A Practical Manual for Sound Designers & Performers

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

Document version 1.2 — created 2026-06-03

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 The Interface
• 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

PART I — ARCHITECTURE & PHILOSOPHY

Chapter 1: Why the Synclavier?

The Synclavier isn’t just a well-spec’d synthesizer. It is a collection of architectural decisions — some made under hardware constraints in 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 you understand not just how to use the Regen but 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

This is the single most important parameter in the entire instrument. 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 — and the official Quick Start guide makes the same point: when starting with an empty track, set the Partial Envelope Level first, then edit other parameters.

Roll Off (Subtractive Noise Filter)

The "Roll Off" parameter is only available in Subtractive mode when the generator is set to Noise. This parameter is for shaping the character of your noise source. A low Roll Off (e.g., 500 Hz) creates deep, rumbling noise. A high Roll Off (e.g., 16,000 Hz) creates bright, airy hiss. 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

Additive synthesis is the bedrock of the Synclavier sound. The Regen provides 24 harmonics per partial, each with independently adjustable coefficients and phases.

Understanding the Synclavier's Harmonic Series

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

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 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.

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

Chapter 8: Resynthesis

Resynthesis is NED's 1980s technique for creating sounds with precisely-controlled harmonics that vary over time.

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.

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 (act at the Wave Table Lookup)

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.

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.

End of Manual — Created by Greg Wilder — Document version v1.2 — 2026-06-03