Firmware v1.18 R7 (stable) · v1.20 B24 (public beta)

Document version 1.40 — created 2026-06-10 — revised 2026-07-16

TABLE OF CONTENTS

• Part I — Architecture & Philosophy
  • Chapter 1: Why the Synclavier?
  • Chapter 2: The Partial Timbre Method
  • Chapter 3: Critical Parameter Details
• Part II — Synthesis Methods
  • Chapter 4: Additive Synthesis
  • Chapter 5: FM Synthesis
  • Chapter 6: Subtractive Synthesis
  • Chapter 7: Sampling
  • Chapter 8: Resynthesis
  • Chapter 9: Envelopes
  • Chapter 10: The Partial Crossfader
  • Chapter 11: Modulators
  • Chapter 12: Effects — Partial, Timbre & Master
  • Chapter 13: Multi-Timbral Sessions
• Appendix A — Historical Context
• Appendix B — Glossary
• Appendix C — The Synclavier Knob Controller (KBI-1)
• Appendix D — Firmware Changelog Highlights
• Appendix E — Interface Quick Reference
• Appendix F — External Sequencer Integration

PART I — ARCHITECTURE & PHILOSOPHY

Chapter 1: Why the Synclavier?

The Synclavier is more than just a well-spec’d synthesizer. It is a collection of architectural decisions — some made under hardware constraints from the late 1970s, some deliberate design philosophy, some happy accidents — that together produce capabilities that remain rare or entirely absent in any other instrument, hardware or software, then or now. This chapter catalogs those features specifically, so that by the end of this manual we’ve shared how to use the Regen and why it sounds and behaves the way it does.

Historical Firsts

The FM Engine — A Different Kind of FM

The Synclavier's FM implementation is not a variant of Yamaha's DX architecture. It is a distinct system, and the differences are not cosmetic.

The Partial Architecture

Envelopes & LFOs — Unusual Depth

The "Grunge" Continuum — Deliberate Lo-Fi as a Design Axis

The Synclavier II's hardware limitations produced a specific kind of distortion that became one of the most sampled and imitated sounds in recorded music. The Regen preserves and extends this as standout feature.

Tuning & Microtonality

Resynthesis & Frame Synthesis

Summary: The Regen's Irreducible Advantages

The table below distills the features that are either unique to the Synclavier lineage or shared by fewer than a handful of instruments in existence.

Chapter 2: The Partial Timbre Method

The Regen represents a continuation of Cameron Warner Jones's original "Partial Timbre Method" patented in 1985, now enhanced with modern synthesis options. Understanding this architecture is essential before diving into programming.

The Synclavier's approach has always been fundamentally different from the subtractive paradigm that dominates synthesizer design. Where a Minimoog or a Prophet-5 starts with a harmonically rich oscillator and sculpts it down with a filter, the Synclavier starts with silence and builds upward — adding harmonic content, layering partials, and controlling each element independently. This is additive thinking at its core, and it produces sounds that subtractive instruments simply cannot.

The Four Levels: Partial → Timbre → Track → Master

The Regen's signal flow is organized into four nested levels. Knowing which level a parameter lives on is the single most important mental model in the instrument — it determines what you can modulate, what gets summed where, and why a given control behaves the way it does.

SESSION  (the entire saved state — your complete project)
  │
  └── TIMBRE LIBRARY  (the sound programs themselves)
         │
         └── TIMBRE  (a single sound program — up to 12 partials)
                │
                ├── PARTIALS  (up to 12 — the actual sound generators)
                │      │
                │      ├── PITCH COMPUTER
                │      │      ├── Keyboard Pitch Track, Track/Partial Transpose
                │      │      ├── Custom MIDI Tuning Standard + Pitch-Class Tuning (microtuning system)
                │      │      ├── Overall / Timbre Octave Ratio
                │      │      ├── Partial/Timbre/Overall Tuning + Detune
                │      │      ├── Vibrato Generator, Pitch Modulator(s), Pitch Quantizer
                │      │      └── Frame Tuning
                │      │
                │      ├── OSCILLATORS
                │      │      ├── Carrier Oscillator (24 harmonics + 24 phases)
                │      │      ├── Modulator Oscillator (24 harmonics + 24 phases)
                │      │      ├── FM Ratio + FM Octave
                │      │      ├── Partial FM %, Timbre FM %, Timbre FM +/-, Frame FM %
                │      │      └── FM ADSR Generator + FM Modulator(s)
                │      │
                │      ├── WAVE TABLE LOOKUP  (24 Harmonics / Sample / Synth Wave)
                │      │      ├── Time Ditherer
                │      │      ├── Bit Depth ← edited on Timbre Effects page,
                │      │      ├── Grunge Setting acts here at the partial stage
                │      │      └── Alias Filter (ON/OFF)
                │      │
                │      ├── CHORUS  (Generator + Chorus Summer — per partial)
                │      │
                │      ├── ENVELOPE ADSR GENERATOR
                │      │      ├── Volume Envelope (Delay→Attack→Peak→Decay→Sustain→Release)
                │      │      ├── Decay Adjust + Decay Shape (Parabolic / Logarithmic / Linear)
                │      │      └── FM Envelope (same structure)
                │      │
                │      ├── PARTIAL VOLUME & PAN
                │      │      ├── Partial Volume (−∞ to +12 dB; default −∞ = off)
                │      │      └── Partial Pan (L ← → R)
                │      │
                │      ├── TREMOLO GENERATOR (LFO B)
                │      │
                │      └── (for Sample partials)
                │             ├── Patchlist (up to 128 soundfiles)
                │             ├── Layers (Velocity / Mod Wheel / Random)
                │             └── Loop Mode
                │
                ├── 12-PARTIAL SUMMER ← partials sum here, into the timbre
                │
                └── TIMBRE-LEVEL PROCESSING
                       ├── Timbre Volume
                       ├── Leveling & Stereo Spread
                       ├── ADSR Note Filter (multi-mode, 12/24 dB, per-note envelope)
                       ├── Chorus (Smart / Hyper / Fine model, rate, depth, mix)
                       ├── Bit Depth / Grunge / Alias Filter
                       └── Timbre Reverb (wet/dry mix)

  ┌─────────────────────────────────────────────────────────────┐
  │  TRACK LEVEL (12 tracks)                                    │
  │    12-Track Summer → Track Volume & Pan → Stereo Trk outputs│
  │    (each track references one timbre; holds MIDI channel,   │
  │     keyboard zone, volume, pan, output routing)             │
  └─────────────────────────────────────────────────────────────┘

  ┌─────────────────────────────────────────────────────────────┐
  │  MASTER LEVEL                                               │
  │    Master Reverb → Master Volume → Noise Floor              │
  │    Balanced XLR / Unbalanced ¼" / Headphone outputs    │
  └─────────────────────────────────────────────────────────────┘

Core Capacity

The Signal Flow, Level by Level

PARTIAL:  Carrier (24H) + Modulator (24H) → Wave Table Lookup
            (Bit Depth / Grunge / Alias Filter applied here)
          → Chorus Summer → Envelope ADSR → Partial Volume & Pan → Tremolo
            │
TIMBRE:   → 12-Partial Summer → Timbre Volume → Leveling & Spread
          → ADSR Note Filter → Effects EQ Filter → Timbre Reverb
            │
TRACK:    → 12-Track Summer → Track Volume & Pan → Stereo Track Output
            │
MASTER:   → Master Reverb → Master Volume → XLR / TS / Headphone Out

Chapter 3: Critical Parameter Details

Before we get to synthesis methods, it’s important to understand a handful of parameters that are either commonly misunderstood or that behave differently than you might expect.

Partial Volume

NOTE: Partial Volume defaults to −∞ (completely silent). To bring a partial into the mix, you must raise it above −∞. The range extends to approximately +12 dB. Double-tap Partial Volume on the Levels screen to set it to 0 dB (unity). This is the most common reason a newly created partial produces no sound.

Roll Off (Subtractive Noise Filter)

The "Roll Off" parameter is only available in Subtractive mode when the generator is set to Noise. It’s a traditional noise filter, distinct from the timbre-level Note Filter. It is a frequency-based low-pass filter, stated in Hertz (Hz). Setting it to "4,000 Hz" means noise content above approximately 4 kHz is progressively attenuated. It is not a brick-wall filter, nor does it operate on harmonic numbers.

Stereo Spread

Stereo Spread is part of the timbre's Leveling & Spread stage. It pans the partials from left to right across the stereo field without having to set a Pan value for each partial. It distributes the partials automatically — higher partial numbers are placed further from center. This is especially effective for wide pad sounds where you want each harmonic layer to occupy a different spatial position.

Vibrato — LFO A (Per Partial)

Modeled after the Synclavier II, the Vibrato generator is a per-partial pitch LFO (LFO A). Its full parameter set is:

• Waveform, Rate, Depth, Attack (delay/ramp-in of the effect)

• Invert — flips the vibrato direction

• Bias — drives the vibrato all-up or all-down from center pitch (instead of symmetrically around it)

• Quantize — rounds vibrato pitch to semitone boundaries, producing stepped pitch changes rather than smooth glides

• S-Curve — shapes the LFO contour from linear toward an eased S-shape

Tremolo — LFO B (Per Partial)

The Tremolo generator is the per-partial amplitude LFO (LFO B). Its full parameter set is richer than the Vibrato's:

• Waveform, Rate, Depth, Attack
• S-Curve — contour shaping
• Phase — sets the starting phase of the LFO
• Invert — flips the modulation direction
• Alt (alternate) — alternates the modulation between successive notes/cycles
• Sync — synchronizes the LFO (to tempo or note-on)

Chorus (Per Partial)

Because the Chorus generator and its summer live at the partial stage, you can have different chorus settings on different layers of the same timbre — a subtle chorus on the body and a deep chorus on the shimmer, for instance.

PART II — SYNTHESIS METHODS

Chapter 4: Additive Synthesis

The Regen provides 24 harmonics per partial, each with independently adjustable coefficients and phases. The Synclavier's additive implementation uses exact harmonic intervals, not equal temperament approximations. This has a few profound implications:

• The 3rd harmonic is a pure perfect fifth above the 2nd harmonic

• When playing well-tempered chords, the 5th of your chord will be slightly out of tune with the 3rd harmonic of the fundamental

• This creates subtle beating that is part of the Synclavier's characteristic sound

Step-by-Step: Creating an Additive Sound from Scratch

1. Prepare a blank slate:

   • Press Switcher to RED (Partials mode)
   • Press Selector 1, hold it, then press Selector 12 (selects all partials)
   • Press Cut — leaves only Partial 1 as default sine
   • Press Selector 1 alone — confirms only Partial 1 is selected

2. Set partial volume:

   • Tap Levels on the ENVELOPE panel
   • Double-tap Partial Volume to set to 0 dB
   • (If you skip this step, you will hear nothing. Partial Volume defaults to −∞.)

3. Access the additive generator:

   • Tap Wave on OSCILLATOR panel
   • Tap Carrier (if not already selected)
   • Confirm Additive is the Synth Mode
   • Tap Define (or Arrow Right twice)

4. Design your harmonic content:

   • Tap Edit 1-8 — selector buttons 1-8 now blink
   • Swipe to select harmonics 2-4
   • Use Swiper to add coefficient values (try ~12%)
   • Arrow Right to access phase editing

The Quick Wave Function

For rapid prototyping, use Quick Wave:

1. From the Edit button, tap Quick Wave
2. Nudge Up to select a preset waveform (sine, triangle, ramp, square)
3. The harmonic coefficients and phases are automatically configured
4. Observe and modify individual harmonics from this starting point

Additive Saw vs. Super Saw

The Regen offers both approaches to sawtooth synthesis, and they sound different:

Chapter 5: FM Synthesis

FM synthesis on the Regen operates by modulating the carrier wave's frequency with another wave. This is another place the Synclavier truly distinguishes itself — you can design complex additive waveforms for both carrier and modulator.

The FM Signal Path

Carrier Wave (24 harmonics)
        ↓
FM Modulator (24 harmonics) → Partial FM % × (Carrier Frequency × FM Ratio)
        ↓
Output Stage (sidebands added to each harmonic)

Step-by-Step: Adding FM to a Partial

1. Configure the modulator waveform:

   • Tap Mod on OSCILLATOR panel
   • Use Quick Wave or manually set harmonics
   • By default, all coefficients are zero (FM off)

2. Set FM amount:

   • Tap Mod on ENVELOPE panel
   • Tap Levels
   • Adjust Partial FM % — start small (5–15%)

3. Dial in the FM Ratio:

   • On the same page, adjust FM Ratio
   • Whole number ratios (1, 2, 3, 4…) produce stable, harmonic timbres
   • Fractional ratios (1.5, 2.5, 3.5…) produce "phasier" results
   • Values less than 1.0 (e.g., 0.5, 0.333) create subsonic modulator effects

Partial FM vs. Timbre FM

FM on the Regen is fundamentally a partial-level process — the actual frequency modulation happens inside each individual partial. Timbre-level FM does not create a new FM relationship; it is a global modifier that acts on the FM already defined (or not yet defined) at the partial level. The distinction is between where FM is generated and where FM is scaled/shifted after the fact.

Partial-Level FM (The Generator)

This is where FM actually happens — each of the 12 partials contains:

• A Carrier Oscillator (24 harmonics + 24 phases — a full additive waveform)
• A Modulator Oscillator (24 harmonics + 24 phases — another full additive waveform)
• FM Ratio — the frequency relationship between modulator and carrier (e.g., 1:1, 2:1, 3:1)
• Partial FM % — the depth/intensity of the modulation at this partial

What’s being FM’d at the partial level: The carrier waveform’s frequency is being modulated (or sample clock in the case of a sample carrier) by the modulator waveform’s output, scaled by Partial FM % and the FM Ratio. Both carrier and modulator can be arbitrarily complex additive waveforms — this is what distinguishes the Synclavier from Yamaha-style operator FM, where carriers and modulators are simple sine waves.

Timbre-Level FM (The Global Modifier)

These controls live on the TIMBRE panel (blue buttons) and affect all 12 partials simultaneously.

What’s possible at the timbre level: The timbre-level controls are post- processing on the FM already generated at the partial level. Timbre FM ± is the exception — it can inject FM into partials that don’t have any modulator defined, which the manual describes as producing “weird effects”. (The official manual calls FM ± a “character changer” and FM % a tool for fine-tuning.)

How They Connect

The architecture is nested and cumulative:

PARTIAL LEVEL (per partial, ×12):
   Carrier + Modulator → FM Ratio → Partial FM %
                ↓
TIMBRE LEVEL (global, across all 12 partials):
   → Timbre FM ± (additive offset)
   → Timbre FM % (multiplicative scaling)
   → FM % Ratio (multiplicative ratio scaling)
                ↓
   12-Partial Summer → Timbre Volume → Leveling & Spread
   → ADSR Note Filter → Effects → Reverb → Output

The computation order matters critically:

1. Partial FM % sets the base FM depth per partial
2. Timbre FM ± adds or subtracts from that base (additive — can go negative, can create FM from nothing)
3. Timbre FM % multiplies the result of step 2 (so if FM ± reduced FM to zero, FM % has nothing to act on)
4. FM % Ratio multiplies the partial-level FM Ratio

How to Use It Practically

Workflow 1: Build from the partial up

1. Design your modulator waveform on a partial (OSCILLATOR → Mod → set harmonics)
2. Set Partial FM % to a small value (5–15%)
3. Set FM Ratio to a whole number for harmonic stability
4. Use Timbre FM % to globally scale the brightness across all partials — e.g., sweep from 50% → 200% for a morph
5. Use FM % Ratio to globally detune the carrier-modulator relationship for warbly/inharmonic effects

Workflow 2: The “weird effects” path

1. Create a timbre with no FM on any partial
2. Crank Timbre FM ± — this injects FM into all partials simultaneously, even without defined modulators
3. This produces unpredictable, often chaotic results — useful for experimental sound design

Workflow 3: Performance morphing

1. Build a patch with partial-level FM
2. MIDI-link Timbre FM ± or Timbre FM % to a hardware controller
3. Morph the entire timbre’s “bite” or “grunge” in real time without touching individual partials

FM Ratio Character Map

Chapter 6: Subtractive Synthesis

Subtractive synthesis was added specifically for Regen and takes the opposite approach to additive — start with a harmonically rich wave and filter out unwanted content.

Available Generators

Step-by-Step: Programming a Super Saw

1. Access the subtractive generator:

   • Select your partial
   • Tap Wave → set Synth Mode to Subtractive
   • Tap Edit (or Arrow Right)

2. Configure the Super Saw:

   • Set Wave to Super Saw
   • Unison Voices: Number of saws (single through multiple)
   • Unison Detune: Spread between voices (creates thickness)
   • Stereo Spread: Distribution across stereo field

3. Apply the Note Filter:

   • NOTE FX → Filter: LP/HP/BP, 12/24 dB slope, resonance, pitch track
   • The Note Filter is a timbre-level filter with its own ADSR envelope applied to each note, so different notes are shaped independently as they sound

Additive Saw vs. Super Saw

See the comparison table in [Chapter 4 — Additive Saw vs. Super Saw](#additive- saw-vs-super-saw) for a full breakdown. In brief: the Additive Saw carries the classic Synclavier character and responds to Bit Crush; the Super Saw is continuous-spectrum and better suited to filter-based subtractive work.

Chapter 7: Sampling

The Synclavier became legendary as a sampler in the 1980s. And while it doesn’t have direct sampling inputs, the Regen does feature very sophisticated sample handling, including the abilty to create hybrid (sample + synthesis) timbers.

Sample Architecture

• Patchlist: Each partial can hold up to 128 soundfiles
• Layers: Velocity (or Mod Wheel/Random) dimension added to patchlists
• Multi-sampling: Keyboard ranges can trigger different samples
• Loop Modes: No Loop, One-Shot, Always Loop, Loop w/Tail, One-Shot Loop

Step-by-Step: Building a Multi-Sampled Instrument

1. Load your first sample:

   • Browse libraries → tap Sample button
   • Use Audition to preview
   • Tap Choose Partials to specify destination partial
   • Press Enter

2. Set up the patchlist:

   • Navigate to OSCILLATOR → Wave → confirm Samples mode
   • Tap Edit to view/modify patchlist

3. Add keyboard ranges:

   • Tap Choose File → browse for next sample
   • Before tapping Enter, set the Range:
   • Press one key = single-key trigger
   • Press and hold one key, then press another = range

4. Configure sample parameters:

   • Tap Define → access tuning, range, alias filter, loop, and trim subpages
   • Use Auto Tune for pitch detection (works on harmonic content)
   • Set File Volume to match levels across samples

The Alias Filter (The Synclavier Grunge)

This is where vintage character lives. The original Synclavier II used variable- rate sample-and-hold DACs without interpolation. Playing samples below their recorded pitch created decimation distortion — the legendary "grunge" found on countless hip-hop records and film scores.

• Alias Filter ON: Full interpolation, clean playback
• Alias Filter OFF: Reduced interpolation, models Synclavier II character

The Alias Filter, along with Bit Depth and Grunge, is applied at the partial's wave-table-lookup stage even though you set it on the Timbre Effects page. The Grunge control adds decimation distortion modeling the Synclavier II's non- interpolated DAC. Note that Bit Depth and Grunge — unlike most timbre parameters — cannot be MIDI-linked.

Working with Velocity Layers

As of firmware 1.10, layers add another dimension to patchlists:

1. Navigate between Wave and Edit (or press both simultaneously)

2. View the layer display showing velocity ranges

3. Tap Layer Settings to configure:

   • Low Value / High Value: MIDI velocity range (0–127)
   • Layer Source: Velocity, Mod Wheel, or Random

4. Clone layers and set non-overlapping ranges for multi-velocity instruments

Avoiding Layer and Sample Conflicts

A conflicting sample occurs whenever two or more soundfiles in a patchlist are assigned to overlapping key ranges within the same partial. The Regen alerts you with a “Conflicting Samples” warning and displays a graphical keyboard map with colored blocks showing where the overlaps fall.

How to avoid conflicts:

• Build key ranges that are contiguous but non-overlapping — every key should belong to exactly one soundfile’s range.
• Use the keyboard graphic in the patchlist editor to verify coverage. Gaps are audible (dead keys); overlaps are silent errors (wrong sample).
• When creating multi-sampled instruments with velocity layers, remember that the layer dimension (velocity, Mod Wheel, random) is separate from the key range dimension — conflicts occur within the same layer, not across layers. Samples on different layers can safely occupy the same key range; that’s the entire point of the feature.

How to resolve conflicts when they happen:

1. Open the patchlist editor and look for the “Conflicting Samples” warning.
2. Read the keyboard graphic — overlapping blocks indicate which keys have multiple assignments.
3. Adjust the key range boundaries of the conflicting soundfiles so they no longer overlap.
4. Verify the fix by confirming the warning has disappeared.

Hybrid Sound Design (Sampling + Synthesis)

Regen samples can interact directly with they other three synthesis engines — additive, subtractive, and FM — within a single timbre. Each of the 12 partials can independently run any synthesis type, and the Partial Crossfader can blend between them based on velocity, Mod Wheel, or any MIDI input.

Can I FM a Sample?

There are three distinct ways FM and samples interact on the Regen, and they are not equivalent:

Method 1: Direct FM on a Sample Partial

When a partial is in Sample mode, the FM controls (Mod oscillator, FM Ratio, Partial FM %) still exist and still function. In this case the modulator waveform is frequency-modulating the playback clock of the sample — not the sample’s harmonic content directly. This means:

• The sample’s pitch is swept by the modulator, producing sidebands around the sample’s existing spectral content
• The result is raw and powerful — more like granular mangling than classic FM, because a complex audio signal (the sample) is being frequency-modulated rather than a single sine wave
• At low FM %, you get subtle vibrato/pitch wobble; at high FM %, the sample disintegrates into spectral chaos
• The FM Ratio still governs the carrier-modulator frequency relationship, but since the “carrier” is now a multi-harmonic sample rather than a single sine, the sideband structure is dense and less predictable than with additive carriers

Method 2: Resynthesis + FM — The Elegant Path

Resynthesis analyzes a sample and converts it into a series of additive harmonic frames — snapshots of 24 harmonic coefficients and phases. (see Chapter 8: Resynthesis for more) Once the sample is in this form:

• The carrier is now additive data — 24 harmonics + 24 phases — and FM treats it exactly the same as any other additive waveform
• The modulator (also 24 harmonics + 24 phases) generates sidebands around each harmonic of the resynthesized sample independently - FM Ratio and Partial FM % behave predictably — you get the same mathematically coherent sideband structure you’d get with any additive carrier
• The Hybrid Attack parameter controls how many milliseconds of the original sample you hear before the resynthesized frames take over

The Hybrid Attack tradeoff:

• 0ms = fully resynthesized from the first sample; FM works on the entire sound, but you may lose the authentic transient
• 20ms (default) = original sample attack preserved, then crossfade to resynthesized frames; FM only affects the sustain/loop portion
• Switch Synth Mode to Additive to remove the hybrid attack entirely and run pure additive + FM

  ☝🏻 Why Resynthesis + FM?

  Resynthesis also gives you the ability to manipulate tuning and FM over the duration of the sound through the frame sequence . The harmonic frames evolve over time, and FM applied to them evolves too. This is something direct sample FM cannot do.

Method 3: Cross-Partial FM — Sample Meets Synthesis

This is the most architecturally sophisticated approach. Place a sample on one partial and a synthesized waveform (additive or subtractive) on another. Use the per-partial modulation matrix to route one partial’s LFOs or envelopes to modulate the sample partial’s parameters .

Example architectures:

• Partial 1: Additive carrier + FM modulator (classic FM timbre)
• Partial 2: Sample (e.g., piano attack, vocal fragment)
• Crossfader: Blend between them by velocity — soft playing is pure FM, hard playing adds the sample’s edge
• Mod matrix: Route Partial 1’s envelope to Partial 2’s volume → the FM timbre shapes the sample’s amplitude envelope

Or:

• Partial 1: Sample (long texture or drone)
• Partial 2: Additive with heavy FM, envelope set to slow rise
• Mod matrix: Route Partial 2’s envelope to Partial 1’s pitch → the FM partial’s evolution slowly bends the sample’s tuning over 10–20 seconds

Chapter 8: Resynthesis

Resynthesis is NED's original 1980s technique for building sounds from precisely controlled harmonics that evolve over time — additive synthesis with a memory. As described in Chapter 7: Sampling, it also serves as the bridge between the sampled and synthesized worlds: by analyzing an audio recording into a sequence of harmonic frames, resynthesis converts a static sample into additive data that can be tuned, FM’d, and shaped over its entire duration — something no raw soundfile permits.

What Resynthesis Does

The process analyzes a sample and represents it as a series of "frames" — each frame containing a snapshot of 24 harmonic coefficients and phases. This creates a "Hybrid" waveform that:

• Transposes without pitch-shifting artifacts
• Loops the sustain stage naturally
• Allows manipulation of tuning/FM over duration
• Reduces memory footprint dramatically

Limitations

Resynthesis works best on simple, harmonic content:

Step-by-Step: Resynthesizing a Sample

1. Load your source sample to a partial (e.g., Wine Glass #1)

2. Enter analysis mode:

   • Set Synth Mode to Analyze
   • If sample isn't tuned, tap Auto Tune
   • Tap Next

3. Configure resynthesis parameters:

   • Frame Count: Number of harmonic snapshots (more = more faithful, default 20)
   • Hybrid Attack: Milliseconds of original sample before transition to frames (0ms = fully resynthesized, 20ms = realistic attack preserved)

4. Execute analysis:

   • Tap the analysis button (⚙)
   • Wait for BUSY light to extinguish
   • Play and evaluate

5. Compare and iterate:

   • Switch Synth Mode back to Samples to compare original
   • Adjust Frame Count/Hybrid Attack and re-analyze as needed

Editing Frames

Once resynthesized, tap Frames to access:

• Clone/Delete: Add or remove frames (up to 100 maximum)
• Change Splice: Set delay and crossfade times between frames
• Change Vol/Mod: Adjust per-frame Volume, FM%, and Tuning
• Loop Mode: Ping-pong, bounce-back, with/without tails

From the Define button, you can edit individual harmonic coefficients for specific frames — allowing granular control over how the timbre evolves over time.

Chapter 9: Envelopes

The envelope system on Regen uses the classic Synclavier model with some modern additions. Each partial has its own Volume ADSR and FM ADSR (24 envelopes per timbre in total).

Volume Envelope Parameters

Decay Shape Options

The original Synclavier II used an approximate parabolic decay curve for computational efficiency — this became part of its signature sound. Regen offers:

• Parabolic (Original): Classic Synclavier character — the default for a reason
• Logarithmic (−10 dB to −80 dB): Modern synthesizer standard, great for plinky modular sounds
• Linear: Useful for percussive/non-musical sounds

FM Envelope

The modulator has its own independent envelope with the same parameters (including its own Decay Shape). This allows the FM character to evolve differently from the volume — crucial for realistic instrument modeling where brightness changes independently of amplitude.

For any FM partial where the FM envelope decays faster than the volume envelope, the sound barks then sings — bright attack, mellow sustain. This is the physical behavior of struck objects (tines, bells, drums) and is the foundation of realistic FM instrument design.

Pitch Envelope (via the Modulation Matrix)

The Regen has no dedicated pitch envelope — but it doesn’t need one. The per- partial modulation matrix can route any envelope to any pitch destination, giving you pitch envelope control that is both more flexible and more architecturally powerful than a fixed pitch ADSR.

The Principle

Every partial’s modulation matrix (accessed by selecting the partial in Red mode and pressing MIDI/Mod) allows you to assign a Source, a Destination, and an Edit Range . Two envelopes are available as sources on every partial:

And the pitch-related destinations are:

Setup: Routing a Volume Envelope to Pitch

To create a pitch envelope using the volume ADSR:

1. Select your partial (Red mode, Selector n)
2. Press MIDI/Mod to open the modulation matrix
3. In an empty slot, set Source = Volume Envelope
4. Set Destination = Tuning
5. Set Edit Range to control the depth of pitch deviation (start small — ±200 cents is a lot)
6. Press Carrier to return to the envelope panel and shape the ADSR as desired — the same envelope now controls both amplitude and pitch

Cross-Partial Pitch Modulation: The Real Power

Each partial’s mod matrix can use the envelopes of every other partial as a source. With 24 envelopes available per timbre, you can:

• Route Partial 1’s volume envelope to Partial 3’s Tuning — one partial’s amplitude contour bends another partial’s pitch independently of its own volume
• Route Partial 2’s FM envelope to Partial 5’s Tuning — an FM brightness curve drives a pitch sweep on a completely different sound element
• Route Partial 1’s volume envelope to Partial 1’s Tuning — coupled pitch/amplitude behavior on the same partial (an acoustic model when used subtly)
• Route Partial 1’s volume envelope to both Partial 1’s Tuning and Partial 3’s Tuning — one envelope drives pitch on two different partials simultaneously, at different depths

A Note on Independence

When you route a volume envelope to Tuning, the envelope still controls amplitude — you haven’t reassigned it, you’ve added a destination. If you want pitch envelope behavior without the amplitude contour, you have two options:

• Use the FM Envelope as your source instead — it shapes pitch without affecting volume, since it’s normally dedicated to FM intensity
• Use a different partial’s envelope via cross-partial sourcing — dedicate a partial to generating an envelope shape that exists solely to drive other partials’ parameters

Chapter 10: The Partial Crossfader

This is one of Regen's most powerful features for dynamic timbres.

Crossfader Inputs

Step-by-Step: Creating a Velocity-Morphing Timbre

1. Set up partials with different characters (e.g., soft/medium/hard samples)

2. Navigate to ENVELOPE → Levels → Arrow Left to Partial Crossfader

3. Set Input to Velocity

4. For each partial, define:

   • Low / High (in velocity context: low/high MIDI values)
   • Fade In / Fade Out (overlap amount in MIDI units)

5. Arrow Left to access Fade Shape options

Chapter 11: Modulators

The modulation matrix is the deepest and most powerful control system on the Regen. And there are aspects of it that leave all other synths in the dust…

The Per-Partial Modulation Matrix

Each partial has its own modulation matrix, accessed by selecting that partial (Red mode, Selector n) and pressing MIDI/Mod. Within a slot you set a Source, a Destination, and an Edit Range.

Available Sources

Available Destinations

Note: Bit Depth and Grunge are not in this list — unlike most timbre parameters, they cannot be MIDI-/modulation-linked.

The Edit Range: Per-Partial Modulation Depth

The Edit Range is a value from 0.0 to 127.0, and it is relative to the parameter's current set value. If a partial's FM Percent is set to 50% and you route Mod Wheel → FM Percent with a Range that sweeps to 0, the wheel roams the FM amount between 0 and 50.

You target a specific partial by selecting it first, then editing its matrix. The Range you set lives on that partial. By giving different partials different Ranges for the same source/destination, you build a crossfader-like effect across partials.

Cross-Partial Sourcing: The "Holy Crap" Feature

Each partial's mod matrix can use the LFOs and envelopes of every other partial as a modulation source. With 24 LFOs and 24 envelopes available per timbre, this gives you staggering modulation depth. One partial's slow envelope can sculpt another partial's brightness — the foundation of truly evolving, organic patches.

Step-by-Step: Creating a Per-Partial Modulation Routing

1. Select the target partial (Red mode, Selector n)
2. Press MIDI/Mod to open that partial's modulation matrix
3. Choose an empty Slot
4. Set Source (e.g., Mod Wheel)
5. Set Destination (e.g., FM Percent)
6. Set Edit Range (0.0–127.0, relative to the parameter's base value)
7. Repeat for other partials with different Ranges to create per-partial response

MPE Support

For MPE keyboards, the 5 dimensions map as follows:

Chapter 12: Effects — Partial, Timbre, & Master

The Regen's effects are distributed across three levels of the signal chain. Knowing where each one acts is the difference between a clean routing and a confused one. The list below follows the official Regen signal-flow diagram.

Partial-Stage Effects

These are edited on the Timbre Effects page but act on each partial's wave- table output, before the partials are summed.

Chorus

A per-partial chorus generator with its own summer. Three models — Smart, Hyper, Fine — each with Rate, Depth, and Mix. Because it is per-partial, different layers of one timbre can carry different chorus settings.

Bit Depth (Bit Crush)

Reduces sample-word resolution at the wave-table stage, simulating the quantization of the original Synclavier voice cards. Applied to additive, sample, and hybrid material. Higher values = more decimation = more grunge. Cannot be MIDI-linked.

Grunge

Adds decimation distortion modeling the original Synclavier II's non- interpolated DAC behavior, applied at the wave-table stage. Cannot be MIDI-linked.

Alias Filter

Per-sample interpolation toggle. ON = clean playback; OFF = reduced interpolation for authentic Synclavier II grunge (pitch-ratio-dependent).

Timbre Effects (act on the summed partials)

These process the combined output of all 12 partials, after the Partial Summer.

Note Filter (ADSR)

A multi-mode filter (Low Pass / High Pass / Band Pass) with selectable 12 dB or 24 dB slope, resonance, pitch tracking, and a configurable envelope applied to every note played.Although it lives at the timbre level, its envelope is computed per note, so a held chord's notes are each shaped independently as they enter and release. > - Pitch Track: filter follows the keyboard > - Envelope: Peak / Decay / Sustain for filter modulation

Effects EQ Filter

A separate equalization/filter stage at the timbre level, distinct from the Note Filter — used to shape the overall timbre tone after partial summing.

Timbre Reverb

Per-timbre reverb with a wet/dry mix plus Size and Damping controls. Jones added an efficient reverb algorithm specifically so that FM sounds could be sweetened without reaching for an outboard unit.

Master Effects

Master Reverb

A global reverb applied to the master mix, in addition to (and independent of) the per-timbre reverbs.

Master Volume

The final output gain stage feeding the balanced XLR, unbalanced ¼", and headphone outputs, ahead of the noise floor. (Press Master Volume → Arrow Right for the Live Display diagnostics page.)

Stereo Delays (v1.20 B21+)

A stereo delay effect with tempo-sync options, added in the v1.20 beta line.

Chapter 13: Multi-Timbral Sessions

A multi-timbral session is the Regen at its full architectural depth: twelve independent timbres, each on its own MIDI channel, each with its own voice budget, keyboard zone, and output routing — all running simultaneously from a single instrument. The Track level (introduced in Chapter 2) is where this lives, and Blue mode is how you get there.

This chapter covers the complete workflow: loading timbres to tracks, assigning MIDI channels, configuring keyboard zones, and managing voice resources across a multi-timbral setup.

The Session: What It Is

The Session is the Regen’s complete saved state — every track assignment, every timbre reference, every MIDI channel and zone setting, plus the Master Reverb and Master Volume values. Think of it as the DAW project file for the instrument itself.

The signal-flow diagram in Chapter 2 shows SESSION at the top of the hierarchy for exactly this reason: the session is the container for all twelve tracks, but the timbres themselves live in the Timbre Library, outside and independent of any particular session.

Blue Mode: The Track-Level View

Multi-timbral configuration happens entirely in Blue mode (Switcher → BLUE). In this mode, the 12 Selector buttons address the 12 tracks — not the partials inside a timbre.

The LED turns blue. Selector buttons 1–12 now select tracks. The active (selected) track is highlighted cyan on the display. Everything you set in Blue mode — MIDI channel, keyboard zone, volume, pan, output — belongs to the track, not the timbre the track references.

Step 1: Loading Timbres onto Tracks

Before assigning MIDI channels, each track needs a timbre reference. The workflow is identical to loading a timbre in Red mode, but you do it with a track selected (Blue mode).

Switcher → BLUE
Tap Selector 1 → Track 1 is selected (cyan)
LIBRARY → User → browse to desired timbre
Enter → timbre is now assigned to Track 1

Tap Selector 2 → Track 2 is selected
LIBRARY → User → browse to next timbre
Enter → assigned to Track 2

Repeat for Tracks 3–12

The same timbre can be assigned to multiple tracks — useful for layering identical sounds at different volumes or keyboard zones, or doubling a lead at a different octave.

Step 2: Assigning MIDI Channels — The Track Crossfader Page

MIDI channel assignment lives on the Track Crossfader page — the same page that controls keyboard zones and crossfade behavior. Navigate here from the TIMBRE panel in Blue mode:

Switcher → BLUE
Tap Selector n → select the track to configure
TIMBRE panel → Levels → Arrow Left → Track Crossfader page

The Track Crossfader page presents:

Arrow Left again from here reaches the crossfade behavior page:

To assign a MIDI channel manually: tap MIDI Channel, then Swipe or Nudge to select channels 1–16.

To use MIDI learn: double-press the MIDI Channel button — the display arms for input. Play any note on your external sequencer or controller on the desired channel. The Regen learns the channel from the incoming note. The same arm-and-learn behavior applies to Low Note and High Note.

Repeat for each track:

Tap Selector 1 → TIMBRE panel → Levels → Arrow Left
  MIDI Channel → set to 1

Tap Selector 2 → TIMBRE panel → Levels → Arrow Left
  MIDI Channel → set to 2

... continue through Track 12 (Ch 12)

Step 3: Configuring Keyboard Zones

Keyboard zones let you split the Regen’s 12 tracks across different pitch ranges — bass on one track in the low register, leads on another in the mid, pads across the full keyboard, and so on. Zone boundaries are set on the same Track Crossfader page as MIDI Channel:

Track Crossfader page (same as MIDI Channel)
Tap Low Note → Swipe/Nudge to bottom of desired range (e.g., C2)
Tap High Note → Swipe/Nudge to top of desired range (e.g., B4)

Or use learn mode: double-press Low Note → play the lowest desired key on your keyboard. Double-press High Note → play the highest.

Zones can be:

• Non-overlapping (a clean split — each key triggers only one track)
• Overlapping (a layer — multiple tracks respond to the same keys)
• Full range (Low C-1 / High G9 — the track responds to all pitches on its channel)

For sequencer-driven multi-timbral work where each track has its own MIDI channel, keyboard zones are optional — the channel assignment already ensures each sequence drives the correct track. But zones add a useful second filter: a track set to Ch 3, Low C2, High B4 only responds to Ch 3 notes within that range — useful when one physical controller doubles as a channel router and a split keyboard simultaneously.

The Session Page: Multi-Track Zone Management

Editing zones track-by-track is workable but slow. The Session page shows all active tracks’ ranges simultaneously — a much more efficient command center for split and layer work:

NOTE FX panel → Session → Arrow Right

This displays a list view of all tracks with their current Low Note, High Note, and MIDI Channel assignments visible at once. Editing here updates the Track Crossfader page for the selected track. For keyboard split design — where you need to see the zones for all twelve tracks together — this is the right place to work.

Three Multi-Timbral Architectures

These three approaches are not mutually exclusive — a real session might combine all three. But thinking through them distinctly helps when designing the session from scratch.

Architecture 1: Independent Channels (Sequencer-Driven)

Each track has a unique MIDI channel. An external sequencer drives each channel independently. Keyboard zones are typically left at full range (C-1 to G9) because the channel assignment already routes each sequence to the correct timbre.

Track 1  → Timbre A → Ch 1  → full range
Track 2  → Timbre B → Ch 2  → full range
Track 3  → Timbre C → Ch 3  → full range
...
Track 12 → Timbre L → Ch 12 → full range

This is the primary architecture for sequenced composition work. Each sequencer track addresses one Regen track, and the Regen functions as a twelve-part polyphonic instrument. See Appendix F for the full sequencer-side setup using the Squarp Hapax as a worked example.

Architecture 2: Keyboard Splits

Multiple tracks share the same MIDI channel but occupy non-overlapping keyboard zones. A single keyboard controller plays different timbres depending on where you play.

Track 1 → Timbre A (bass)  → Ch 1 → C-1 to B2
Track 2 → Timbre B (mid)   → Ch 1 → C3  to B4
Track 3 → Timbre C (lead)  → Ch 1 → C5  to G9

Architecture 3: Layered Timbres

Multiple tracks share the same MIDI channel and the same keyboard zone — every note triggers all of them simultaneously. Use Track Volume on each track (TIMBRE panel → Levels in Blue mode) to balance the layers.

Track 1 → Timbre A (additive pad)      → Ch 1 → full range → volume: −6 dB
Track 2 → Timbre B (string sample)     → Ch 1 → full range → volume: −3 dB
Track 3 → Timbre C (FM bell overtones) → Ch 1 → full range → volume: −12 dB

This is where the Regen’s 98-voice pool becomes the critical constraint. Three layered tracks at moderate polyphony can exhaust voices quickly. See Voice Budget below.

Voice Budget and the CPU Meter

The Regen’s 98-voice pool is shared across all active tracks. In a multi-timbral session, that budget is drawn against by every simultaneous note across every track.

Rough cost per note:

Monitor the CPU meter: MASTER panel → Master Volume → Arrow Right → Live Display. This shows real-time audio and CPU diagnostics. Watch this during session design, not just during playback — some timbres are significantly more expensive than their partial count suggests, particularly those using resynthesis or dense Note Filter envelopes.

Voice budget strategies:

• Assign simpler timbres (fewer partials, no resynthesis) to high-note-density tracks (bass lines, fast arpeggiators)
• Reserve complex timbres for tracks with long, sparse notes (pads, slow melodic lines)
• Use monophonic playing mode on tracks where it is musically appropriate — a bass line rarely needs more than one voice at a time
• Monitor idle tracks: tracks that are loaded but silent still consume CPU if their partials have active release tails; use shorter release times on tracks that spend most of a session unused

Session Naming and Organization

The Regen has no DAW-style session naming convention enforced by the firmware, but establishing your own is worthwhile when building complex multi-timbral setups.

A practical convention:

[Project]-[Configuration]-v[n]
e.g.  ATLAS-12CH-v3      (12-channel sequenced session, Atlas project)
      LIVE-SPLIT-v7       (keyboard split for live performance)
      LAB-LAYER-01        (layered timbre experiment)

Track naming within a session: the Regen displays track numbers, not names. Keep a companion document (or a comment in your DAW project) that maps track numbers to timbre names and MIDI channels for the session — particularly for sessions you will return to after a gap.

APPENDIX A — HISTORICAL CONTEXT

The Original Synclavier

The Synclavier was developed by Jon Appleton, Cameron Warner Jones, and Sydney Alonso at Dartmouth College / New England Digital (NED) starting in 1975. The original Synclavier (1975) was a purely additive digital synthesizer — the first commercially available digital synth. The Synclavier II (1980) added FM synthesis capabilities and the Partial Timbre Method, patented by Cameron Warner Jones in 1985 (US Patent 4,554,855).

The Synclavier PSMT (1984) added the legendary direct-to-disk sampling system that made the instrument the centerpiece of 1980s production studios. At a cost of $25,000–$200,000+, it was found only in top-tier facilities — Trevor Horn's SARM, Frank Zappa's Utility Muffin Research Kitchen, Peter Gabriel's Real World, and Stevie Wonder's studio.

The Regen

The Synclavier Regen was designed by Cameron Jones and the Synclavier Digital team, shipping in 2023. It preserves the core Partial Timbre Method architecture while adding subtractive synthesis (Super Saw, noise generators, PCM square), modern sampling with velocity layers and round-robin, resynthesis, and a comprehensive per-partial modulation matrix with cross-partial sourcing.

Key specifications:

• 98 voices polyphonic
• 12 partials per timbre, 12 tracks per session
• 24 harmonics per partial (additive)
• Up to 100 frames per partial (resynthesis)
• 24 LFOs and 24 envelopes per timbre, with cross-partial sourcing
• Per-partial modulation matrix
• Internal DAC (SD101): 50 kHz, 24-bit, 130 dB SNR balanced
• DC-coupled balanced XLR / unbalanced ¼" / headphone outputs
• Per-timbre and master reverb
• Scala microtuning support (.scl + .kbm)
• MPE support (4 of 5 dimensions)

APPENDIX B — GLOSSARY

APPENDIX C — THE SYNCLAVIER KNOB CONTROLLER (KBI-1)

The KBI-1 is an optional hardware knob controller that connects to the Regen via USB. It provides physical knobs for real-time parameter control — a significant workflow improvement over the Swiper for performance and sound design.

Key Features

• Dedicated knobs for Volume, FM%, Tuning, Filter Cutoff, and other frequently- adjusted parameters
• USB class-compliant connection
• Maps to the Regen's parameter set directly — no MIDI CC configuration needed
• Can address Master-section parameters as well as partial/timbre controls
• Compatible with the Regen's Help system (press Help while adjusting a knob to see its mapping)

Workflow Integration

For a live-capture, manual-first studio philosophy, the KBI-1 is worth considering despite a preference for vintage, non-recallable equipment. It doesn't introduce recall or quantization — it's a physical knob that directly controls a parameter, exactly like the original Synclavier II's knob panel. The difference is tactile immediacy: one twist instead of multiple Swiper gestures.

APPENDIX D — FIRMWARE CHANGELOG HIGHLIGHTS

Note: Firmware updates are available from Synclavier Regen Downloads.

APPENDIX E — INTERFACE QUICK REFERENCE

The Four Levels

Switcher Modes

Two-Button Combos

Init Procedure

Switcher → BLUE → Selector 1
Switcher → RED
Select P1, hold, press Selector 12 → all selected → Cut
Select P1 alone
ENVELOPE → Levels → double-tap Partial Volume → 0 dB

Copy/Paste

Select source partial → Copy → "Partial n copied"
Select destination → Paste → "Pasted to Partial m"

Modulation Matrix Access

Select target partial (Red mode, Selector n)
Press MIDI/Mod → open that partial's matrix
Choose Slot → set Source → set Destination → set Edit Range (0.0–127.0)

Critical Defaults to Remember

The Two-Mode Paradigm: The Switcher Button

The Switcher button toggles between two fundamental views:

This dual-mode interface mirrors the original Synclavier II's philosophy: > Sound design happens at the partial level; > Performance arrangement happens at the track level.

When you're building a sound, you're in Red mode. When you're setting up a multi-timbral performance, you're in Blue mode. Note there are two Levels buttons — one for Tracks and one for Partials — which is your constant reminder of which level you're editing.

Panel Buttons

Two-Button Combinations

These combinations are inferred from the manual's UI organization and from forum walkthroughs. Press Help (?) to confirm each on your firmware the first time you use it.

• Vibrato + Tremolo → Modulator routing screen
• Wave + Edit → Layer Settings (sample partials)
• Levels + ADSR 1 → Decay Shape (Parabolic / Logarithmic / Linear)
• Master Volume + Arrow Right → Live Display (audio/MIDI diagnostics)

The Swiper

The Swiper is the primary data entry mechanism — a touch-sensitive strip that replaces traditional knobs for most parameters. Swipe up to increase values, down to decrease. The Nudge −/+ buttons provide fine adjustment. Double-tap many parameters to reset them to default values.

The Help System

The Regen's context-sensitive Help is a super userful feature. Walk through this once:

1. Power on. Press Switcher → red (Partials).

2. Press Wave. You see the Wave screen.

3. Press Help (?). The display identifies the current screen and lists what the Swiper does, what Arrow Left/Right page through, and any modifier combos.

4. Press Help (?) again to dismiss.

5. Repeat on each screen you are unsure of — particularly the Modulator screen, the Frame editor, and the Partial Crossfader.

Multi-Timbral Quick Reference

Blue mode init:
  Switcher → BLUE → Selector n (select track)

Load timbre to track:
  LIBRARY → User → browse → Enter

MIDI channel assignment:
  TIMBRE panel → Levels → Arrow Left → Track Crossfader
    MIDI Channel → Swipe to Ch n
    — or — double-press MIDI Channel → play note on external device (MIDI learn)

Keyboard zone assignment (same page):
    Low Note  → Swipe or double-press (learn)
    High Note → Swipe or double-press (learn)

Zone crossfade behavior (Arrow Left again):
    Fade Shape / Fade In / Fade Out

All-track zone overview:
  NOTE FX panel → Session → Arrow Right

CPU monitoring:
  MASTER panel → Master Volume → Arrow Right → Live Display

APPENDIX F — External Sequencer Integration

The Regen’s multi-timbral architecture is entirely sequencer-agnostic: it responds to standard MIDI channel messages, requires no proprietary handshake, and works with any USB or DIN MIDI source that can address individual channels. This appendix uses the Squarp Hapax as a concrete working example — a professional hardware sequencer well-matched to the Regen’s 12-track capacity — but the principles apply to any DAW, hardware sequencer, or controller that can route output on a per-channel basis.

Physical Connection

The Regen accepts MIDI via:

For a multi-timbral session with twelve active tracks, USB is the preferred connection. DIN MIDI’s 31.25 kbaud bandwidth can introduce latency when multiple channels carry dense simultaneous note and CC data. USB class-compliant MIDI has no practical bandwidth ceiling for twelve-channel use.

No driver is required. The Regen appears as a class-compliant USB MIDI device and is recognized immediately by the Hapax (and most other class-compliant hosts) on connection.

General Principle: What Any Sequencer Needs to Do

Regardless of which sequencer you use, the setup on the sequencer side requires three things:

1. Assign each sequence/track to a unique MIDI output channel (1–12, matching the Regen’s track channel assignments)
2. Route all channels to the same physical port connected to the Regen
3. Confirm no channel collision — two sequences on the same channel will both drive the same Regen track simultaneously, which is occasionally intentional and usually not

The logical connection looks like this for a full 12-track session:

Sequencer Track 1  → Output: [port], Ch 1 → Regen Track 1  (MIDI Ch 1) → Timbre A
Sequencer Track 2  → Output: [port], Ch 2 → Regen Track 2  (MIDI Ch 2) → Timbre B
Sequencer Track 3  → Output: [port], Ch 3 → Regen Track 3  (MIDI Ch 3) → Timbre C
...
Sequencer Track 12 → Output: [port], Ch 12 → Regen Track 12 (MIDI Ch 12) → Timbre L

One cable carries all twelve streams simultaneously. The Regen’s Track Crossfader filters each incoming channel to the correct track.

Hapax-Specific Setup (Worked Example)

The Hapax provides 16 tracks per project, each independently assignable to any output port and channel. For a full 12-track Regen session over USB:

Physical connection:
  Hapax USB Device port → USB-B cable → Regen USB-B port (rear)

Hapax track routing:
  Hold Track 1 pad  → OUTPUT PORT: USB DEVICE → OUTPUT CHANNEL: 01
  Hold Track 2 pad  → OUTPUT PORT: USB DEVICE → OUTPUT CHANNEL: 02
  Hold Track 3 pad  → OUTPUT PORT: USB DEVICE → OUTPUT CHANNEL: 03
  ...
  Hold Track 12 pad → OUTPUT PORT: USB DEVICE → OUTPUT CHANNEL: 12

Hapax tracks 13–16 remain available for other devices or for additional Regen channels if you are using only a subset of the 12 tracks.

Hapax Instrument Definition Files

The Hapax supports Instrument Definition files — YAML-format text files placed on the SD card that predefine an instrument’s port, channel, program change map, and CC parameter names. With a Regen definition loaded:

• Hapax tracks auto-assign to the correct port and channel for that instrument
• CC parameters are labeled with Regen parameter names rather than raw CC numbers
• Program change maps can reference timbre names

A minimal Regen instrument definition file (one per channel) has the structure:

name: Synclavier Regen Ch1
midi:
  port: USB DEVICE
  channel: 1
ccs:

- { cc: 7,  name: \"Track Volume\" }
- { cc: 10, name: \"Track Pan\" }
- { cc: 1,  name: \"Mod Wheel → Matrix\" }
- { cc: 11, name: \"Expression\" }

Place definition files on the Hapax SD card in the Instruments/ directory. The exact CC → parameter mapping for the Regen’s MIDI-linkable parameters should be confirmed against the Regen’s MIDI implementation chart and your own modulation matrix routing before finalizing these files.

Hapax Dual Project Mode

The Hapax can load two projects simultaneously (Project A + Project B), each with 16 tracks. This gives you up to 32 sequenced streams — though the Regen caps at 12 active tracks. A practical use of dual project mode in a Regen context: run a full 12-track arrangement in Project A, and use Project B for alternate pattern variants or transitional material, switching between them in performance.

Verification Workflow

After completing setup on both sides:

1. Regen: MASTER panel → Master Volume → Arrow Right → Live Display
   (CPU meter and MIDI activity indicators visible)

2. Sequencer: arm Track 1, play a note on Ch 1
   → confirm Regen Track 1 responds; MIDI activity indicator flashes

3. Sequencer: arm Track 2, play a note on Ch 2
   → confirm Regen Track 2 responds
   → confirm Track 1 does NOT respond (channel isolation is working)

4. Repeat for each active track

5. Play all tracks simultaneously → watch CPU meter
   Restructure timbre complexity if CPU approaches ceiling

MIDI Bandwidth: When DIN Becomes a Concern

DIN MIDI at 31.25 kbaud carries approximately 1,000 MIDI bytes per second. A single note-on/note-off pair is 6 bytes; a CC message is 3 bytes.

For sessions where multiple sequencer tracks carry dense automation (filter cutoff sweeps, FM%, mod wheel simultaneously across many channels), use the USB connection. DIN is entirely adequate for note-only or lightly-automated sessions.

Written by Greg Wilder — composer, music technologist, and co-founder of Orpheus Media Research. This guide supplements the official Synclavier Digital documentation with practical workflows, signal-flow analysis, and architectural context developed through extended hands-on work with the instrument. Document v1.40 · Firmware v1.18 R7 / v1.20 B24 · Last updated 2026-07-16.