vowel. For Formant 2 / 4 filters, it controls the separation of the
filter bands.
Cutoff Frequency Modulation
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 QUAD is in sequencer mode (Play mode) the
sequencer velocity settings drive the filter frequency.
KeyTrk
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.
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.
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. 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%. As you push the Attack fader up, the Attack time increases, and it takes
longer for the Envelope to reach full level (100%). With the Attack fader all the way down, the
envelope starts immediately at its maximum level.
Rob Papen QUAD 28

The Decay stage follows the Attack stage. Decay starts as soon as the Attack stage is complete and
the envelope is at its maximum. The decay stage brings the volume down to the sustain level. If the
sustain is set to 50%, the decay brings the envelope level down to 50%. It 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 good ingredient for percussive sounds. If the sustain
level is 100% the impact of the decay stage is effectively eliminated.
The sustain stage is represented by a (sustain) level setting. After the attack and decay stage, the
envelope reaches the sustain level 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 when
the envelope is used to drive the amplifier section.
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 section becomes a second Attack stage. When the
Decay reaches the Sustain level the envelope level will again rise to 100% as set by the Fade time. If
you set the Fade amount to a negative value, the sustain becomes a second Decay stage. In this
case when 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 QUAD 29

Amplifier
While the Oscillator section controls the pitch and the Filter section the timbre, the amplifier section is
responsible for the volume. 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 QUAD to the velocity
information from the keyboard or arpeggiator.
Volume
The Volume sets the overall volume of the Presets. Use this control to adjust the relative volumes
between Presets in a Folder.
Velocity (Vel)
The Velocity control determines how the sound’s volume responds to changes in note velocity. It
applies to notes played on a keyboard and those triggered by the QUAD Arpeggiator.
Velocity shape
The velocity shape changes QUAD'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 Preset.
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 Envelope in the Amplifier section determines the volume contour of a Preset.
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
The Decay stage follows the Attack stage. Decay starts as soon as the Attack stage is complete, and
Rob Papen QUAD 30

the Fade control.
Rob Papen QUAD 31

Modulation section
You find QUAD’s modulation section in the bottom right hand corner. This section holds a Modulation
Wheel, Pitch Bend Wheel, 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.
Pitch Bend Controls

The Pitch Bend wheel lets you move the sound’s current pitch up and down. The Bend Down and Up
controls set the maximum range of pitch change when you move the pitch-bend wheel up or down. It
ranges from 48 semitones down (-4 octaves) via Off to 48 semitones up (+4 octaves
Mod Wheel
The Mod Wheel control simulates modulation wheel input into QUAD.
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
The Decay stage follows the Attack stage. Decay starts as soon as the Attack stage is complete and
Rob Papen QUAD 32

the Fade 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.
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 with your DAW’s
tempo.
LFO 1 and 2
The QUAD modulation section has two LFOs.
Both LFOs have an identical set of controls to
determine their behaviour.
Waveform
Waveform sets the shape of the modulation signal generated by the LFO. 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 or special
effects.
Rob Papen QUAD 33

Mode
The LFO reset type has three different modes:
Poly In poly mode, each note played has its own LFO and each LFO starts from its initial
phase (start position).
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 play a key.
Mono All notes share the same LFO as in Free Mode. However, when you play 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.
Free Modulation Slots 1 – 8

There are eight different modulation matrix slots. 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 40 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 119 destinations here.
Right clicking on the Modulation Matrix display opens the Modulation Matrix menu. Use the
Modulation Matrix menu to copy, paste, bypass/unbypass, clear the modulation slots, set the
modulation amount, and load / save the modulations.
Rob Papen QUAD 34

Arpeggiator
QUAD 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 the arpeggiator On, select Arpeggiator in the Play Mode section. Right clicking on the
arpeggiator panel opens the arpeggiator menu which allows you to copy, paste, clear, reset and load /
save arpeggiator settings.
Steps
Steps defines the number of steps that the arpeggiator uses. The range is from 1 to 16.
Speed
This control sets the speed of the arpeggiator relative to the speed of the DAW, for example 2 x
tempo or ¼ x tempo.
Octaves
The octave setting gives you the option to play the arpeggiated notes over a range of 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.
Arp Mode
The arpeggiator mode controls the order in which the arpeggiator plays its notes
Up The notes are played in the order they have been played
Down The notes are played in reverse order compared to the order they were
played in.
Up/Down The notes are played in the order they have been played followed by the
reverse order
Down/Up The notes are played in reverse order and then in the order they were
played in originally
Random The notes are played in random order
Ordered The notes are played from lowest to highest
Rev. Ordered The notes are played from highest to lowest
Ordered Up/Down The notes are played from lowest to highest, then from highest to lowest
Ordered Down/Up The notes are played from highest to lowest, then from lowest to highest
Chord The arpeggiator plays all notes as chord in a rhythmic pattern
Rob Papen QUAD 35

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 on the musical piece you are working on. 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 as set in 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.
Latch
Latch frees your hands. When latch is turned on you don’t need to keep holding notes for the
arpeggiator to continue playing. Turn Latch Off and On again, to clear all notes. Tip: you can also use
the sustain pedal to latch and unlatch the arpeggiator.
Host sync
This turns the arpeggiator synchronisation On and Off. The default setting is On. If you want the
arpeggiator to play in time with your sequencer, leave this setting On.
Vel
Vel determines the programmed velocity value for each step. The impact of the programmed value is
determined by the setting of the Vel / Key control
On – Step 1 – 16 On/Off
The numbers represent the Arpeggiator step number. Clicking on a number turns the corresponding
Step On or Off. If it is set to Off, the Arpeggiator interprets this as a rest.
Rob Papen QUAD 36

Play Mode
This panel contains controls to set the Play settings
for QUAD. Play Mode determines how QUAD
responds to notes played.
Play Mode
Poly Multiple notes can be played at the same time. QUAD is polyphonic and plays
up to 16 voices simultaneously.
Mono Only a single note can be played at a time. Any new note will stop the previous
note. You can use this to retrigger the original note as longs as you keep
holding it.
Legato Like Mono Mode, you can only play one note at a time. If you play overlapping
notes however, the envelopes and LFOs will not be retriggered for the new
note.
Arpeggiator Any notes played will trigger the arpeggiator (See the Arpeggiator section)
Unison QUAD will stack multiple voices for every note played
Unison Mode
In Unison mode, QUAD plays multiple voices, for each note played. The Unison detune parameter
detunes the voices slightly from each other. Ultimately this gives you an extremely rich sounding stack
of voices. The unison parameters are an excellent tool to create fat lead sounds.
Unison Mode plays 2, 3, 4 or 6 voices for every single note. The Oct modes add voices in octaves
below or above the played note
Unison Detune Amount

Unison detune amount controls the level of detuning between the stacked voices in Unison 2/3/4/6
play modes. It creates a natural chorus effect.
Unison Delay
Unison delay sets the unison voices apart in time. It can be used to create a strumming effect.
Rob Papen QUAD 37

Stereo Spread
Stereo spread places the unison voices in a stereo image, and in doing so widens the sound and
creates a spatial effect. In Unison 2 or 4, the voices are panned hard left and right. In Unison modes 3
and 6, the voices are panned hard left, centre and hard right.
Port Mode
Portamento mode (the portamento speed is controlled by the Port 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 Speed
Portamento Speed sets the rate or time for QUAD to change pitch between notes.
Rob Papen QUAD 38

FX section
Each QUAD Preset 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.
FX On / Off
The LED buttons for FX1 and FX2 switch the effect units On and Off.
Route
The Route menu (in FX2 only) determines the selection and order of effects within FX2.
Single mode FX2 produces either a Delay or Reverb effect.
DEL>REV mode FX2 combines a Delay and Reverb. The Delay comes first and feeds into
the Reverb.
REV>DEL mode FX2 generates Reverb and Delay effects. The Reverb comes first and
feeds into the Delay.
Mix (FX1 and FX2 Single Mode)

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 of the
effect signal will become audible.
Mix (FX2)
When FX2 routing is in DEL>REV or REV>DEL mode, the Mix slider controls two parameters. The
Mix slider in the Delay screen controls the balance of the Delay input and the Delay output; the Mix
slider in the Reverb screen mixes the Reverb input with the (wet) Reverb output signal.
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.
Stereo Delay
The stereo delay is made up of two tempo-based delays. One delay for each of the audio channels
(left and Right). This is useful for making deep pad sounds if you use 1/8* (Left) and 1/4 (right)
settings. The Feed Equal option makes it possible to have equal feedback fade time, even if the left
and right delay use different delay time settings.
Rob Papen QUAD 39

Left Delay Left length of the delay set in tempo-based settings
Right Delay Right length of the delay set in tempo-based settings
Feedback Feedback determines how much of the delayed signal is fed back to
its input. It is useful for creating dense delay patterns.
CrossFeed CrossFeed sets the level of feedback between the left / right
channels and vice versa
LP Filter Low pass filter frequency
HP Filter High pass filter frequency
Mod Amount Delay modulation amount
Feed Equal Feed Equal forces the left and right channels to fade away equally,
regardless of the Delay time settings.
Reverb
The Reverb 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.
Damp The Damping control sets the amount of low-pass filtering applied to
the early reflections of the reverb signal
HP Filter The high pass filter is applied to the overall reverb signal. The HP
Filter control sets the HP Filter Frequency. Use it when the input
signal contains many low frequencies and the reverb signal becomes
boomy.
Spread Spread sets the width of the stereo image
Length Length sets the duration of the reverb
Gate Limit Noise Gate threshold level. If the reverb level drops below this limit,
the noise Gate kicks in
Gate Hold Hold time for the noise gate
Gate Decay Decay time for the noise gate
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
Rob Papen QUAD 40

modulation.
Spread Spread sets difference in delay time between the left and right
channels
Widen Widen sets the amount of stereo widening
Ensemble
This effect uses 6 choruses, each using their own settings. It creates the effect of several copies of
the sound playing at once.
Length Length sets the delay time used to create the Chorus effect
Width Width sets the maximum modulation amount of the delay time (length)
modulation.
Sync Synchronises the ensemble speed with the host DAW tempo
Feedback Sets the feedback amount
Ensemble Introduces slight delay time differences between the chorus units
Spread The amount of panning for each of the chorus units
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)
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 Mod Pan sets the amount of panning modulation
Rob Papen QUAD 41

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 represents the number of comb filters employed to create the
phaser
Pitch Pitch sets the initial frequency of the comb filters
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
Spread Spread sets how much the individual comb filters diverge from the
initial phaser frequency
Pan Mod Pan sets the amount of panning modulation
Stereo Widener
This widener is a spatial effect that broadens a sound’s soundstage.
Widen Sets the overall widening amount
Width Width sets the maximum change to the stereo widening amount
Speed Speed sets the rate of change of widening modulation.
LP Filter Low pass filter frequency.
HP Filter High pass filter frequency.
Rob Papen QUAD 42

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. Regardless of the section
you’re working in, 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 QUAD 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, 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 QUAD 43

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 QUAD, the Star system helps you to recall favourite Presets
that you encountered in previous QUAD sessions.
To filter on Star-marked Presets, click on the Star symbol adjacent to the Preset button. QUAD will
only display Star Presets.
Behind the scenes, QUAD 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\QUAD\Bank Folder\Star.txt
• Mac: Applications\Rob Papen\QUAD\Bank Folder\Star.txt
We recommend to backup this file regularly and copy it over to a 2nd system if you have QUAD
installed there too.
Rob Papen QUAD 44

Preset Commands
Select All Selects all Presets.

Unselect All Deselects all Presets.
Load Loads a Preset using a file dialog screen. QUAD 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.
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.
Rob Papen QUAD 45

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.
Search Category
Clicking on the Search Category button opens the category search screen. In QUAD, 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 in the current Bank are highlighted with a background. The current Preset is
also highlighted. 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.
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 sets of Presets. Select All selects 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. If the Presets do not share the tag, the tag is shown
against a darker background.
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.
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 QUAD, Banks are Folders
on your hard drive in which Presets are stored. In the Bank Screen, the current Bank is highlighted. A
click on a Bank loads it and moving the scroll bar on the right scrolls through available Banks.
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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 by deleting the original Folder (by renaming it
with a ~ as explained above).
Refresh Rebuilds QUAD's Folder and Preset structure. You may to do this if you
have changed QUAD Presets or Folders outside of QUAD.
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Back Panel
A click on the QUAD logo will display the back panel. The back panel contains several global controls
that affect all instances of QUAD. 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 QUAD will respond. The Omni-setting
means that QUAD responds to messages on any MIDI channel.
MIDI Program / Bank Change

These switches enable QUAD to respond to MIDI Bank Select and MIDI Program Change commands
to select Banks and Presets. If set to Off, QUAD will ignore any Program Change and Bank Select
commands received over MIDI.
External MIDI Control Capture Mode

The Capture Mode switch, when enabled, ignores incoming MIDI controller messages that are latched
to a QUAD control, until the value of the MIDI controller matches that of the value of the QUAD
control. It prevents sudden jumps in parameter values that otherwise may occur as soon as you touch
a latched external MIDI controller.
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Computer Keyboard Up / Down
When enabled, 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 (Useful in the Bank Manager).
Right Arrow Button Increase Preset number by 32 (Useful in the Bank Manager).
Page Up Previous QUAD Bank.
Page Down Next QUAD Bank.
Preset Changed Warning

When the warning is turned On, QUAD will alert you to save your Preset, if it has changed, when you
change Presets.
Screen options
There are multiple screen size options. 100%, 150% and 200% size. Please reload your song or
delete and reload the instance of QUAD to activate the newly selected size. The size option can also
be found in the Preset menu.
A4
A4 represents the base pitch for QUAD. It is typically set to 440 Hz.
Tuning
It is possible to work with alternative tuning scales. QUAD installs 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 QUAD. Click on the Reset label to revert to Standard
Tuning.
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Modulation Sources
Source Description
None None
Mod Wheel Modulation Wheel (MIDI CC 1)
Mod After Modulation Wheel or Aftertouch
Channel After Channel Aftertouch
Poly After Polyphonic Aftertouch
Velocity Note Velocity Value
Pitch Bend Pitch Bend
Breath Breath (MIDI CC 2)
Foot Foot (MIDI CC 4)
Expression Expression (MIDI CC 11)
Sustain Sustain (MIDI CC 64)
CC16 – 21 MIDI CC 16 to 21
CC84 – 90 MIDI CC 84 to 90
Note Note MIDI Value
Centre Note Centre Note MIDI Value (centred around MIDI note 57)
Random Note 1 Bipolar Random Note 1 Value
Random Note 2 Bipolar Random Note 2 Value
Uni Random Note 1 Unipolar Random Note 1 Value
Uni Random Note 2 Unipolar Random Note 2 Value
Offset Constant Offset
White Noise Bipolar White Noise
Uni White Noise Unipolar White Noise
Filter 1 Env Filter Envelope 1 Value
Filter 2 Env Filter Envelope 2 Value
Free Env 1 Free Envelope 1 Value
Free Env 2 Free Envelope 2 Value
Free LFO 1 Free LFO 1 Bipolar Value
Free LFO 2 Free LFO 2 Bipolar Value
Uni Free LFO 1 Free LFO 1 Unipolar Value
Uni Free LFO 2 Free LFO 2 Unipolar Value
PD 1 X Phase Distortion 1 X Value
PD 1 Y Phase Distortion 1 Y Value
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PD 1 Dist Phase Distortion 1 Distance from centre
WS 1 X Wave Shaper 1 X Value
WS 1 Y Wave Shaper 1 Y Value
WS 1 Dist Wave Shaper 1 Distance from centre
PD 2 X Phase Distortion 2 X Value
PD 2 Y Phase Distortion 2 Y Value
PD 2 Dist Phase Distortion 2 Distance from centre
WS 2 X Wave Shaper 2 X Value
WS 2 Y Wave Shaper 2 Y Value
WS 2 Dist Wave Shaper 2 Distance from centre
Arp Off / On Arpeggiator Off (0) / On (1)
Arp Vel Arpeggiator Velocity
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Modulation Destinations
None Osc 2 FM Amount 2 Filter 2 Envelope Speed
Global Pitch Osc 2 Phase Filter 2 Attack
Global Pitch Fine Osc 2 Pan Filter 2 Decay
Portamento PD 2 X Filter 2 Sustain
Unison Amount PD 2 Y Filter 2 Fade
Unison Spread PD 2 Magnitude Filter 2 Release
Arp Speed PD 2 Phase
Arp Note Length PD 2 Amount Main Volume
Arp Swing WS 2 X Main Panning
Arp Vel / Key WS 2 Y Amp Envelope Speed
WS 2 Magnitude Amp Envelope Attack
Osc 1 Volume WS 2 Phase Amp Envelope Decay
Osc 1 Semi WS 2 Amount Amp Envelope Sustain
Osc 1 Fine Amp Envelope Fade
Osc 1 Sub Volume Filter 1 Volume Amp Envelope Release
Osc Phase Filter 1 Pan Amp Envelope Shape
Osc 1 Pan Filter 1 Frequency Amp Envelope Attack
Shape
PD 1 X Filter 1 Q
Amp Envelope Decay
PD 1 Y Filter 1 Vowel
Shape
PD 1 Magnitude Filter 1 Envelope
Amp Envelope Release
PD 1 Phase Filter 1 Envelope Speed Shape
PD 1 Amount Filter 1 Attack
WS 1 X Filter 1 Decay Envelope 1 Speed
WS 1 Y Filter 1 Sustain Envelope 1 Attack
WS 1 Magnitude Filter 1 Fade Envelope 1 Decay
WS 1 Phase Filter 1 Release Envelope 1 Sustain
WS 1 Amount Envelope 1 Fade
Filter 2 Volume Envelope 1 Release
Osc 2 Volume Filter 2 Pan
Osc 2 Semi Filter 2 Frequency Envelope 2 Speed
Osc 2 Fine Filter 2 Q Envelope 2 Attack
Osc 2 Sub Volume Filter 2 Vowel Envelope 2 Decay
Osc 2 FM Amount 1 Filter 2 Envelope Envelope 2 Sustain
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Envelope 2 Fade FX Chorus HP FX Widener LP
Envelope 2 Release FX Widener HP
FX Ensemble Length
LFO 1 Speed FX Ensemble Width FX Delay FX Mix
LFO 1 Phase FX Ensemble Speed FX Delay FX Pan
LFO 1 Shape FX Ensemble Feed FX Delay Left
LFO 1 Delay FX Ensemble Amount FX Delay Right
LFO 1 Smooth FX Ensemble Spread FX Delay Length
FX Ensemble LP FX Delay Fine Length
LFO 2 Speed FX Ensemble HP FX Delay Feed
LFO 2 Phase FX Delay Cross
LFO 2 Shape FX Flanger Length FX Delay Mod
LFO 2 Delay FX Flanger Width FX Delay LP
LFO 2 Smooth FX Flanger Speed FX Delay HP
FX Flanger Feed
Mod 1 Amount FX Flanger Pan FX Reverb Pre Delay
Mod 2 Amount FX Flanger LP FX Reverb Size
Mod 3 Amount FX Flanger HP FX Reverb Length
Mod 4 Amount FX Reverb Damp
Mod 5 Amount FX Phaser Stages FX Reverb Spread
Mod 6 Amount FX Phaser Pitch FX Reverb LP
Mod 7 Amount FX Phaser Feed FX Reverb HP
Mod 8 Amount FX Phaser Width FX Reverb Mix
FX Phaser Speed
FX Mod Mix FX Phaser Spread
FX Mod Pan FX Phaser Pan
FX Chorus Length FX Phaser Q
FX Chorus Width
FX Chorus Speed FX Widener Amount
FX Chorus Widen FX Widener Width
FX Chorus LP FX Widener Speed
Rob Papen QUAD 53

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MIDI / Control Menu

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Set to default Sets the control to its default value

MIDI Control through Latching

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Modulated by Displays the modulation source that controls this parameter.

Drag and Drop Controls

Up Arrow key Previous Preset.

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Save Current Preset in Favorites

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Save Preset in Folder

Revert to Original Preset / Revert to Edit Preset

Create New Folder

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ECS (External MIDI Control)

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Filter (Oscillator 1 Only)

Sync (Oscillator 2 Only)

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Ring Modulation (Ring)

Phase Modulation (PM)

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Frequency Modulation 1 (FM1)

Frequency Modulation 2 (FM2)

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Frequency Modulation 3 (FM3)

Frequency Modulation 4 (FM4)

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PWM / PWM2 WS Only

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Shift1 / Shift2 PD Only

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Volume and Pan

Cutoff Frequency Modulation

Modulation Wheel (ModWhl)

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Pitch Bend Controls

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LFO Sync Off / On

Free Modulation Slots 1 – 8

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