Synthstrom Audible Deluge
Instruction manual - firmware version 3.0.0
As of the 3.1 Deluge firmware revision (1.6.2020) this online manual is no longer updated or maintained.
Please download a PDF of the current 3.1 manual here.
You can alternatively download an addendum with only the 3.1 changes.
This document is best navigated using “Document Outline”.
If you cannot currently view the chapters to the left hand side, switch this mode on via Tools > Document Outline
If you would like this manual as a PDF or other format document, simply go to FILE > DOWNLOAD and choose the format you wish to export in.
For users of Deluges produced before February 2019, we have changed some terminology, which will clash with some of the labelling on your Deluge’s top panel: what we previously referred to as a “track”, we now call a “clip”. Your Deluge’s “TRACK” button is what this manual is referring to when it mentions the “CLIP” button. This is simply a matter of language, and your Deluge’s user interface remains unchanged aside from the new features which the V3.0 firmware provides.
Warning about power: any 9 - 12V DC power supply used with the Deluge must be centre-negative, not centre-positive. Using an incorrect power supply may cause damage to the Deluge.
New sections 3.0
- Recording notes or audio into an arrangement
- Audio track names
- Audio track input sources
- Changing a clip’s instrument, and creating audio clip
- Recording into clips, and live looping, in song view
- Input sources for recording
- Arming clips to record
- Recording a clip / loop
- Overdubs - regular
- Overdubs - continuous layering
- Setting the tempo with the first-recorded loop
- Further notes on overdubs
- MIDI control of looping
- Saving sound presets
- Loading sound presets
- “Cloning” sound presets, to add an additional instance
- Deleting sound presets
- Renaming sounds within a kit
- Audio clip / loop recording with extra “margins”
- Audio Thru
- MIDI control of functions and sounds
- USB host mode for MIDI devices
- Settings menu
New sections 2.1
- Arrangement recording from song view
- Waveform view
- Samples and multisampling for melodic “synth” instruments
- Sample pitch detection
- Single-cycle waveforms
- Collect-media tool
- Audio and synth engine
TABLE OF CONTENTS
Instrument clips, and clip view general
Shifting clips’ contents horizontally
Note probability and iteration dependence
Parameter automation and recording
Copying and pasting parameter automation
Audio clip length editing and changing of waveform loop points
Grabbing tempo from an audio clip
Stopping and launching clips via arming
Changing a clip’s instrument, and creating audio clips
Deleting, cloning and re-ordering clips
Recording into clips, and live looping, in song view
Overdubs - continuous layering
Setting the tempo with the first-recorded loop
Clip-instances unique to the arranger
“Dragging” clips between song view and arranger view
Switching between arrangement and song-view playback
Managing tracks in arranger view
Recording notes or audio into an arrangement
Arrangement recording from song view
Switching song during playback
The file browser and loading audio files
Adding samples / sounds to an existing kit
Importing an entire folder of samples as a kit
When multiple clips use the same kit
Samples and multisampling for melodic “synth” instruments
Recording additional samples to an existing kit
Resampling / recording the Deluge’s output
Applying changes to all sounds within a kit
Modulation to control the depth of another patch “cable”
“Cloning” sound presets, to add an additional instance
Sound editor for MIDI and CV clips
Processing power and CPU management
Time stretching and pitch shifting
Audio clip / loop recording with extra “margins”
Wavetable synthesis (coming soon)
CV / gate compatibility and settings
Outputting MIDI or gate in a kit
Controlling and sequencing MIDI CC, pitch bend and channel aftertouch
MIDI control of functions and sounds
USB host mode for MIDI devices
CV, gate, and trigger clock (“CLK IN”) connectors
Popular commands - quick reference
FCC compliance for United States
Instrument clips, and clip view general
Sequence editing basics
Powering on the Deluge automatically creates a blank song with one blank clip with a synth assigned to it, and puts the device into clip view for this clip.
In this view, the main 16x8 grid of pads represents a piano-roll-style view of the sequence of notes that the track contains. The leftmost column of pads represents the first beat in the sequence, while the columns further to the right represent increasingly later points (steps) in time.
Vertically, pitch is represented (except for kit clips) - the bottom row of pads represents the lowest note on display, and higher rows represent increasingly higher notes.
Pressing the Deluge’s play button plays the entered sequence.
With each row representing a different pitch, the user may wish to audition any of the available pitches before actually placing those notes in the sequence. This can be achieved by pressing the very rightmost pad (the “audition” pad) for a given row.
Notes in the sequence itself may be created by pressing a pad in the main 16x8 group corresponding to a pitch and a moment in time. The pad will light up to indicate the presence of a note. If the Deluge is not in play-mode, the note will sound immediately, as an aid to the user. This will not happen if the Deluge is in play-mode, when the user might be in the middle of a performance and would likely prefer for their editing to be allowed without additional audible aids.
Tapping a pad for which a note is already present will delete the note.
Editing notes in this way may be undone or redone by pressing back or shift+back respectively - see undo / redo.
The colour of the notes on display is arbitrary, and may be changed by the user. This is handy when the user has created multiple clips and wishes for them to appear as different colours in song view.
Simply hold down the shift button and turn the ▼▲ knob to change the colour of a clip.
To adjust the brightness of the Deluge’s LEDs, hold down the shift button and the learn button and turn the ▼▲ knob.
Synth and kit presets
The Deluge comes with a variety of synth and kit sound presets for you to use. The user may also create, edit and save their own. Presets are stored on the SD card as XML files - if you remove the card or delete certain files from it, you will no longer have access to these presets.
In clip view, simply turning the select knob cycles through synth or kit presets for the clip currently being edited. The current preset number / name is shown on the numeric display.
Later, we’ll cover how to edit presets’ sounds. For now, it may be useful to at least know that you may create a new, blank synth or kit preset by pressing shift+”synth” or shift+”kit” respectively.
Kit clips
Instead of having a synth assigned, a clip may have a “kit”. For kit clips, each row of pads represents an entirely different sound, as opposed to a different pitch for the same sound as with synth clips. One of the obvious applications of this function is the creation of drum beats - one row of pads could represent the kick drum, another the snare, etc.
To turn a clip into a kit clip, simply press the kit button. One of the supplied kit presets will take effect, and each row of pads will now correspond to a different sound. You may edit and audition notes exactly as with a synth clip.
The Deluge comes with a number of kits consisting of drum sounds. It also comes with kits consisting of a variety of other samples. While drum sounds are typically short and sharp, many of these other samples are longer, and the user may wish to control how long a sample plays for. When adding a “note” of one of these longer samples, by pressing one of the 16 main pads on its row, a “longer” note will automatically be created, occupying multiple pads horizontally on the grid. See Notes of different length to learn how to understand and edit the length of these longer notes.
Some of the samples in the provided kits even include pre-recorded beats or loops. These are set up to time-stretch so that they always play at whatever tempo you have the Deluge set to. When you create an instance of one of these samples, again it will appear as one long “note” occupying many pads horizontally - however many it needs based on its length. If it is longer than the current clip, the clip’s length may automatically be extended too, to make room for it.
An entire sound (common example: the kick drum) may be muted out by pressing the corresponding pad-row’s mute pad (second from the right; green). It will turn yellow to indicate that the row is muted.
The mute-row function is also available for synth clips, though perhaps less applicable.
In kit clips, each sound / row has a different colour. The colour of an individual row may be altered by holding the shift button + holding the audition pad (far-right) for the row, and turning the ▼▲ knob.
For kit clips, the sounds / rows may be re-ordered. To do this, hold down the audition pad (far-right) for the row, and hold down the ▼▲ encoder while turning it. Scrolling will occur, but the selected row will move along with the scrolling (i.e. it will appear to stay still while the other rows scroll past it).
New sounds (samples from the SD card in the most basic case) may be added to an existing kit, too.
Rows within a kit can also output MIDI notes or gate - see outputting MIDI or gate in a kit.
Sound parameters
The parameter knobs (the two gold knobs) control parameters of the synthesizer or sampler engine. Each has a level-meter to its left, indicating the current value of the parameter it controls. Which parameters the knobs control (their function) can be quickly switched by the row of 8 buttons indicating options such as volume/pan, attack/release, etc.
For synth clips, the parameter knobs affect the sound of the synth.
For kit clips, by default the parameter knobs affect just the sound of the currently selected row. To select a sound, tap the audition pad (far-right) for that row. If you don’t wish for the sound to in fact be sounded audibly while you press it’s audition pad, hold down the shift button first.
The currently selected sound is indicated with its audition pad dimly illuminated.
If you wish to instead affect the sound of the entire kit clip, press the “affect entire” button so that it is illuminated. The parameter knobs will now affect the output of all sounds within the kit.
Three of the parameter functions are labeled “custom” (1, 2 and 3). The function of these depends on the sound preset. Custom 1 typically controls pitch for sample-based sounds, or portamento for synth sounds. Custom 2 and 3 control sample rate reduction and bitcrushing respectively for kits or songs in “affect entire” mode, and for most sample-based sounds.
More parameters are available for editing than just the 16 that you have access to with the parameter knobs. See the chapter on the sound editor for instructions on editing further parameters or remapping the parameter knobs or external MIDI knobs to control different parameters.
Several parameter knob functions have an additional function which can be enacted by pressing down on the knob. Most of these toggle related parameters, notifying the user of the new value via the Deluge’s text display.
Parameter knob function / label | Press-down function |
Cutoff | Toggles the function of the “cutoff” and “res” function to affect the LPF (default), HPF, or to become treble and bass controls (“EQ”) |
Res (resonance) | Toggles the dB/octave slope of the filter between 24dB and 12dB (LPF only) |
Delay time | Toggles ping-pong delay (a stereo effect) on (default) and off |
Delay amount | Toggles analog simulation on and off (default) for delay. Note that analog simulation consumes a relatively high amount of CPU power, lowering the number of voices that may sound at once |
Sidechain | Toggles sidechain speed between fast (synced to 32nd-notes) and slow (synced to 8th-notes) |
Reverb | Toggles reverb presets - “small”, “medium”, and “large”. These apply to all reverb in the whole song - not just to the current sound |
Mod rate | (Only for “affect-entire” mode for songs and kit clips.) Where mod rate and depth are controlling a modulation effect (chorus, flanger or phaser), the effect switches to the next in that list |
Mod depth | (Only for “affect-entire” mode for songs and kit clips.) Where mod rate and depth are controlling a modulation effect (chorus, flanger or phaser), the “mod depth” function toggles between controlling depth, feedback, and offset, depending on the active effect |
Stutter | Pressing down on the knob enacts the stutter effect. Releasing it stops the effect. Turning the knob controls the length and speed of stuttering. You can also turn it while held down to speed the short stuttering loop up and down. |
The parameter knobs may also control parameters on external equipment via MIDI CC messages if your clip is a MIDI clip.
Scrolling and zooming
Being limited to a 16x8 working area would be quite constrictive. The Deluge allows the user to scroll vertically to allow for more than eight different notes’ pitches or sounds, and scroll and zoom horizontally to allow for longer sequences and / or finer time divisions.
To scroll vertically, turn the ▼▲ knob. For synth, MIDI and CV clips, scrolling up will give you access to new “rows” of higher pitches, and scrolling down will give you lower pitches. For kit clips, scrolling vertically will expose additional sounds. Any notes already created which fall offscreen as a result of scrolling will still exist, will still sound when in play-mode, and will reappear when their row is scrolled back to.
In the horizontal dimension, let’s first look at zooming. By default, each column of pads represents a 16th-note step. Pressing down on the ◄► knob will cause the Deluge to indicate this “zoom-level” on its numeric display: “16th”. Suppose you wish to instead edit “finer” detail in our sequence - 32nd-notes. By holding down the ◄► knob and turning it clockwise at the same time, you zoom in: the notes which had previously occupied the left-hand half of the 16x8 pad grid now expand to take up the whole grid. And the notes which had occupied the right-hand half of the grid are now “offscreen” to the right.
If you wish to see those notes, offscreen to the right, you may scroll horizontally to them. Horizontal scrolling is achieved by turning the ◄► knob, but without pressing down on it as with zooming. Whenever you scroll horizontally, your scroll position is shown momentarily on the Deluge’s numeric display as two or three numbers, depending on your zoom level. The first is the bar number, the second is the beat number within the current bar, and the third, if visible, is the 16th-note within the current beat.
You may zoom in multiple times in order to access finer and finer detail, all the way to 64th-notes. And you may zoom back out by turning the ◄► knob anti-clockwise - remembering to first press down on the knob.
After zooming back out, you will not be able to see all of the fine “detail” that you created while zoomed in. Pads which “contain” detail which is too fine to see will appear an almost-white colour. Simply zoom back in to expose the detail. Tapping such a pad will delete everything it “contains”.
To begin playback from your current scroll position rather than the beginning of the clip, hold down the ◄► knob and press play.
Editing clip length
The length of a clip may also be altered. If made longer than the default 1 bar, the clip will extend beyond the length of the “display” even at 16th-notes zoom level, meaning that you will now be able to scroll horizontally at this zoom level too, or even zoom out another zoom level (8th-notes would be next), to see the entirety of the clip.
Editing clip length is achieved by holding the shift button and turning the ◄► knob. At each click of the knob, the clip’s new length will blink momentarily on the Deluge’s numeric display, formatted as three numbers (bars, beats, then 16th-notes). Clips may be any length, including unusual ones - e.g. 15 16th-notes long (which would display as “0.3.3”, meaning 3 quarter-notes plus 3 16th-notes.
The clip’s length will also be indicated visually: columns of pads which are beyond the clip’s end will appear dim and grey. If you extend a clip’s length beyond the right-hand side of the current grid, you will be scrolled right automatically to see the new “space” you have created. Or if you reduce a clip’s length to half or less of the grid, the Deluge will automatically zoom in to display the remaining area in more detail.
Sometimes you may wish to “multiply” an existing clip’s length - that is, to make a copy of the clip’s existing sequence of notes, and place that copy after the original. To do this, hold down the shift button and press down on the ◄► knob. The Deluge will then automatically zoom out to reveal the entirety of the multiplied clip. When multiplying a clip containing notes with iteration dependence set, the resulting notes automatically have their iteration dependence modified, or are left out entirely, in order to keep the resulting composition sounding the same as the unmultiplied clip wherever possible.
Shifting clips’ contents horizontally
If you wish to shift all notes and automation in a clip sideways (in the “time” dimension), hold down the ▼▲ knob and turn the ◄► knob. Your clip’s contents will be moved sideways in steps of one square at your current zoom level. If the contents move past either end of the clip, they will wrap around and appear at the other end.
Scales
By default, all new synth, MIDI and CV clips are put into scale mode - locked to a major scale. There are many other options, however.
The first alternative worth mentioning is to exit scale mode entirely, by pressing the “scale” button so that it is no longer illuminated. Neighbouring rows of pads will now be only a semitone apart, giving you access to a chromatic scale. Any notes that you previously created, while in scale mode, will still exist, but you will likely see some of them move to a different pad-row as you exit scale mode to make room for a newly-accessible semitone’s row. Remember that you can scroll up and down - this may be even more necessary now that the “working area” has expanded vertically. You can press the “scale” button again at any time to re-enter scale mode.
To change to a different scale, press shift+scale. The Deluge will cycle through the 7 Western-music “modes”, displaying the name of each on the text display: major (ionian), minor (aeolian), dorian, phrygian, lydian, mixolydian, and locrian. If the Deluge instead displays the error message “CAN’T”, this is because the current scale has more than 7 notes. See below for how to create a custom scale - perhaps you did so accidentally.
When re-entering scale mode (pressing the “scale” button when it was not previously illuminated), the Deluge will examine the notes that are present, and make an educated guess as to their scale and the scale’s root note / key. For instance, if the Deluge detects the presence of a minor third note relative to the root note, it will be likely to conclude that the scale is minor.
Scales on the Deluge will usually contain seven different notes (eight if you count the octave - the same as most Western scales). However, sometimes there will be more notes - for instance, if both a major 3rd and a minor 3rd are present when entering scale mode, both will be added to the scale.
The root note (at every octave) is indicated, anytime that a clip is in scale mode, with its audition pad permanently illuminated. If you wish to change the root note (e.g. if the Deluge guessed incorrectly what root note you intended), simply hold down the “scale” button and press the audition pad (or note on the keyboard if in keyboard view) for the note that you intend. You may do this whether or not you were already in scale mode.
The other way that the scale may be altered and customized is by sharpening or flattening the notes present in an existing scale. So long as you are already in scale mode, you may do this as follows: Hold down the audition pad for a given row / note. The note will sound, and the text display will indicate the name of the note (a dot (.) means “sharp”). While holding the audition pad, additionally hold down the select knob and turn it to sharpen or flatten the note. Most times, you can move a note just one semitone in either direction - any further and it would become the same as the next note in the scale, which is not allowed. If you wish to perform this function without the note sounding as you press the audition pad (e.g. because you’re in the middle of a performance), this can be achieved by holding down the shift button before pressing the audition pad.
For songs with multiple clips, all clips that are in scale mode are always locked to the same scale, for convenience. Any change that you make to the scale while editing one clip will affect all others that are also in scale mode. Correspondingly, when the Deluge guesses the scale and root note when re-entering scale mode, the contents of all scale clips will be considered. So if you’re wondering why the Deluge threw some extra notes into your scale that you didn’t expect, it’s likely because you have a different clip which contains those notes!
If you wish to transpose a clip up or down, this can be achieved by holding down the ▼▲ knob and turning it. Doing this alone will transpose a whole octave at a time. If you wish to transpose just a semitone, then hold down the shift button as well while turning.
If you transpose by semitones while in scale mode, then any other clips that are also in scale mode will also be transposed.
Notes of different length
At any zoom level, in most cases, a note created on a given pad lasts up until the “start” of the next pad to the right. Or in other words, if you are zoomed such that you are looking at 16th notes (press down on the ◄► knob to be reminded of your zoom level), then the pads are spaced apart by 16th notes and all notes created will be a 16th note long.
(It should be pointed out that for longer samples such as many of those provided in the Deluge’s supplied kits, notes longer than one pad will automatically be created - see Kit clips.)
To manually create a note which is longer, hold down on the note’s pad, and then press some other pad further to the right on the same row. The note will extend to occupy all pads in between. You will notice that only the leftmost pad occupied by the note is brightly coloured - the other pads are dimmer. This is to indicate that they are the extension of an existing note, rather than representing a new note beginning on that pad.
A long note may be shortened by “deleting” the portion of if that falls beyond a certain pad which it currently occupies, by simply pressing that pad.
Note that some sound presets do not allow notes’ length to be altered. Those consisting of short, percussive sounds (e.g. drums), are intended to always sound the same, without note-length as an option. In these cases, notes will always appear to occupy just one pad at all zoom levels.
Since the Clip view edits a sequence which will play repeatedly, it is foreseeable that you may wish to create a note which begins toward the end of the sequence, and extends so that it continues back into the beginning of the sequence - to continue sounding even after the sequence has restarted. To do this, create the note at the point in time where you wish it to begin, and then (even after scrolling or zooming if you wish) hold down on the ◄► knob and press the final pad that you wish the note to occupy (this will presumably be to the left of where the note started).
For a “drone” note which stays on permanently, simply create a note which occupies the entire length of the clip (enter a note at the first, leftmost column, then hold ◄► while pressing the last pad at the rightmost column). The Deluge treats such notes as a special case, and will keep the note permanently sounding rather than restarting it each time the clip’s sequence loops.
Editing note velocity
The Deluge’s pads are not velocity-sensitive, but notes created as part of a sequence may have their velocity manually edited. To do this, hold down the pad corresponding to a note and turn the ◄► encoder. The velocity value will show on the Deluge’s numeric display. Velocity values range between 1 and 127.
Newly created notes, and notes sounded with the audition pads, will default to the same velocity as the last sequence-note touched on that clip - with 64 being the initial default.
For those not familiar with the concept of note velocity, it is intended as an electronic representation of the physical force with which a note is played (e.g. how hard a guitar string is plucked). With electronic music equipment in general, the resulting effect is most commonly a difference in volume. This is how most of the Deluge’s included synth and kit presets are set up to respond to velocity. However, velocity can in fact be patched to almost any parameter in the Deluge’s synthesis- and sampling engine, making it simply a tool with which you can make different notes sound different, in any way you care to configure. See the modulation section in the chapter on the sound editor
You can hold multiple notes simultaneously to edit their velocity together.
Any notes recorded via MIDI will have their velocity recorded.
Note probability and iteration dependence
The Deluge allows each sequenced note to have a condition set to decide, at each playback iteration (i.e. repeat), whether that note plays or not. These may be based on an element of randomness, (“probability”), or dependent on how many times the clip has played through (e.g. “play only on the third of every four iterations”).
To set a probability or iteration dependence for a note, hold down its pad and turn the select knob. (Anti-clockwise for a probability, which will display as a numeric percentage, or clockwise for an iteration dependence, which will display in the form of “3of4” which would mean the 3rd out of every 4 repeats).
For notes at the same time (horizontal) position, if their given probabilities add up to 100, then a special function is performed: always exactly one of the notes will play, as opposed to the notes’ probabilities being treated independently. This allows you to have a point in your sequence where, at random at each iteration, one of several different potential notes will sound - but never more than one of them.
There is another special function, for notes at the same time (horizontal) position that have the same probability number: they will always either all play together, or all not play - so you could have a whole chord which either all plays, or all doesn't play. (Make sure that the note’s probabilities don’t add up to 100, otherwise the previous paragraph’s logic will apply instead.)
Notes' triggering may be set to depend on an earlier note in the sequence being triggered. Let's say you've set a note's probability to 70%. If you make another note at a different time-position and set its probability to 70% also, you'll notice that you're offered an additional option - a 70 with a dot (.) after it. This means "trigger me only if the previous 70% note was successfully triggered". There will additionally be an extra option of 30% with a dot after it, which in this case will mean "play me only if the previous 70% note was not triggered". (30% being 100% minus 70%.)
As a shortcut to automatically set up the above for you, you can hold multiple notes simultaneously (even at different time-positions) and turn the select knob to set them to always play together.
Triplets view
Triplets view is activated by pressing the “triplets view” button, and basically changes the pad grid’s function to divide time into threes rather than fours, allowing you to create triplets.
Your zoom level when you enter triplets view makes a difference. Let’s say you were zoomed to be viewing 16th notes (press down on the ◄► knob to be reminded of your zoom level). After entering triplets view, rather than each quarter of the 16x8 pad grid giving you 4 columns of 16th-notes, each quarter is instead divided into 3, with the fourth column greyed out and not used in this view. These 3 divisions will total the same amount of time that the 4 divisions previously did, despite looking slightly different.
Or, if you had been zoomed to be viewing 8th notes, the same effect would have been applied to them. Once in triplets view, even if you change your zoom level, same time-division which had previously been divided into 4 remains now divided into 3. If you wish to create triplets for a different time-division (e.g. 8th-notes if you’d previously created triplets for 16th-notes), you may exit and then re-enter triplets view.
Recording notes
As well as manually entering notes into the pad grid, the Deluge allows you to record notes played on the audition pads, or in keyboard view, or on an external keyboard connected via MIDI.
Pressing the “record” button makes recording active whenever the Deluge is playing. Now, every time you press a row’s audition pad, a note will also be recorded into the current sequence - meaning it will appear in the 16x8 pad grid (unless you are scrolled so that you can’t see it).
Notes played in keyboard view or on a connected MIDI keyboard will be recorded also.
If your clip does not yet contain any notes, a mode will be engaged in which the clip’s length will continuously extent until you tell it to stop recording, e.g. by pressing the record button so that it is no longer illuminated. In this mode, the play-position cursor will be red. This mode is detailed under “recording into clips, and live looping”.
Or, if your clip already contains notes, or you have manually disarmed it from recording, the clip at its pre-existing length will loop continuously, allowing recorded notes to be added with each iteration through it. In this mode, the play-position cursor will be white.
Recorded notes are quantized to 32nd-notes by default. See the settings menu for instructions on how to change this.
You can undo your most recent recording by pressing the back button - see undo / redo.
If you are recording and your song doesn’t contain an audible beat to help you keep time, you may wish to enable the Deluge’s metronome, which can be done by holding the shift button and pressing the “tap tempo” button.
Recording count-in
A recording count-in may be enabled in the settings menu. With it enabled, then anytime you begin playback (with Deluge as "master") with the record button illuminated, the Deluge will do an audible 4-beat count-in first.
Copying and pasting notes
The Deluge allows you to copy and paste the notes in the time-region occupied by its pads (the “current view / screen”) at your current scroll and zoom position.
To copy notes, hold the learn button and press down on the ◄► knob.
To paste notes, hold learn and shift, and press down on the ◄► knob.
You can copy and paste between different clips or even song files. The part which is copied and pasted is the horizontal "length" of your “view”, or the time-region that your view makes up. This will also include notes which are "offscreen" above or below what you can see, because these are in the same time-region. Your vertical scroll position is taken into account. You could "transpose" a part by copying it, scrolling up or down, then pasting it.
You can even change your zoom level after copying and before pasting: if your zoom level is different when you paste, the notes will be stretched out or squeezed in to fit your new zoom level.
Parameter automation and recording
Above, we looked at how to affect sound parameters using the gold parameter knobs. These are useful to play with live, to achieve effects like sweeping a filter's frequency up and down. But you can also automate changes to any parameters (within clips) that the parameter knobs may control (except stutter), so that their values change automatically. (And the parameter knobs can be set to control almost any of the Deluge's internal sound parameters, or parameters on external equipment via MIDI CC messages.)
The simplest way to automate a parameter is to "record" knob movement. While the Deluge is in record mode (press the "record" button), any movement of a parameter knob is recorded for that parameter. Recording begins when you begin to turn the knob, and ceases when the knob has been left alone for a second or so (a smooth transition back to the original value is then applied).
When the clip is then played back (or when it loops back to its start - potentially very soon), you will hear the automated parameter movement play back and see the level-meter for the corresponding parameter knob move automatically.
You can overwrite the automation by simply turning the parameter knob some more while still in record mode.
Once out of record mode (press the "record" button so that it is no longer illuminated), the parameter will continue to be automated while play mode is active. You may still take manual control of the parameter at any time by turning the corresponding parameter knob. Then, after leaving the knob alone for a second or so, the parameter value will smoothly transition back to follow its automated movement.
Automation can also be manually set for a time-region based on a note which is present in the sequence. Simply hold down the note's pad in clip view, and turn a parameter knob. The parameter value will be set just for the region of time beginning at that note and ending at the start of the next note. Having the region extended to the start of the next note in this way is helpful in many cases, preventing a return to the original parameter value from cutting in suddenly as the note’s sound releases.
Once a parameter has automation applied in some region of a clip, the Deluge considers the parameter to be automated entirely, with its previous unautomated value applying in all other regions. It is also worth noting that all parameter automation, once created, exists independently of any notes, meaning that even if notes are deleted, or more notes added, the parameter automation will still exist in its region.
Automation can also be recorded and manually set using an external MIDI controller, if a parameter is set up to be controlled in this way.
Automation edits and recording can be undone or redone by pressing back or shift+back respectively - see undo / redo.
To delete all automation for a given parameter, hold down the "shift" button and press down on the parameter knob for that parameter. Or, if the parameter was instead controlled via a knob on an external MIDI controller, automation may be deleted by putting the Deluge into record mode with playback on, holding down "shift", and turning the knob on the MIDI controller.
Copying and pasting parameter automation
Parameter automation may be copied and pasted in a similar way to notes (see above). Automation is copied one parameter at a time, and just for the time-region occupied by the Deluge’s pads (the “current view”) at your current scroll and zoom position.
To copy an automated parameter, hold the learn button and press down on the gold parameter knob belonging to the parameter.
To paste automation to a parameter, hold learn and shift, and press down on the parameter knob.
You can copy and paste between different parameters, different tracks, and even different song files. The part which is copied and pasted is the horizontal "length" of your “view”, or the time-region that your view makes up.
You can even change your zoom level after copying and before pasting: if your zoom level is different when you paste, the automation will be stretched out or squeezed in to fit your new zoom level.
Clear clip
A clip may have all its notes and automation cleared by holding down the ◄► knob and pressing the back button.
Cross-screen edit mode
Suppose you have a simple drum beat, 1 bar long. Perhaps you want to add a couple of extra snare hits at the end of each 4-bar phrase. The way to achieve this is to “multiply” the sequence (twice) so that it is 4 bars long (see Editing track length), and then make whatever changes you wish to the final bar. However, you have now ended up with 4 duplicates of almost the same beat, and this could cause problems: what if you want to change, say, the hi-hat pattern - do you have to go and do it 4 times?
This is the situation in which the Deluge’s cross-screen edit mode is helpful. At any given zoom level, if you enter cross-screen edit mode, then any editing you do will apply not only to the part of the sequence that you are currently scrolled to, but also to all other “screens” which could be scrolled to by turning the ◄► knob.
So, continuing the above example where you have 1 bar copied 4 times to make 4 bars total, you would zoom so that 1 bar occupies the entire 16x8 grid (that’s the 16th-note zoom level), then enter cross-screen edit mode. Any changes you subsequently make to your 1 bar will then be applied to all 4 bars.
Cross-screen edit mode always remains functionally locked to the zoom level you were at when it was activated. Continuing the example, even if, while in cross-screen edit mode, you zoomed in so that just half a bar now occupied the 16x8 grid, your edits would still be applied on a per-bar basis, not a per-half-bar basis.
Clips individually remember whether, and at what zoom level, they have cross-screen edit mode applied - if you enter the mode for one track, it will not automatically be active for any other track that you then edit.
MIDI and CV clips
Just as a clip may be a synth or kit clip, it can also be a MIDI or CV clip. This is set by pressing the MIDI or CV button while in clip view for a given clip, and will set the clip to output its note information on a particular MIDI or CV channel rather than producing sound in the Deluge itself. The channel number will show on the numeric display in place of the synth / kit preset number, and may be changed by turning the select knob.
See the chapter on CV for further info.
MIDI clips may have automated parameters too - see controlling and sequencing MIDI CC, pitch bend and channel aftertouch.
Audio clips
Much like instrument clips, which play sequenced notes in sync and as part of the currently loaded song on the Deluge, audio clips allow an audio recording to be consistently played or looped, or even recorded, in sync with the Deluge’s other functions. Audio clips will always be time-stretched (or pitch-adjusted if set to link pitch and speed) if needed to keep them in-sync with the song.
Common uses of audio clips on the Deluge include live looping, simple playback of pre-recorded beats or loops as an alternative to sequencing individual notes, or multitrack audio recording.
Audio clips can either be created or recorded in song view (suitable for looping), or created or recorded in arranger view (for multitrack “DAW-like” recording).
Audio clips may be viewed in clip view, just like instrument clips, and will display as a graphical representation of their waveform (as opposed to the notes which are displayed and editable for instrument clips). Your view is still tied to the beat, with each column of pads corresponding to a time division, e.g. 16th-notes. And when viewing any clip, you may scroll and zoom horizontally.
If you have opted to create a blank audio clip as opposed to recording audio into one (these options detailed above), you are likely to want to load an audio file into it. From audio clip view, you may enter the file browser by using the “browse” shortcut, or by pressing the select knob to enter the sound editor and navigating to FILE.
Audio clip length editing and changing of waveform loop points
In audio clip view, much like instrument clip view, you can change the clip’s length by holding shift and turning the ◄► knob. When this is done to an audio clip, the audio waveform shortens and lengthens with the clip’s length, causing the audio to sound faster or slower.
If you instead want to trim or extend the audio clip while leaving its waveform unstretched, tap a pad at the right-most end of the visible waveform. A red marker will begin blinking there, representing the loop-point in a similar way to in waveform view. You may now tap where you want to move it to. Or you can tap the red marker again to make it disappear.
Or, if you want low-level control over the exact start and end points on the audio waveform, you can enter waveform view for an audio clip to edit these. Despite waveform view looking quite similar to audio clip view, where you also view the waveform, it can be distinguished by the waveform being white instead of coloured. The key difference in function is that while audio clip view shows the waveform as synced to the song’s time-divisions - e.g. 16th-notes - waveform view is free from this constraint and allows you to zoom right down to the individual sample level.
When you edit the waveform start and end points for an audio clip in waveform view, you are selecting the portion of the waveform which the Deluge will stretch between the start and end of the audio clip - whose length is tied to the song’s tempo - e.g. “1 bar long” - and will not change. So, changing these waveform start and end points is likely to cause the waveform to be time-stretched when played. Depending on what you’re aiming to achieve, and particularly if you have moved these points by only a small amount, you may wish to reset or “grab” the song’s tempo (see next section) to match the new length of the selected portion of the waveform - so that it will not be time-stretched.
Grabbing tempo from an audio clip
Similarly to setting the tempo with the first-recorded loop, you may manually tell the Deluge to grab the tempo from an existing audio clip, such that the clip will then play back at its native rate with no time-stretching applied.
To do this, hold down the tempo knob and either press any main pad while in audio clip view, or if in song view, press any of the main 16 pads on the clip’s row.
This may be useful when loading an existing audio file into an audio clip and wishing to set the song to its tempo, or to return to the original tempo at which clips were recorded if the tempo has since been changed, or after minor edits to an audio clip’s waveform’s start and end points (see previous section).
Song view (basics)
Unlike clip view, which displays an individual clip over the entire pad grid, song view reduces each clip to just one row of pads. This allows you to create, delete, re-order, stop and launch clips, as well as selecting a clip to then view or edit in clip view.
If you are in clip view (the “clip” button will be illuminated), you can enter song view by pressing the “song” button. Assuming that your clip had some pads illuminated with notes (for instrument clips) or waveform data (for audio clips), you will now see this image compacted down to just one row of pads. Pad rows occupied by a clip also have their “launch” pad and “section” pad (the rightmost two) illuminated. When entering song view for the first time in a new song, there will only be one clip present initially.
To create a new clip, press any of the 16 main pads on a row that is not currently occupied by an existing clip (i.e. does not have its “launch” pad illuminated). If you quickly release your press, you will be placed in clip view for your new clip, and the next time you return to song view, you will see it next to whatever other clips already existed.
Indeed, from song view, you can enter clip view anytime for any clip by press and releasing any of its 16 main pads.
And you’re not limited to just 8 clips, either. Just like in instrument clip view, you may scroll vertically with the ▼▲ knob in song view too, allowing you space to create any number of clips.
Stopping and launching clips via arming
A clip may be stopped or launched by pressing its “launch” pad (second from right). The “launch” pad displays as green when the clip is launched, and red when stopped. This may be done either when the Deluge is playing, or not.
When the Deluge is playing, pressing the “launch” pad will usually not cause the clip to stop or start immediately - it will instead become armed (indicated with fast blinking on its "launch" pad). If armed to launch, the launch will occur in-time with the longest currently playing clip. If armed to stop, the clip will stop at the end of its sequence.
Any time that a clip is armed, a number will be displayed, blinking fast, on the Deluge's numeric display. This represents the number of complete or partial "loops" (usually of the longest currently playing clip) that have yet to complete before the current armed action takes place. When launching or stopping clips, this will always default to 1, but by turning the select knob, it can be increased on-the-fly. Or, by pressing down on the select knob, the armed action can be cancelled altogether.
If you wish to instantly start or stop a clip, rather than arming it and waiting for it to begin or end, then hold down the shift button as you press its “launch” pad. If starting, the clip will jump to the correct play-position so as to be in-time with the other tracks playing.
Clips which have the same synth, kit, or MIDI or CV channel may only play one at a time. Launching a clip will stop any other clips with the same “instrument”. This is designed to make it easy to perform tasks such as switching between basslines - just launch the bassline that you wish to hear, and the previously playing one will stop at the same time (provided they use the same synth preset).
If you wish to have more than one clip outputting on the same MIDI channel simultaneously, you will notice that additional clips set to the same MIDI channel appear with a suffix after their channel number, e.g. “2A”, “2B”, and so on. This is to allow them to be treated as unique “instruments”, in terms of which ones may play simultaneously, while still outputting on the same channel.
Soloing clips
To solo a clip, press and hold down the ◄► knob and press a clip's "launch" pad. If the Deluge is playing, soloing won’t happen immediately - the clip will instead arm to solo at the next repeat. Or if you want to force it to solo immediately, hold down the shift button additionally. The “launch” pad will turn blue when the clip solos, and the “launch” pads of non-soloing clips will dim.
You can solo as many clips as you like together. To un-solo a clip, simply press its "launch" pad.
Changing a clip’s instrument, and creating audio clips
Alternatively, holding down a long press on a pad on a clip’s row - whether when creating a brand new clip or when pressing an existing one - will indicate on the Deluge’s numeric display and neighbouring instrument-type buttons what instrument or “track” the clips is on - e.g. it might be on “synth 1A”. While still retaining your press on the pad for the clip in question, you may even change the instrument by either pressing a different instrument-type button (e.g. kit), or turning the select knob to select a different preset. Or, to turn an instrument clip into an audio clip, you can press down on the select knob, causing the Deluge’s numeric display to show the newly associated audio track’s name - e.g. “AUDIO1” or “AUDIO2”. This is how to create a new audio clip in song view.
After creating an audio clip in song view, you may enter audio clip view for it and load an audio file into it, or alternatively you may record audio into it.
Deleting, cloning and re-ordering clips
A clip may be deleted by holding down any of the 16 main pads of its row and pressing the save / delete button.
A clip may be moved up or down, relative to the other clips, by holding down any of its 16 main pads and then scrolling vertically with the ▼▲ knob.
A clip may be cloned by holding down any of its 16 main pads, and then pressing a pad on a different row where you would like the new, cloned clip to appear. Automatically, the newly created clip will be assigned to a different song section (see below), and will not be launched.
If you want to unlink a cloned clip from the original, allowing both to play at the same time, see saving sound presets.
Access to clips in song view
In a song with many clips, you may wish to change sound parameters on various different clips quickly, and it may be inconvenient to individually enter clip view for each clip in order to access its sound parameters via the parameter knobs. Instead, while in song view, you may simply hold down any of a clip’s 16 main pads and then turn either of the parameter knobs. You will remain in song view, saving time. While holding down on a clip, you also have full access to the parameter knobs’ various functions via the 8 nearby amber buttons.
Additionally while holding down a pad on a clip in such a way, you may change the clip’s preset or MIDI or CV channel - the current one will blink on the Deluge’s numeric display, and you can turn the select knob to change it, or even change the clip’s type by pressing the synth, kit, MIDI or CV buttons.
Applying FX at the song level
You may also choose to affect the sound of the entire song - in other words to the entire mix. To do this, press the affect entire button so that it is illuminated. The parameter knobs will now affect the combined sound of all clips.
Song sections
You may wish to perform songs which switch “sections” in such a way that several clips need to be launched simultaneously - more than it is convenient or possible to press the “launch” pad for at once. And you may wish for various sections to be played in sequence without having to manually switch them each time.
This is achieved on the Deluge by grouping clips into "sections". The section that a clip belongs to is indicated by the colour of its “section” pad (far right) in song view. Clips whose “section” pads are the same colour belong to the same section. To change a clip’s section, hold down the shift button and press its “section” pad repeatedly until it is the desired colour.
To manually arm a section for launch, press and release the “section” pad on any of the clips that have that section. All clips in the section will become armed, to be launched at the next opportunity for the longest clip in the section to play in-sync with the longest already-playing clip. By default, launching a section will stop any clips which belong to other sections.
It is also possible to instruct the Deluge to play a section for a fixed number of repeats (of its longest clip) before switching to the "next" section (vertically below it on the Deluge's grid of pads). To set this up, hold down a "section" pad (far right) for half a second until the section's "repeat mode" begins to blink on the Deluge's text display. By default, it will be "INFI" - infinite repeats. By turning the select knob clockwise, any number of repeats may be set. Then, anytime that that section is launched, it will play for only that number of repeats before the "next" section launches.
As with manually arming clips or sections, when a fixed-repeat-number section is playing, the number of repeats remaining will blink fast on the Deluge's text display, and may be altered on-the-fly by turning the select knob. You may also cancel the automatic switching to the "next" section by pressing down on the select knob.
There is one further "repeat mode" option. By holding down a "section" pad and turning the select knob far-anticlockwise, the option "SHAR" will be arrived at, which means that the section may share its "launched" status with other sections: launching it will not automatically stop clips which belong to other sections. However, it remains the case that only one clip per synth or kit preset may play simultaneously, so launching a "SHAR" section may still cause other clips to stop if the use synth or kit presets also used in the section being launched.
This could be a useful option if you wish to launch several clips simultaneously (e.g. a bass and a lead line), but leave some previously-playing clips playing (e.g. a beat).
Even when clips belong to sections, you can still stop or launch any clip individually with its “launch” pad. And even when fixed-repeat-number clips are playing, the automatic launching of the “next” section may be overridden by manually arming a different section.
Recording into clips, and live looping, in song view
Recording clips - both audio and instrument - in song view is the means by which the Deluge can be used as a looper for audio and MIDI - both live looping as part of a performance, and as a means of recording audio clips as part of a music creation workflow.
Input sources for recording
For instrument clips, notes will be recorded from the instrument’s MIDI input channel - or via keyboard view, or the audition pads in instrument clip view.
Or for audio clips, an audio input source may be selected (the default is LEFT, which is suitable for a mono input or the Deluge’s internal microphone). Hold down the “learn / input” button and press a pad on the audio clip. The Deluge’s numeric display will blink the currently selected audio input source - LEFT by default. (The input source here is in fact being set for the audio track which the clip exists on - not for the clip per se. This distinction is something many users won’t need to worry about though.)
For further explanation including audio input-monitoring, and a list of sources, see audio track input sources.
Arming clips to record
All clips (both audio and instrument types) are armed by default to record when they are empty (meaning no notes for an instrument clip, or no audio file for an audio clip).
You can view and set a clip’s record-arming status by holding down the record button in song view. An armed clips’ “launch” pad will be either:
- Red, meaning armed to record and any overdubs will be created on the same instrument or audio track, meaning only one overdub will be audible at a time.
- Purple, meaning armed to record and overdubs will have their own audio track created, meaning they will all be audible simultaneously. Only available for audio clips.
Tap the clip’s launch pad, while still holding down the record button, to arm or disarm a clip for recording, or to switch between the red and purple options for audio clips.
Recording a clip / loop
Once a clip is created, armed (it will be armed by default - see above), and has its MIDI or audio input set (audio input is set to LEFT by default), it will be ready to begin recording as soon as playback is begun with the record button illuminated.
Clips which are currently recording will have a red play-cursor visible in song view and clip view. (There is a different, but similar, method for Recording notes or audio into an arrangement.)
Once a clip is recording in such a way, it will continue to record, and the recording will grow in length, until you tell it to stop. To do this, tap the clip’s launch pad - this will arm it to stop recording at the end of the current “loop” of the clip’s original length. It will then immediately begin playing back from its start.
Overdubs - regular
You can quickly and easily create an “overdub” for an existing clip - in the form of a new clip which will appear directly below it. This will often be preferable to creating a new clip from scratch to record to because it requires only one button-combination-press to begin recording an overdub with no additional setting up - and this function may also be performed via a global MIDI command (e.g. from a foot controller).
To create an overdub, playback must be active. Hold down the record button and press any of the main 16 pads on the row where you want the overdub to be created - which will be the row directly below the existing clip upon which you want to base the overdub.
The new overdub (which as mentioned above is also its own clip), will be created and armed to begin recording at the next opportunity to do so in time with the clip it was created from, or the other clips playing. For the brief time before it begins recording, it will display as a solid red row of pads - and during this time, you may tap any of these if you decide you wish to delete it and not begin recording after all.
If the overdub was created from an existing clip which was itself still recording at the time, the existing clip will become armed to stop recording at the same time as the new overdub begins.
Once recording begins on the new overdub, the process is just like for any other clip being recorded to - you will need to tell it when to stop recording (unless it’s a continuous layering one - see below).
Overdubs - continuous layering
You may wish to continuously build up many layered overdubs without having to manually create a new one each time. To do this, create the overdub by holding down the record button as described for “regular” overdubs above, and instead pressing the “audition / section” pad for the row on which you wish to create the overdub (the row below the existing clip you’re creating the overdub from).
The overdub will be created as normal - however as soon as it begins recording, it will arm itself to stop recording at its end (the length of the clip from which it was created), and will create yet another overdub armed to take over recording at that point. This process will continue for any number of overdubs. When you wish to stop recording them, press one of the main 16 pads on a “pending”, all-red overdub (as described above) to delete it and stop any more being created.
Setting the tempo with the first-recorded loop
A familiar feature of live looping with a classic “loop pedal” is that the length of the first loop the musician records ultimately determines the tempo of the entire layered composition. This can be achieved on the Deluge too - accompanied by the ability to then also create sequenced parts or beats perfectly in sync with the tempo of that first recorded loop.
This tempo-determining recording will happen automatically anytime you record an audio clip loop in song view if you have no other clips playing, the metronome is off, and the Deluge is the syncing master. The feature is not currently available for instrument clips.
Recording will finish when the user hits the newly recording audio clip’s launch pad, or launches any other clip, or creates an overdub, or stops playback. Then (so long as playback wasn’t stopped) the newly recorded clip will begin to loop back. At that same instant, the song tempo will have been recalculated and will blink on the Deluge’s numeric display - determined by the length of the clip just recorded, and appropriately doubled or halved to be as close to the previously set tempo as possible.
Also, at the same instant, any clocks being output by the Deluge (MIDI beat clock or trigger clock) will begin sending; they will not have been sent during the initial tempo-determining record while the tempo had not yet been determined.
On a related note, you also may at any time manually “grab” the tempo from an existing audio clip, with the same logic applied.
Further notes on overdubs
Since each overdub exists as its own clip, the user is free to mute, delete, or apply FX to each one individually.
Also, the recording of each clip / overdub counts as a separate step which may be undone and redone by pressing back or shift+back respectively - or via MIDI commands - see undo / redo.
MIDI control of looping
Looping can also be controlled via global MIDI commands - particularly useful for foot control. In addition to UNDO and REDO, whose use is noted above, there are two main looping-related commands - LOOP and LAYEr.
The LOOP and LAYEr commands are very similar - the only difference being that LAYEr does “continuous layering” overdubs - so you may end up preferring to use just one or the other on your external MIDI controller / pedal.
The LOOP (and LAYEr) command is intended as a single command which will always perform the next logical step in the process of recording loops and overdubs. It will:
- If playback was not previously active, start playback and begin recording on any clip(s).
- Finish recording of a clip (or overdub) if one is currently recording - either arming it to stop recording soon, or immediately “closing” a tempo-determing initial loop.
- Create an overdub from (so, below) the last clip / overdub that was recorded to, if playback active but no recording happening currently. If the LAYEr command, this will be a continuous layering overdub. If you wish to manually select which clip the overdub will be created from, hold down one of its main 16 pads in song view and then send the LOOP / LAYEr command.
- Delete an overdub if one is pending to begin recording (displaying as an all-red row of pads in song view).
There is also a PLAY global MIDI command, which can be used to stop or start playback without triggering further recording.
Arranger view
Arranger view allows you to arrange instances of clips into their own sequence, to play as one long song.
Unlike song view, which displays each clip as a row of pads, in arranger view each row represents a track (which has one synth or kit instrument or MIDI or CV channel, or is an audio track). Many clips may share that same track, and instances of any of these clips may be placed along that same track’s row.
If you are in song view, pressing the song button (again) will enter arranger view - in which the song button will blink constantly. Press it again to go back.
Arranging clip-instances
You can place an instance of a clip onto a track’s row by pressing a pad - similarly to how you'd place a note when editing a clip in clip view. You can edit a clip-instance’s length and delete it in that same familiar way - with the exception that if you tap a pad on the clip-instance other than its leftmost pad, you'll be taken into clip view for that clip.
Extending the length of a clip-instance beyond the length of the clip itself will simply cause it to loop for the selected duration.
You can also drag a clip-instance horizontally by holding it and scrolling horizontally. In arranger view, horizontal scrolling takes place one square at a time, rather than a whole “screen” at a time.
As mentioned above, you will very often have more than one clip assigned to the same track, and will wish to place instances of these different clips. When a clip-instance is placed, it’s left-most pad displays as one solid colour. This is that clip’s section colour, from song view. If you’ve already created one or more other clips on the same track, these will likely be in different sections already. Holding down a pad on the clip-instance and turning the select knob will flick between the different clips already in existence for the arranger track on that row, and the clip-instance’s colour will change accordingly as an indication. There is also a “white” option, which creates a new blank clip - see below.
These editing steps may all be undone and redone by pressing back or shift+back respectively - see undo / redo.
Inserting / deleting “time”
Hold shift and turn the ◄► knob to move all clip-instances which are currently on-screen or to the right of the current screen. Any clip-instances which “fall off” the left of the screen are deleted - but you can get these back using the undo function (press back).
Clip-instances unique to the arranger
When flicking through the available clips for a clip-instance by holding it and turning the select knob (see above), there will also be a "white" option. This creates a new, blank clip which only exists right at this point in the arrangement - it doesn’t exist in song view.
This is what the colour white means in arranger view - that that clip-instance is a special “unique” one. This contrasts to other, coloured clip-instances placed in the arranger: these are still linked to the clip as it sits in song view - if you edit the clip, all instances are affected. For a coloured clip-instance, if you wish to convert it into a “white” unique one which may be edited independently of anything else, you may do so by shift-pressing it.
“Dragging” clips between song view and arranger view
Another way to get a clip from song view into arrangement view is to hold down a pad on it (in song view) and press the song button. You'll now be in arranger view, and may scroll horizontally before releasing your pad-press to drop an instance of the clip in the desired location.
And you can also drag clips the other way - from arrangement view to song view. You might wish to do this for a "unique" (white) clip, which only exists in the arranger. Hold down a pad on it and press the song button to take you into song view. You may scroll vertically if you wish before releasing your pad-press to drop the track there. The clip will now exist in song view too, and will have been assigned a section-colour, which will also be visible the next time you go back into arranger view.
Arrangement playback
Pressing play while in arranger view plays the arrangement from the start. If you wish to instead play from your current scroll position, hold down the ◄► knob and press play.
As mentioned above, pressing a pad on a clip-instance other than its left-most pad will enter clip view for that clip. Pressing play while in clip view entered in this way will begin arrangement playback from the beginning of that clip-instance.
Switching between arrangement and song-view playback
While arrangement playback is taking place, you can still access song view. You will notice that the right-hand columns of pads (the launch and section pads) are greyed out, but still indicate which clips are currently playing in the arrangement. Tapping any of these greyed out pads will instantly switch to song-view playback - the pads will cease to be greyed out, and the playing clips will loop indefinitely until you launch something else.
Or to switch from song-view playback to arrangement playback, enter arranger view, scroll to where you want playback to start from, and hold down the ◄► knob and press play. After the current loop finishes, arrangement playback will begin from there.
Managing tracks in arranger view
Tracks can easily be muted or unmuted by pressing the mute pad on their row.
To solo a track, press and hold down the ◄► knob and press the track's mute pad. The pad will turn blue, and the mute pads of non-soloing tracks will dim. You can solo as many tracks as you like together. To un-solo a track, simply press its mute pad.
Pressing a track's audition pad will sound the song’s root note on that track, or for kit tracks, it will play one of the kit’s sounds - a snare drum if there is one. Audio tracks will not sound, but can still be distinguished by name.
You can also change a track to a different preset while in arranger view: hold down its audition pad and either turn the select knob or press a different track-type button (the synth, kit, MIDI, or CV buttons, or press down on the select knob for an audio track).
You can even add a new track directly in arranger view by in the same way holding down on an unassigned audition pad and selecting the track-type and/or preset you intend. In this way, compositions with many tracks can be built up directly within arranger view without even using song view.
To delete a track and its row from arranger view, hold down on its audition pad and press the save/delete button.
You can re-order tracks’ rows by holding one’s audition pad and scrolling vertically.
Recording notes or audio into an arrangement
By holding down the record button in arranger view, each track’s mute pad will blink red to indicate that it is armed to record to the arrangement - and pressing the mute pad while still holding record will toggle this status. (They are disarmed by default.)
When a track is thus armed for arrangement recording, and record mode is active (i.e. the record button is illuminated), then when playback is begun, provided there is not already a clip-instance at that position on that track, a new clip-instance is created there and will record notes or audio (for instrument clips and audio clips respectively).
Audio track names
Audio tracks are named AUDIO1, AUDIO2, etc., by default. To edit the name of an audio track in arranger view, hold down its audition pad and press the NAME shortcut pad (above ARP MODE, if you don’t have the V3.0 shortcuts printed on your Deluge). The alphanumeric keyboard will appear.
Audio track input sources
To set the audio input source for a track, hold down the “learn / input” button and press the audition pad for the track.
This can also be accessed from song view by holding down the “learn / input” and instead pressing one of the main 16 pads on an audio clip. The input source is belongs to the associated track, not the clip itself though.
The available audio input sources are:
- LEFT (default) - the left or mono channel of the Deluge’s line or mic input. Use this if using the Deluge’s internal mic, or recording a mono source with an unbalanced cable.
- RIGHt - you’d most likely use this if you’re using the Deluge’s stereo line input as two separate mono inputs.
- STEReo - use for a stereo line or mic input.
- BALAnced - for if you’re running a mono signal via a TRS cable from a balanced output into the Deluge’s line input socket.
- MIX - sources audio from the Deluge’s output - i.e. the other tracks which are playing - but grabs the audio pre master FX and level adjustment, and without reverb applied. This is usually the best option for “resampling” or “bouncing” existing instrument clips down to a single new audio clip. (Not to be confused with the Deluge’s resampling function for recording its output straight to a file.)
- OUTPup - Deluge audio output post FX and with reverb - same as resampling. Normally not the best option for recording audio clips though - use MIX instead.
- OFF - no audio input; recording disabled.
The first four of these options each has a second option of the same name but with a dot at the end - e.g. “LEFT.” These options with the dot enable audio “thru” or “monitoring” on that input channel - echoing the audio that’s fed in.
Clear arrangement
To delete all clip-instances in the arrangement, hold down the ◄► knob and press the back button.
Arrangement recording from song view
You may wish to place clip-instances in an arrangement by way of recording a “performance” in song view, launching and stopping clips as you wish and tweaking parameters as you go.
In song view, this mode is activated by pressing record+song. This will immediately begin playback, with the resulting music being recorded into the arranger. The record and song buttons will blink fast to indicate that this mode is active. Recording will stop when you end playback, or if you press either the record or song button.
While arrangement recording is active, some functions are not available - for instance you cannot delete clips or enter clip view or arranger view.
You can however adjust clip parameters from song view by holding down one of the main pads on a clip and turning a gold knob. You can also use MIDI inputs to affect parameters, or play notes, and these events will be recorded into the arrangement too - see further details below.
As clips play, corresponding clip-instances are placed in the arranger on the relevant tracks’ rows. These clip-instances refer back to the original clip (i.e. they have coloured head-squares), so if you modify the clip later, the change will show up in your arrangement too. You can always clone these clip-instances into unique instances in the arranger if you wish.
If you adjust any clip parameters or live-play any notes by MIDI, however, the corresponding clip-instance is instantly cloned into a unique instance, and your adjustment is recorded into that new copy of the clip which exists only in the arrangement, and will not affect the original clip which exists in song view.
When you begin arrangement recording, the recording of your performance in the arranger will begin from wherever your current scroll-position is in arranger view. (This defaults to time 0 for new songs.) Anything which previously existed to the right of this start-point is immediately deleted to make way for what you are about to record. You can, however, undo arrangement recording by pressing the back button, which will also restore whatever arrangement existed previously.
If you instant-launch a clip (shift + launch pad), then it will be placed in the recorded arrangement as if it had been played right from the start of that loop - this may be helpful if you forget to launch something quite in time.
Keyboard view
While in clip view for a non-kit clip, pressing the button with the keyboard icon enters keyboard view for that clip. In keyboard view, the main grid of pads becomes a playable keyboard. Horizontally, pitch ascends in semitones. Vertically, each row is a 4th higher than the row below it. The result is a layout similar to that of a guitar in standard tuning.
Many of the same controls available in clip view are also available in keyboard view: the preset may be changed by turning the select knob, and sound parameters may be altered by turning the (gold) parameter knobs. Scale mode may be entered and exited, too.
While the keyboard in keyboard view is chromatic, the notes in the current scale are highlighted while in scale mode, allowing the user to easily play melodies that fit a key. The root notes are lit the most brightly. The root note may be changed, too, by holding down the scale button and pressing a new note’s pad.
You can also record while in keyboard view, placing notes on the clip as it appears in clip view, quantized to its zoom level. When recording in keyboard view, the current position within the clip is indicated by a red blinking cursor on the top row of pads only.
Undo / redo
In the Deluge’s four main views (clip, song, arranger and keyboard), you can undo your most recent editing action by pressing the back button. You may step backward through as many past actions as you like, subject to the Deluge’s RAM capacity. You may also redo by pressing shift+back.
Most actions involving the editing of notes (in clip view), clip-instances (in arranger view), and the recording of notes and automation may be undone and redone. So may the recording of clips and overdubs in song view.
There are also global MIDI commands for undo and redo - particularly useful for foot-control during live looping.
If you enter the sound editor, or otherwise perform an action which can’t be undone (e.g. changing a preset), your undo history will be deleted.
Saving and loading songs
Songs are stored on the SD card. To save a song, press the save button. By default, a new song will be given a number, and you may turn the select knob to change that number. Numbers shown with a dot next to them already have a song saved.
Alternatively, you may begin typing on the Deluge’s alphanumeric keyboard, to give your song a text-based name.
While in this save song mode, you may press the back button at any time to exit.
When a song is saved a subsequent time, its name or number will default to a higher variant. For numbered songs it will get a letter-based suffix appended - e.g. song 3A. Or for songs with text-based names, a number will be appended to the end - e.g. SONGNAME 2.
Press the save button a second time to save your song with its selected name or number. The song will be saved, and you will be returned to either clip view, song view or arranger view, whichever you were in. Or, if you will be overwriting an existing song, the Deluge will prompt “OVER” on its display - press the save button again to confirm, or the back button to cancel the overwrite.
Very similarly to saving a song, loading a song is achieved by pressing the load button, which takes you into load song mode, which is also exit-able by pressing the back button. A song number / name is selected by turning the select encoder, and numbers / names can be navigated and searched using the keyboard. While browsing existing songs, you can see a “preview” of each song on the pad grid. To load the selected song, press the load button again.
If you have saved a lot of songs with lettered sub-slots and wish to skip past these when scrolling songs, simply hold down the shift button as you turn the select knob to skip the sub-slots.
Saving and loading may both be performed while the Deluge is playing, without interruption to playback. Loading during playback will cause the song to switch perfectly at the end of a loop.
To delete a song, enter load song mode and browse to it with the select knob and/or alphanumeric keyboard. Then press shift+save to access the delete song function. The Deluge will blink the text “DELE”. Press the save button again to delete the song, or the back button to cancel the delete song function.
To create a new, empty song, as if the Deluge had just been switched on, activate the new song function by holding the shift button and pressing the load button. You may do this from song view, clip view or arranger view. The Deluge will blink the text “NEW”, warning that whatever song is currently in memory will be cleared. Press the load button again to clear the song and begin a new one, or the back button to cancel the new song function.
Alphanumeric keyboard
You can enter text on the Deluge, and name your songs, synths, kits and more.
Anytime you're in a saving / loading / browsing interface, pads will illuminate to illustrate a QWERTY keyboard (other layouts are selectable in the settings menu), and you can start typing.
When loading songs, the pads will not illuminate until your first keypress - this is so as not to obscure the visual song preview you see.
As you start typing, the rest of the filename is automatically "predicted" if a matching file exists - just like when typing a web URL. Use the ◄► knob to move left and right.
Switching song during playback
The Deluge can switch songs while playing, perfectly on the beat. In fact, this is the default behaviour - simply enter load song mode during playback, select the song you wish to switch to, press load again, and after your new song has loaded, it will become armed to begin playing immediately when the old song completes a loop (when the longest playing clip loops).
As your new song may take up to a few seconds to load if it contains a lot of samples, there is a way to more precisely specify its launch-time, too. After selecting the song you wish to switch to, hold down the load button rather than pressing it momentarily. While holding the button down, the Deluge will load the song, indicating “DONE” when loading is complete. Then only when you release your press on the load button will the Deluge become armed to switch the song at the completion of the current loop.
Just like the arming of clip and sections, the arming of a new song causes the number of remaining complete or partial loops remaining before the launch event to blink fast on the Deluge's numeric display. For songs, this will be 1 by default, but you can increase it by turning the select knob.
If you wish to maintain the tempo of the old song into the new one, press down on the tempo knob while you press the load button. And if tempo magnitude matching is enabled, then a multiple of the old song’s tempo may be used if it means a less drastic change to the new song’s tempo.
Or, if the Deluge is playing synced as a slave, the tempo will remain the same regardless, with the tempo magnitude matching setting taking effect if enabled.
Collect-media tool
This tool collects together all contents and sample files which a song file uses, allowing you to transfer the song to another SD card, or give it to another Deluge user.
When saving your song, after selecting the slot number, long-press the save button. A context menu will appear with just one option, COLLect. Select that by pressing the save button again. Now, as the song is saved, a new folder is created with the same name as your song file (inside the SONGS folder on your card), containing copies of all your song’s samples.
To transfer the song to another card or user, both the song file (e.g. “SONG100.XML”) and the song folder (“SONG100”) need to be placed in the SONGS folder on the destination card. The song can now be loaded from that card with all its samples.
As soon as a song loaded in such a way (that is, imported from another card) is then re-saved by the Deluge on its new card, the samples are all copied into that card’s normal SAMPLES folder - into the same subfolder locations that they had originally been referenced from.
When collecting media in this way, the Deluge automatically adds a string of random characters onto the ends of Deluge-recorded samples, so there won't be confusion / overwriting between Deluge users who all have a different e.g. "REC00001.wav" file present.
The file browser and loading audio files
Audio files can be loaded from the SD card for use in two different contexts - as audio clips, which play back perfectly synced and time-stretched if necessary to all other clips in the song, or as samples, which can be sequenced rhythmically or sounded as a live instrument. The latter option will often involve a kit, made up of many sample-based sounds, or may also take the form of a melodic synth instrument with samples in place of its oscillators - possibly even multisamples..
The Deluge supports .wav and .aiff files up to 32-bit / 96kHz. Its native sample rate is 44.1kHz, so audio files at this rate will play most optimally. .aiff files, and also 32-bit floating point files, have a slight processing overhead, so are less recommended in CPU-heavy projects.
As mentioned above, a common way to make use of samples on the Deluge is in a kit clip. If you are in clip view (e.g. immediately after powering on the Deluge), you can create a new, blank kit for your clip by pressing shift+kit. Upon doing this, the file browser is immediately entered, so that you can load your first sample for this new kit.
The file browser allows you to browse the actual folder structure of the SD card (within the “SAMPLES” folder) in the same way that you navigate the sound editor’s menus: turning the select knob flips through the files in the current folder (playing each one for you to hear); pressing down on the select knob loads the selected audio file into memory, or if a folder is selected then it is entered; pressing the back button goes up a level to the parent folder, or if no higher levels remain, the file browser is exited.
The file browser can be quickly exited without needing to press back multiple times by instead pressing one of the mute pads.
After loading the first sample for your kit, you will be returned to clip view, where the loaded sample will have been assigned a row of pads, indicated by its green-illuminated “mute” pad. You can audition the sample by pressing the row’s “audition” pad (far-right).
Samples shorter than 2 seconds will by default have their “MODE” set to “ONCE”, to behave as a one-shot sample: any time the sample is triggered, the whole sample will play. Samples longer than 2 seconds will instead be set to “CUT” mode, to play only as long as the user is holding down the row’s “audition” pad - or as long as a sequenced note is sounding on that row.
Alternatively, if you wish to enter the file browser to load an audio file as an audio clip, see that section for instructions..
Additionally, some .wav and .aiff files contain tags specifying sample loop points. The Deluge will read these if they are present. See waveform view for further info.
Deleting audio files
While in the file browser, you can hold shift and press the save button to delete the selected audio file - it'll prompt you "DELE" first, after which press the save button again to complete the deletion. Take care not to delete an audio file that you have used in other songs.
Adding samples / sounds to an existing kit
To load further samples into an existing kit (such as the one you created in the step above), hold down the audition pad on an unoccupied (or occupied if you wish) row and press the kit button again. The file browser will be re-entered, and an additional sample may be selected. This process may be repeated as many times as desired.
The file browser may also be manually entered via the sound editor, including the BROWSE shortcut, for a particular existing sound, allowing the user to change its sample but retain all other settings or fx set for it.
In addition to the audition pad+kit button shortcut to select a new sample, audition+synth will create a new blank square-wave synth sound on a row, and audition+MIDI or audition+CV will set the row to output MIDI or gate respectively - see outputting MIDI or gate in a kit..
Renaming sounds within a kit
Shift + pressing the NAME shortcut pad (above ARP MODE, if you don’t have the V3.0 shortcuts printed on your Deluge) allows you to rename the currently selected sound within a kit. The alphanumeric keyboard will appear.
Importing an entire folder of samples as a kit
To quickly import all audio files within a folder, create a new kit as above, but when selecting your file, press and hold down on the select knob. You can do this either while “looking at” one of the files within the folder, or the folder’s name itself. A context menu will appear, with options you may select from by turning the select knob. Select the “ALL” option by pressing down on the select knob again. Each audio file within the folder will automatically be placed on a “row” of pads. (You will have to scroll vertically to see them all if there are more than 8.)
There is a slight CPU overhead for each sound present in the Deluge’s currently loaded song - even if it is not sounding at a given moment. This may begin to affect CPU performance if you have more than 50 to 100 sounds loaded. For this reason, you may wish to refrain from importing large folders of samples as kits where these are not in fact used. Multisampled instruments, however, count as just one sound regardless of how many separate samples they contain. See processing power and CPU management for further info.
When multiple clips use the same kit
Once you’ve added a sound to a kit while viewing a particular clip, in clip view, the new sound exists within that kit, but won’t yet have an audition pad and row assigned in any other pre-existing clips which use the same kit. To create a row for the new sound on another such clip, once you’ve entered clip view for that clip, simply press one of the main 16 pads on an unassigned row immediately above or below the rows which do have sounds assigned (the ones with a green mute pad) - and the first unassigned sound will be assigned to that row.
Sounds are deleted from a kit when the kit or song is saved and the sound has no row assigned in the current clip (when saving kit), or in any clip (when saving song).
Samples and multisampling for melodic “synth” instruments
Samples may also be used as the basis for a melodic instrument which, just like any other synth on the Deluge, may have a melody sequenced for it in clip view, or may be played in keyboard view.
The most basic case of this would be the use of a single sample - say a note played on a piano - whose pitch the Deluge will then adjust to allow the sounding of any note which the user might play or might appear in the entered sequence.
However, when adjusting pitch by more than a few semitones, most acoustic instrument samples will cease to sound like an authentic replication of that instrument, so a common approach is to sample various notes played on that instrument (a piano in our example) - either sampling every single key, or perhaps at some other interval like two keys per octave and having playback of a given note derived by adjusting the pitch of the closest-by sampled note. This approach is called multisampling, and is supported flexibly on the Deluge.
To create a “synth” instrument on the Deluge which is based on a sample or multisamples, first ensure you are in clip view or keyboard view, then create a new synth by pressing shift+synth. By default this new synth will have just one, square-wave oscillator, and no other filters or effects applied. Now hold down any of the audition pads and press the load button. Before entering the file browser, the Deluge will ask what “range” of notes we wish to apply this sample to - see multisampling, above. The default range is displayed as “BOT-TOP”, or bottom-to-top, meaning applying to all notes. Let’s go with this option initially - by pressing down on the select knob.
The file browser (described above) will then be entered, and you may select an audio file to replace the synth’s square-wave oscillator. This is the simpler case of having just one sample - instructions for importing multisamples are below. Once that is done, you will be returned to clip view or keyboard view. When you play a note now, you will hear your selected sample, with its pitch adjusted up or down to sound whichever notes you choose to play. It will be automatically tuned so that a “C” note played on the Deluge truly comes out as a “C” note - see sample pitch detection, below.
To instead set up an instrument based on multisamples, the easiest way is by importing a whole folder containing your various samples of one instrument. To do this, enter the file browser for a synth instrument like before - again for the default “BOT-TOP” note-range. Once you have navigated into the folder containing your samples, instead of just pressing down on the select encoder, press and hold it for half a second. A context menu will appear, blinking several options which you can navigate through by turning the select knob. The first option is MULTisamples. Select this by pressing down on the select knob. The Deluge will proceed to import all the samples in the folder, automatically detecting their pitch and setting up their corresponding note-ranges for you. This will work whether you have a separate sample for every single note, or a smaller selection of samples and notes, in which case the Deluge will set up ranges with bounds halfway between neighbouring samples’ pitches.
You can also manually edit and set up multisample note ranges. When selecting a range (e.g. after pressing the “browse” shortcut), the existing ranges may be flicked through by turning the select knob. They will display in the format of “A2-D2”, meaning that the range covers the notes A2 to D2, inclusive of those notes. Sharps are represented with a “.”, and “BOT” and “TOP” are used to mean that the range applies all the way to the bottom or the top.
To edit a note range’s bounds, turn the ◄► knob to select either the lower or upper bound (it will blink). Then turn the select knob to edit it. The corresponding boundary of the neighbouring range will be moved as well to accommodate the change.
To insert a new range, hold the shift button and turn the select knob clockwise or anticlockwise to create a new range above or below the currently selected one, respectively. And to delete the currently selected range, press the save/delete button.
Sample pitch detection
The Deluge automatically detects the pitch of all samples loaded into “synth” instruments, using this information to set up multisample note-ranges and adjust transpose so that the correct pitches are played.
The Deluge’s pitch detection algorithm gets good results on its own, but will then also compare its results to the sample files’ names. If it realises that its pitch detection has got the samples in the wrong order, it will re-evaluate the pitches. For this reason, it’s a good idea to have your samples named alphabetically from low notes to high notes. Numbers and note names are taken into account when looking at the order - e.g. the Deluge knows that “B#2” comes before “A3”, and that “Eb comes before “E”. Only the ordering of the files is important though - the Deluge does not read the actual note names - just looks at the files’ ordering and then uses its pitch detection for the rest.
Some .wav and .aiff files contain tags explicitly stating what note the file contains a sample of. Where these tags are present, they will override the Deluge’s own pitch detection.
Single-cycle waveforms
Single-cycle waveforms are very short audio files which represent just one cycle of a waveform. These are available for all kinds of interesting waveforms which couldn’t otherwise be synthesized easily, and are intended to be played back looping as an instrument’s oscillator, with pitch (or playback speed) adjusted to sound different pitches.
The Deluge will interpret any audio file loaded into a synth instrument which is less than 20mS in length as a single-cycle waveform, and will set it to loop. It will also look at the waveform’s length, adjusting oscillator transpose accordingly so that a “C” note will be played back as one.
You can also manually force the loading of a sample (perhaps a longer one) as a single-cycle waveform. To do this, when selecting the audio file, long-press the select knob to bring up a context menu for the file. Select the “SINGle” option. The other options (at least within a synth instrument) are “MULTisamples”, covered above, and “BASIc”, which loads the sample in the most basic way possible with no pitch detection or single-cycle setup.
Slicer
The Deluge has a basic slicer function, to allow you to create a kit whose sounds are the various evenly-sized slices of one audio file.
To do this, create a new kit as above, but when selecting your file, press and hold down on the select knob. A context menu will appear, with options you may select from by turning the select knob. Select the “SLICer” option and press down on the select knob again. The Deluge will then prompt you to select a number of slices. The default is 16, and you may change this by turning the select knob. Then press down on the select knob again, and your new kit will be created, containing the selected number of slices from your audio file.
Recording samples
Audio clips have their own recording instructions, including live looping, but here we describe the process of recording samples “offline”, to then be sequenced or played. This is less likely to be done live as part of a performance than looping with audio clips.
Similarly to the process described above for loading audio files as samples, the easiest way to arrange recorded samples is in a kit clip. Create a new, blank kit clip by pressing shift+kit (provided you were in clip view already). A new kit is created, and the user is placed in the file browser. However, to record a new sound rather than select a file, simply press the record button at this stage. The sound recorder is entered, and recording begins immediately, indicated by the word “REC” blinking on the Deluge’s display.
Press the record button again to end recording. You will be returned to clip view, where the recorded sample will have been assigned a row of pads, indicated by its green-illuminated “mute” pad. You can audition the sample by pressing the row’s “audition” pad (far-right).
The “mic gain” switch sets gain in the analog domain for samples recorded via the internal microphone or an external microphone (but not via line-input). Additionally, after recording, the Deluge digitally normalizes the volume of a recorded sample to make it as loud as possible without clipping (it does not do this for audio clips).
During recording, the input may be monitored. Three modes are available, and may be selected in the settings menu. “Smart” mode is the default, and with it, if you're recording with a microphone (internal or external), monitoring will only occur if you also have headphones plugged into the Deluge; if you're recording from the line input, monitoring will always occur. Monitoring may alternatively be switched to always-on, or always-off.
Recording additional samples to an existing kit
To record further samples into an existing kit, hold down the “audition” pad on an unoccupied row, and press the record button. The sound recorder will be re-entered, and an additional sample may be recorded. This process may be repeated as many times as desired.
The sound recorder may also be entered via the sound editor for a particular sound.
Resampling / recording the Deluge’s output
The Deluge can record its audio output to a file on the SD card. This is useful both as a sonic tool, where the user may create interesting sounds on the Deluge and “resample” them for further use, or to allow the user to make high-quality recordings of compositions or performances.
This is not to be confused, though, with live looping, one use of which allows the Deluge’s output to be recorded into an audio clip.
There are three ways to begin output-recording, during which the record button will blink fast:
- Pressing shift+record begins output-recording instantly.
- To begin output-recording at the exact same instant that playback is begun, press record+play.
- To begin output-recording at the exact same instant that a voice is sounded, hold down record and press an audition pad (or one of the main pads if you're in keyboard view).
To stop output-recording, simply press record again. Or, if you wish for it to stop at the exact instant that a loop finishes playing, press record+play (again - if you began output-recording with this combination).
Recorded WAV files will appear in the SAMPLES/RESAMPLE folder of the SD card. Also, after you've made a recording in this way, the next time you are taken to the file browser, you will be defaulted to your new file, allowing you to easily add it to a kit or as an audio clip.
The sound editor
We’ve already covered switching between different synth and kit presets for a clip and editing basic sound parameters with the parameter knobs. There are a lot more editable parameters though - in fact every parameter which makes up the sound of a given preset may be edited. This editing is done in the sound editor, accessible either via the shift-button shortcuts on the main 16x8 grid of pads, or via a nested system of menus navigable using the select knob and the text display.
Sounds on the Deluge may be based on synthesis, samples, or a combination of the two. Basic waveforms can be used, without the need for any pre-recorded wave data. Or, samples can be used and manipulated in much the same way that basic waveforms can.
Sound editor shortcuts
To view the shortcut diagram in more detail, download an A4 PDF of this
This is the simplest way to access the sound editor. Most of the pads in the Deluge’s main 16x8 grid have a shift-button shortcut for the editing of one sound parameter. Holding down the shift button and pressing a given pad while in clip view or keyboard view or while already in the sound editor will enter the sound editor for the corresponding parameter. The value of the parameter will be shown on the Deluge’s text display. Turning the select knob edits the value. Pressing the back button exits the sound editor.
If your clip is a synth clip, you will enter the sound editor for your clip’s synth. If your clip is a kit clip, you will enter the sound editor for the currently selected sound (recall that a sound is selected by pressing its audition (right-most) pad; you will need to select a sound first).
If you try entering a shortcut and receive a “CANT” error message, it means that the parameter is not available due to the setting of some other parameter. For instance, you cannot access any of the “FM MOD” parameters if “SYNTH MODE” is not set to “FM”.
Or, if you receive a “SOON” error message, this means that the parameter you tried to enter in fact does not exist in the current firmware (e.g. “TYPE” in either “FM MOD” column; FM modulators currently may only be sine waves). However it is possible (though not guaranteed) that these parameters may be implemented in future firmware versions.
Sound editor nested menu
The sound editor can also be accessed as nested menu, revealing a few extra options.
To enter the sound editor in this way, press down on the select knob while in clip view or keyboard view.
As with all other menus in the Deluge, one menu-item at a time has its name (as a 4-character representation) shown on the text display. Turning the select knob flips through the different items in the menu. For instance, the first two items in a synth’s sound editor menu are “OSC1” and “OSC2”. (Or, if it is an FM synth preset, they will be “CAR1” and “CAR2”.)
Many menu items in fact contain their own submenus. This is the case for both “OSC1” and “OSC2”. By pressing down on the select knob while such an item is selected, the associated submenu is entered, and it’s own items are then shown. Pressing the back button at any point will exit out of a menu, taking you back to its parent menu. Pressing the back button enough times will exit the sound editor’s menu system entirely (the same is true for all other menu systems on the Deluge too).
Or, if a menu item is not a submenu with its own nested items, then it is an actual parameter (e.g. VOLUme and PAN). “Entering” a parameter by pressing down on the select knob takes you to its value - which is often a number. Turning the select knob then edits the value. You can return to the parent menu by pressing the back button (the edited value is always saved).
Sound editor nested menu parameters
- OSC1 (oscillator 1) - called CAR1 (carrier 1) for FM synths
- VOLUme
- TRANspose - in semitones (with cent adjustment)
- TYPE - the wave type: contains basic digital waves (SINE, SAW, SQUAre, or TRIangle); analog modeled waves (ASAW, ASQUare); SAMPle; or IN (expandable to INL, INR, and INLR - see live audio input)
- PULSe width
- FEEDback - for FM synths only
- RETRigger phase - the phase (in degrees) that the oscillator will be reset to on note-on. Can be switched off, too
And if TYPE is set to SAMPle, the following options become available:
- FILE - takes you to the file browser, to select the audio file to be used as this “oscillator”
- REC - takes you to the sound recorder, to record a new sample to be used as this “oscillator”
- REVErse - reverses the sample
- MODE - can be set to:
- ONCE - the sample plays once, always the whole way through. Good for drum samples
- CUT - the sample plays once, but may be cut short at the end of the “note” causing the sound
- REPEat - the sample loops indefinitely until the “note” ends
- STREtch - the sample is time-stretched to the length of the note. Good for samples that contain pre-made beats
- STARt time of sample, in seconds, with millisecond adjustment
- END time of sample
- PISP (pitch / speed) - controls the relationship between pitch and speed for the sample. May be set to LINKed (changing pitch affects length) or INDEpendent (changing pitch does not affect length)
- SPEEd - manually time-stretches a sample to make it play faster or slower without changing pitch. Not available if LOOP is set to STREtch, in which case speed is controlled by note length and tempo
- INTErpolation - the sample interpolation method used for pitch adjustment. Options are SINC (high quality 16-point windowed sinc) and LINEar (low quality linear interpolation). See sample interpolation / pitch
- OSC2 (oscillator 2) - called CAR2 (carrier 2) for FM synths. Same as OSC1, plus...
- SYNC (oscillator sync) - if switched ON, oscillator 2 resets (to its retrigger phase) whenever oscillator 1 does
- MOD1 (modulator 1) - only available for FM synths
- TRANspose - in semitones (with cent adjustment)
- AMOUnt - the extent to which this modulator modulates the frequency of both carriers
- FEEDback
- RETRigger phase - same as for OSC1
- MOD2 (modulator 2) - only available for FM synths. Same as MOD1, plus...
- DESTination - whose frequency this modulator modulates. Can be set to CARS (both carriers), or MOD1 (modulator 1)
- NOISe amount - for subtractive synths only
- TRANspose - the overall transpose for this synth, in semitones
- VIBRato - the depth of modulation between LFO1 and pitch
- LPF - for subtractive synths only
- FREQuency - the cutoff frequency
- RESOnance
- MODE - toggles the LPF’s type between between 12dB per octave, and 24dB per octave, and the analog-modeled DRIVe filter (24dB per octave with saturation)
- HPF - for subtractive synths only
- FREQuency - the cutoff frequency
- RESOnance
- MODE - the mode of this synth - can be set to SUBTractive, RING modulation, or FM. (Ring modulation mode still technically is subtractive)
- ENV1 (envelope 1) - this envelope controls volume / amplitude, and may additionally be patched to anything else too
- ATTAck
- DECAy
- SUSTain
- RELEase
- ENV2 (envelope 2) - this envelope may be patched to anything. Same as ENV1
- LFO1 - this exists for all voices together and does not retrigger
- TYPE - the wave type; can be set to SINE, SAW, SQUAre, or TRIangle
- RATE
- SYNC - sets a time interval (e.g. 8TH notes) to sync the LFO to; or may be switched OFF
- LFO2 - this exists separately for each voice, and retriggers upon a note-on. Same as LFO1, minus SYNC.
- VOICe
- POLYphony - may be set to POLYphonic, MONOphonic, AUTO (behaves mostly as monophonic but won’t stop you playing chords), and LEGAto. Also has a CHOKe setting - any sound set to CHOKe will stop all other CHOKe sounds within its kit when it starts (the typical example being an open and closed hi-hat sound, where you never want both to sound simultaneously)
- UNISon
- NUM - the number of voices to play together in unison
- DETUne - how detuned these voices are to be from each other
- PORTamento
- ARPEggiator
- MODE - can be set to OFF, UP, DOWN, BOTH, or RANDom
- SYNC - sets a time interval (e.g. 8TH notes) to sync the arpeggiator to; or may be switched OFF to deactivate tempo-syncing
- OCTAves
- GATE - the percentage of the available time-division which each arpeggiated note fills
- RATE
- PRIOrity - allows a sound to be prioritised so that its voices won’t be switched off if the Deluge’s CPU becomes overloaded. Settable to LOW, MED or HIGH
- FX
- DISTortion
- MODUlation fx
- TYPE - currently the only options are FLANger, CHORus, PHASer, or OFF
- RATE
- FEEDback (for flanger and phaser only)
- DEPTh (for chorus and phaser only)
- OFFSet (for chorus only)
- EQ
- BASS
- TREBle
- BFRQ - bass frequency
- TFRQ - treble frequency
- DELAy
- AMOUnt - the effect level and feedback, combined
- RATE
- PINGpong - stereo effect, ON or OFF
- TYPE - DIGItal or ANAlog
- SYNC - sets a time interval (e.g. 8TH notes) to sync the delay rate to; or may be switched OFF
- REVErb - all reverb settings except for AMOUnt apply to the whole song, i.e. to the reverb effect on all tracks and sounds
- AMOUnt
- SIZE - the “room size”
- DAMPening
- WIDTh - stereo-ness
- PAN - allows you to pan the reverb, e.g. to output to one channel only
- SIDEchain compressor - a separate sidechain compressor on the reverb’s output alone, receiving the same side-input that all other sidechain compressors do. By default, it is on an “AUTO” setting, which means it takes its parameters from the sidechain compressor of the sound with the greatest AMOUnt of reverb. If the AUTO settings is deactivated, then the same submenu options as for the regular sidechain compressor, of which your sound also has one (see below), become available
- DECImation (AKA sample rate reduction)
- CRUS (bitcrushing)
- SIDEchain compressor
- VOLUme - how much the sidechain compressor affects this sound’s volume (you can patch it to other things too, see modulation )
- SYNC - sets a time interval (e.g. 8TH notes) to sync the sidechain compressor’s attack and release to; or may be switched OFF
- ATTAck
- RELEase
- SHAPe - controls the shape of the compressor release, making it more or less punchy
- SEND - only available for sounds that are part of a kit. The level at which this sound shall trigger all other sounds’ sidechain compressors
- VOLUme
- PAN
Decimal values
Some parameters have values with a decimal point in them, allowing you to set values very finely. For these, one digit at a time will blink, indicating that that’s the digit being edited. To move the “cursor” left or right to edit a different digit, simply turn the ◄► knob.
Applying changes to all sounds within a kit
Just a few of the sound editor settings have the ability to be edited in bulk for all sounds within a kit. These are POLYphony, sample MODE, REVErse, SPEEd, and PISP (pitch / speed). When editing any of these, you may hold down the affect-entire button while turning the select knob in order to have your edit applied to all sounds within your kit.
Modulation
Modulation refers to setting a parameter in the sound engine to be modulated by a modulation source, such as an envelope or LFO. The Deluge allows most parameters to be controlled by any number of the available modulation sources simultaneously. Most parameters, but not all, may have modulation sources patched to them.
To set up modulation for a parameter, enter the parameter of choice in the sound editor so that its numeric value is on display - either via its shift-button shortcut, or the nested menu.
The shortcuts on the right-most columns of pads in the 16x8 grid correspond to the 11 available modulation sources. Already, any which are active for your selected parameter will be blinking slowly. Now, shift-press any of them to edit the depth with which that modulation source is patched to the selected parameter.
Alternatively, rather than use these shortcuts, you can instead press down on the select knob: a new, deeper menu is entered, presenting you with the selection of modulation sources from which to choose what you wish to have modulate the selected parameter. A dot drawn next to the name of a modulation source indicates that patching is already present from that source. Press down on the select knob yet again to select the modulation source.
The complete list of modulation sources is:
- LFO1
- LFO2
- ENV1 (envelope 1)
- ENV2 (envelope 2)
- VELOcity - note velocity, which you can edit in track view
- AFTErtouch - MIDI aftertouch messages, when using an external MIDI controller. Both polyphonic and channel-wide aftertouch are supported
- NOTE - the actual note being played (i.e. how high or low the note is). Sometimes this feature is known as keyboard tracking. Not available for sounds that exist as part of a kit
- RANDom - a random number that is generated once for each new voice that is sounded
- SIDEchain - the sidechain compressor can be patched to anything - it is not limited to volume. Try patching it to pitch or LPF cutoff
- X and Y (coming soon) - MIDI MPE support will be added in a future Deluge firmware update. These modulation sources refer to the horizontal and vertical sideways pressure which a user of an MPE-compatible MIDI controller may apply to each key with the finger pressing it.
Once you have selected the modulation source that you wish to patch to your parameter to modulate it with, you will now be presented with a number - initially 0 unless some patching is already present - representing the “depth” with which the selected modulation source affects the selected parameter. Turning it up (or down - it can go negative too) will have a more and more noticeable effect on the sound. (While in the sound editor, you can still press the audition pads (the far right column) to hear your sound, even as you edit parameters and modulation.)
For both parameters and modulation sources, some are “global” to the entire sound across all voices, and others are “per-voice”, or local to a specific voice. You cannot patch a per-voice modulation source to a “global” parameter. See the following table.
Modulation sources | ||||||||||
Global to sound | Per-voice | |||||||||
Side chain | LFO1 | LFO2 | ENV 1/2 | Velocity | Note | Random | After touch | |||
Params | Global to sound | Delay amount / rate | Not allowed | |||||||
Mod FX depth / rate | ||||||||||
Arpeggiator rate | ||||||||||
Reverb amount | ||||||||||
LFO1 rate | ||||||||||
Both | Overall volume | |||||||||
Per-voice | LFO2 rate | |||||||||
Oscillator volume | ||||||||||
Noise volume | ||||||||||
Pitch / transpose - overall or for oscillator or FM modulator | ||||||||||
FM modulator level | ||||||||||
FM feedback | ||||||||||
Pulse width | ||||||||||
LFP / HPF frequency / resonance | ||||||||||
ENV1/2 attack / decay / sustain / release | ||||||||||
Pan | ||||||||||
Modulation to control the depth of another patch “cable”
Having covered how to set the depth by which a given modulation source affects a given parameter, you may also wish to modulate that depth with… another modulation source. The Deluge is capable of this complex patching arrangement - but only for one “cable” (i.e. source-parameter combination) per sound.
To set this up, simply navigate, via the shortcuts or the menu, to the value of the “depth” which you wish to modulate. Then press down on the select knob again. Yet another, deeper menu is thereby entered, offering a selection of modulation sources with which to modulate the “depth” in question. Select one, press down on the select knob again, and set the depth by which you want to modulate the first depth. (Confused yet?)
You can also more easily patch one modulation depth to another mod source via the shortcuts, by i.e. first entering the parameter to modulate, then shift-pressing the shortcut for the modulation source you want to use, and then finally holding shift+that shortcut while pressing the modulation source you want to modulate the first one’s depth with - it will start blinking pale blue, to indicate that it’s modulating another modulation depth.
Assigning knobs to parameters
You might have noticed that the various selectable functions of the parameter knobs are parameters which you can also access in the sound editor. In fact, each function of each parameter knob can be reassigned to almost any parameter of a sound. The physical labels for each function (volume, pan, etc.) are mere guidelines on what to expect from the included presets, and there is no reason why a given function on one of the knobs can’t control something completely different. Additionally, connected MIDI knobs can be assigned to control parameters in the same way.
The process of assignment is simple. Navigate to a parameter’s value in the sound editor - e.g. OSC1 -> VOLUme. Then hold down the learn button while turning one of the parameter knobs. The display should flash the text “LEAR”, to indicate that learning has successfully occurred. The parameter knob is now assigned to that parameter - for that “function” on the knob only (the knob’s assignment for its other five functions will remain unchanged).
Assignment of connected MIDI knobs is done in the same way: navigate to a parameter’s value, hold down the learn button, and then turn the knob you wish to assign. Both relative and absolute MIDI CC messages are supported (it is auto-detected which of these a given knob is), and so are MIDI pitch-bend messages. Controlling parameters via MIDI is a handy way of expanding the Deluge’s controllability because this control remains active all of the time, whereas the Deluge’s own parameter knobs only apply to the clip which the user is viewing in clip view, or holding down a pad on in song view.
To unassign any MIDI knobs from a parameter, navigate to the parameter’s value and hold shift while pressing the learn button. Only MIDI knobs can be unassigned in this way - the Deluge’s own parameter knobs can only be unassigned by assigning them to something else.
As well as actual “parameters”, control can also be assigned to the “depth” of modulation between a modulation source and a parameter. Simply navigate to the value of a given patching “depth”, and then hold the learn button while turning either a parameter knob or connected MIDI knob. For instance, you could assign a knob to control the depth of patching between LFO1 and LPF frequency, to have easy access to the control of the resulting fluttering effect.
Saving sound presets
To save the synth or kit preset of the current track while in clip view or keyboard view, hold down the save button and press the synth or kit button respectively. This is not to be confused with saving the current song, for which you would simply press and release the save button alone, though the interface and function is similar. (You will be reminded that you are saving a synth or kit rather than a song by the synth or kit button blinking along with the save and back buttons.)
You can use the Deluge’s basic numbering system with letter suffixes, or you can choose to name your presets using the alphanumerical keyboard.
Pressing the save button while in the sound editor is another way to save the current preset.
As with saving songs, the slot-numbers which already have presets saved in them will have a dot drawn next to them, and you will have to option to save in a “sub-slot” with a letter suffix (e.g. 3A) if you have modified a preset.
Press the save button again to save your sound with the selected name / number and return to the view you were previously in.
Select a saved preset by simply turning the select knob while in synth / kit view.
If you’ve saved a lot of presets with lettered sub-slots or name-iterations and wish to skip past these when selecting a preset, simply hold down the shift button as you turn the select knob.
Loading sound presets
The simplest way to load a sound preset for a clip is to turn the select knob while in clip view, to navigate through existing presets.
If you wish to navigate more quickly to a particular preset however, there is the load preset interface, which you can enter by pressing load+synth or load+kit, to load a synth or a kit preset respectively. In this interface, much like that for loading songs, you may use the alphanumeric keybaord to type the name of the preset you wish to load.
“Cloning” sound presets, to add an additional instance
Each loaded sound preset may only have one clip active at a time. When a preset has an active clip, it won’t even show up as an option for another clip when navigating through presets in clip view, and if you try to load it in the load preset interface, the Deluge will display a “USED” error message, meaning the preset is used elsewhere.
To get around this, load the preset with the load preset interface, but long-press the load button after selecting the preset. The Deluge will offer you the option to “CLONe” the preset - loading it into memory as a separate copy, able to be used simultaneously to the existing one. Press the load button again to complete this.
Deleting sound presets
While in the load preset interface, you can press shift+save to delete a preset - the Deluge will prompt “DELE” on its display; press save again to perform the deletion, or the back button to cancel.
Sound editor for MIDI and CV clips
MIDI and CV clips have a more basic sound editor menu system. Both have an arpeggiator, which may be accessed either via the shortcuts or by entering the menu and going into the ARPE option.
MIDI clips have additional options for the outputting of PGM (program) change and bank select messages, for changing the active preset on an externally connected synthesizer. If you set any of these numbers for a MIDI clip, then anytime that clip is launched when another clip was previously active on that MIDI channel, or when the song is first loaded, the appropriate message(s) will be sent on the clip’s MIDI channel.
The menu options, and their associated MIDI messages, are:
- BANK - sent as a MIDI bank select message (CC 0)
- SUB - sent as a MIDI sub-bank (sometimes known as bank LSB) message (CC 32)
- PGM - sent as a MIDI PGM change message.
Audio and synth engine
Signal flow
Processing power and CPU management
The Deluge doesn’t enforce firm limits on how many tracks or voices may sound at once. It allows the user as many as they wish. However, inevitably, the Deluge’s CPU may become overloaded if too many voices or effects sound at once. Whenever this happens, the Deluge will switch off a synth or sample voice to lower its load. It will attempt to do this in the most subtle way possible, preferring to switch off voices which are “releasing”, and those which have been sounding for the longest time.
Unaffected sample voices are very light on the CPU - we’ve measured up to 110 sounding at once. For synth voices, the most simple ones are light enough to allow around 64 to play.
The Deluge’s analog-modeled oscillator types and drive filter consume a little more CPU than the other types, but not enormously more.
The things that consume the most CPU power are analog-simulated delay, time stretching, and pitch shifting (where pitch and time are treated independently - including live audio input). All other effects and synth features, though lighter, will add to the CPU’s load as well. Synths with unison switched on will multiply the amount of processing power that that synth consumes. Arpeggiation, too, can easily generate a lot of CPU-eating voices very rapidly, which can add up if polyphony is on (is set to POLY) and if the release time is long. Try changing these parameters if you notice voices cutting out on your song.
There is a slight CPU overhead for each sound present in the Deluge’s currently loaded song - even if it is not sounding at a given moment. This may begin to affect CPU performance if you have more than 50 to 100 sounds loaded. For this reason, you may wish to refrain from importing large folders of samples as kits where these are not in fact used. Multisampled instruments, however, count as just one sound regardless of how many separate samples they contain.
See sample interpolation / pitch for some additional notes on CPU usage.
Voice priority can be manually set for a sound too, to tell the Deluge which voices to consider (or not consider) dropping first - see the sound editor.
Sample interpolation / pitch
Whether or not actual “pitch shifting”, the process of treating pitch and speed independently, is applied, another process called interpolation is needed anytime a sample needs to be played back at a different pitch, or if its sample rate is different to the Deluge’s native 44.1kHz.
Since firmware V2.1, the Deluge utilizes 16-point windowed-sinc interpolation for high-quality sample pitch adjustment with minimal aliasing. If you prefer the more “bitcrushed” sound of linear interpolation, which was used prior to V2.1, see the INTErpolation setting in the sound editor.
Songs and presets created with pre-V2.1 firmware which include sample pitch adjustment will continue to default to linear interpolation, to keep your older projects sounding the same.
The 16-point windowed-sinc interpolation uses a little more CPU power than the lower-quality linear interpolation, but not very much more, thanks to the hardware acceleration features of the Deluge’s CPU. If the Deluge’s CPU becomes overloaded, it may revert to using linear interpolation in some cases. It is not recommended that you manually switch to linear interpolation purely for the purpose of saving CPU power - it won’t have this effect in all cases.
Time stretching and pitch shifting
Time-stretched samples have been mentioned in the clips section, and the available settings for time stretching and pitch shifting are listed in the sound editor section. However, a dedicated explanation of these features is warranted, as you may want to change the relevant settings, particularly if you are using your own samples with the Deluge.
By default, when you load a sample on the Deluge, its pitch and speed are linked. If you change it’s pitch up or down, the sample will become shorter or longer, respectively.
The first thing you might want to do is to manually make a sample shorter or longer without affecting its pitch. Adjust this by entering the “SPEED” parameter - either under “SAMPLE 1” in the shortcut grid, or under “OSC1” in the Sound editor’s menu. This feature is called time stretching.
Alternatively (or additionally), you may wish for a sample’s pitch and speed to be treated completely independently, so that adjusting the pitch will not affect speed. For this, enter the “PITCH / SPEED” shortcut for “SAMPLE 1”, or navigate to OSC1 -> PISP in the Sound editor. The default option is “LINKed”. It may be changed to “INDEpendent”.
Another thing you might want to do is have a sample time-stretched so that it plays in-sync with the Deluge’s current tempo. To do this, enter the “MODE” parameter - either under “SAMPLE 1” in the shortcut grid, or under “OSC1” in the Sound editor’s menu, and set the value to “STREtch”. Now, anytime you create a “note” of the sample, it will default to a long length (often 1 bar, 2 bars, or 4, etc…). When playing, the sample will be time-stretched to occupy the entire length of its “note”, at whatever tempo the Deluge is set to. The user may manually shorten or lengthen the “note”, too, to stretch the sample to a shorter or longer time.
In the previous step, setting sample MODE to “STREtch” automatically makes pitch and speed independent, so that the resulting time stretching does not affect the sample’s pitch, which most of the time is what the user would want. There is another option, however: by going back to the “PITCH / SPEED” or “PISP” parameter and setting it to “LINKed” again, pitch and speed are again linked, meaning that when the speed of the sample changes along with the Deluge’s tempo, its pitch also goes up or down, just like speeding up or slowing down a record.
Audio clip / loop recording with extra “margins”
A common problem when looping an audio recording is that unless the start and end of the waveform align perfectly, and particularly noticeably on low-frequency sounds, an audible click will result at the loop-point. The Deluge gets around this problem by doing a very short crossfade, beginning just before the loop-point on audio clips. Or if the audio clip is being time-stretched or pitch-shifted, a similar effect is applied in conjunction with that algorithm to maximise sound quality.
However this can only happen if the waveform extends slightly further back in time than the loop’s start-point - and ideally extends slightly further forward than its end-point too.
If the “margins” feature is enabled in the settings menu (as it is by default), then all audio clips recorded from external input sources (i.e. not MIX or OUTPut), will have these extra short “margins” of audio recorded. The Deluge will even retrieve a few milliseconds of audio data from a buffer in order to have the waveform extend further back in time than the point at which the user pressed the button to begin the recording.
This extra audio is simply written into the WAV file as part of the main waveform, along with tags indicating the intended actual start and end points - meaning that the file will be treated correctly if later loaded into another Deluge project. Other software / hardware may or may not know what to do with these tags; if you're intending to use your Deluge-recorded audio clips in other devices with maximum ease, you have the option of disabling the “margins” feature - but then of course the benefits described above would be lost.
The click-avoiding crossfade described above isn’t applicable when an audio clip is played for the first time though, with no previous iteration to crossfade from - so a click may occur at its very start if the waveform doesn’t have a zero-crossing right at that point. To help with this, audio clips have an attack setting which controls a short fade-in - defaulting to slightly on when margins are in use for a given recording, or off otherwise.
Live audio input
The Deluge’s audio input (either its line input, external microphone input, or internal microphone) may be utilised as a sound source, and all other features of the Deluge’s sound engine may be applied to it.
Any “synth”, or a sound within a “kit” in the Deluge may have either “oscillator” TYPE set to IN, in order to have it source its sound from the input. If you have a stereo source plugged into the line or microphone input, this option will expand to INL, INR, and INLR (left, right, and stereo channels, respectively).
To try this, the best way is to create a new, blank synth (press shift+synth), then enter the “TYPE” parameter for OSC 1 - either with its shortcut, or via the Sound editor’s menu. Select the IN or INL option, then play a note on the Deluge (i.e. hold down an audition pad - far-right), and speak into the Deluge’s microphone or otherwise send audio into the Deluge. You should hear the input sound echoed back out.
If the note that you play on the Deluge is a middle C (C3), the input sound will play back with its pitch unaffected. However, any deviation from middle C will shift the input sound’s pitch up or down a corresponding amount.
Audio thru
Audio input can be sent through the unit, i.e. monitored, without requiring a clip in song view. To do this, set up an audio track in arranger view (hold an empty audition pad and press the select knob) and set its input to thru by holding the learn button while pressing the audio track’s audition pad, and selecting an option which has a dot after it.
Wavetable synthesis (coming soon)
The V3.0 Deluge shortcut layout (printed on all Deluges since February 2019) contains shortcuts for wavetable synthesis. This is an upcoming feature which will be included in a future firmware update.
Sidechain compression
The Deluge includes a sidechain compression effect, designed to allow impactful drum sounds to trigger a temporary volume drop in other sounds to create that familiar “pumping” effect. There is one global sidechain “bus”, which sidechain-triggering sounds (typically kicks) send to. This “bus” is then received by separate sidechain compressors on any number of sounds, all of which may have their volume-ducking and attack and release parameters set individually.
In the supplied kits of drum sounds, the kick is set to trigger sidechain compression. When importing a sample of your own, the Deluge will attempt to guess whether it is a kick sample by checking whether the filename includes the characters “kick” or “bd”. If so, it will be set to “send” to the sidechain compression bus.
Sidechain amount for a given sound (how much that sound responds to the elsewhere-triggered sidechain compression) is accessible as one of the parameter knob functions.
Further sidechain compression parameters (attack and release times and shape, tempo syncing, and the “send amount”) are accessible via the sound editor.
The sidechain compression feature is not in fact a genuine audio compressor. It does not respond to the waveform of the sound triggering it - it simply follows an envelope based on the set attack and release times. For this reason, it only works “realistically” for short, sharp drum hits, like normal kicks.
Volume is not the only parameter that may be “ducked” via the sidechain compressor. It may be patched to control anything you like to create some interesting and unusual sounds. Try patching it to pitch or LPF frequency, for instance.
Reverb
The Deluge has just one customizable reverb “unit”, to which different sounds may send. This means that different sounds may have different reverb “amounts”, but other reverb parameters such as room size and dampening are global across all sounds. Any change you make to them will apply song-wide.
Reverb amount for a given sound is accessible as one of the parameter knob functions.
If using sidechain compression on a sound, it’s common to want that sound’s reverb trails to also have the same sidechain compression applied. However, with only one “global” reverb unit, and with different sounds having different sidechain compression parameters, how can this be achieved? By default, the sidechain compression parameters of the sound with the most reverb are also applied to the reverb itself. Usually, this results in a pleasing and as-expected sound. Alternatively, the reverb’s sidechain compression settings can be manually overridden in the sound editor if the user wishes.
Sample and RAM management
The Deluge streams audio samples directly off the SD card, meaning there is no practical limit on the amount of sample content that may be used per song, and the user does not have to wait for all sample data to be read when loading a song.
You may eject the SD card at any time, the only adverse effect being that if the Deluge is playing any sample, it may stop, and samples may not play correctly until the card is reinserted.
The Deluge has 64MB of working RAM, which is mostly available to hold the currently loaded song’s synths, parameters, and sequenced notes. It’s unlikely that the 64MB limit would ever be reached - this would be enough to hold over 2 million notes.
Waveform view
Waveform view allows you to view sample waveforms as a low-resolution graphic on the Deluge’s pads and visually edit a sound’s set start, end and loop points.
The view is entered via the zone start and end shortcuts for either of a sound’s “oscillators”.
You may scroll and zoom using the ◄► knob, in much the same way as in the Deluge’s other views.
You will notice the green and red vertical bars, representing the set start and end points respectively. One will be blinking by default, meaning it is selected for editing. Tapping any of these markers will change that selection.
For the marker that is selected for editing, you may move it by tapping where you want it to go, or turning the select knob.
Loop start and end points may be created (though not for audio clips), and may then be edited in the same way. To create a loop start point, hold down a pad on the regular start marker, and press a new pad to its right. To create a loop end point, hold down a pad on the regular end marker, and press a new pad to its left.
To delete a loop point, hold down a pad on its marker and then press a pad on the marker that’s further in the same direction.
CV, gate, and trigger clock
For interfacing with analog hardware, the Deluge includes 2 CV outputs, 4 gate outputs (which may also be set individually to output a trigger clock and / or “run” signal), and a trigger clock input.
CV and gate, to describe them briefly, are an analog means of transmitting monophonic note information between devices. They were common before the advent of MIDI, and are still used on some modern analog hardware, particularly that of modular or boutique varieties. CV (control voltage) represents pitch as an analog DC voltage, and gate (sometimes known as “trigger”) indicates whether the note is currently “on” or “off”. A CV-gate pair is commonly used together.
Disclaimer
Every effort has been made to research adequately the compatibility and safety of connecting the Deluge’s CV and gate outputs to as many varieties of other equipment as possible. However, due to the nonstandard nature of CV and gate and the limitless ways in which users may choose to use these signals, Synthstrom Audible takes no responsibility for any ill effect caused by your use of these outputs. It is up to the user to, for instance, verify whether a given connected piece of equipment will operate correctly and safely given the range of voltages that the Deluge may output.
In particular, if you intend to use one of the gate outputs as a trigger clock, see the warning about output voltage in the trigger clock section below.
CV / gate compatibility and settings
CV and gate are notoriously nonstandard. Different synthesizers expect to see pitch represented with voltage (CV) according to different standards, and their gate / trigger inputs may be either polarity.
The Deluge has been designed to support the widest range of CV / gate standards possible. A number of settings are available in the settings menu.
Each CV output may be set, in 0.01V increments, to any value between 0.01V and 2.00V per octave, or to “Hz per volt”. Analog synthesizer manufacturers typically adopt one of several standards here:
- Hz per volt - used by Yamaha and Korg (*)
- 1V per octave - used by Moog, Roland, ARP and Doepfer (*)
- 1.2V per octave - used by Buchla and EML (*)
- 0.32V per octave - used by EMS (*)
- 0.26V per octave - used on oscillator 3 of the EMS VCS3 (*)
And each gate output may be set to either of:
- V-trig - represents a note being on by outputting a positive voltage (12V or 5V selectable), and outputs 0V the rest of the time. Used by Roland, Sequential Circuits and ARP
- S-trig - represents a note being on by “shorting” out the output to ground. When the note is off, the the Deluge “pulls up” the output’s voltage to 12V or 5V (selectable) with a 10K resistor: this is not a strict part of the S-trig standard but many devices do this and it is believed to be fully compatible and safe (see disclaimer above), and is in fact necessary (*) for Yamaha synthesizers. S-trig is used by Yamaha, Korg and Moog
The Deluge’s gate output voltage may be switched between 5V and 12V via the small toggle switch located on the Deluge’s top panel by the gate outputs.
The Deluge’s CV outputs’ range is 0V to 10V.
Trigger clock
The Deluge has a “trigger clock” input, allowing it to play as a slave to hardware which outputs a clock signal containing any number of “pulses per quarter-note” (PPQN). It can accept any voltage between 3.3V and 12V. Clock steps are read on the rising edge of the pulses. A device which has a DIN SYNC output could have pin 3 of this connector routed to the tip of the Deluge’s trigger clock input. PPQN can be set, along with an auto-start setting, in the settings menu. For more information about having the Deluge play as a slave to an external clock source (which could also be a MIDI beat clock), see Tempo and syncing.
If you wish to use the Deluge as a syncing master to send a trigger clock signal to other devices, gate output 4 can be set to output a trigger clock signal, and / or gate 3 can be set to output a “run” signal (goes high while playback is occurring; low otherwise). These output assignments are accessible via the settings menu, as is the trigger clock output PPQN setting.
IMPORTANT: Many devices which receive a trigger clock signal, particularly those whose input is a DIN SYNC, aren’t happy to receive any more than 5V on these inputs.* If you wish to interface with such a device, you need to set the Deluge’s gate outputs to 5V rather than 12V. See the previous section for instructions on this.
Outputting CV / gate
To set a clip to output CV / gate, enter clip view for it and press the CV button. It will now be a CV track, as opposed to a synth, kit or MIDI track. Its notes’ pitch will be output as a voltage on whichever CV output channel you have selected (turn the select knob to change), and the gate output of the same number will convey whether a note is currently “on” or not.
The Deluge can also act as a MIDI-to-CV/gate converter. To do this, create a CV clip, and then “learn” a MIDI channel to it.
Gate outputs (including outputs 3 and 4) can be controlled independently of the CV outputs - see below.
Outputting MIDI or gate in a kit
As well as audio sounds, rows in a kit may be set to output on a set MIDI note or gate channel. This makes it convenient to sequence MIDI notes together which might be far apart or even on different channels, and also gives access to gate channels 3 and 4, which don’t have a corresponding CV output.
In clip view, for a clip with a kit, holding down a row’s audition pad and pressing either the MIDI or CV button will set that row to output MIDI or gate respectively.
Once that is set, holding down the row’s audition pad will show the output’s info on the numeric display. For gate outputs, this will show as "GAT1" through "GAT4". For MIDI outputs, two numbers will display with a dot between them. The first is the channel, and the second is the note. Turning the two gold knobs (while still holding the audition pad) will change the channel and note respectively for that row.
Gate outputs 3 and 4 will not output notes if their mode is set to either RUN or CLOCk - see the settings menu for instructions on setting gate outputs’ modes.
Controlling and sequencing MIDI CC, pitch bend and channel aftertouch
MIDI CC, pitch bend and channel aftertouch messages can be output from MIDI clips on the Deluge, to control continuous parameters on externally connected equipment. We will refer to these broadly as MIDI parameters.
For instance, you may have the Deluge outputting a melody via MIDI to an external synthesizer, which may also have parameters such as LPF frequency controllable by MIDI CC messages, allowing this parameter to be controlled by the Deluge.
MIDI parameter control and sequencing works much the same on the Deluge as dealing with internal parameters - with the gold parameter knobs. However, some setting up is required.
First, create a MIDI clip and set it to the channel that you wish to output on. Ensure that your external synthesizer is connected, and maybe check that it can receive note messages from the Deluge.
Next, we’ll assign one of the gold parameter knobs to a MIDI parameter. Press down on one of the parameter knobs. The word “NONE” will blink on the Deluge’s text display, indicating that no assignment exists yet. While holding down that parameter knob, turning the select knob will cycle through the available CC numbers - CC0 all the way up to CC119, and beyond that, the options “BEND” and “AFTErtouch”. MIDI parameter names which already contain some automation will display with a dot next to them.
The parameter knob is now assigned to the MIDI parameter. Now, turning it will control the associated parameter on your external synthesizer, by way of MIDI CC messages, or pitch bend or channel aftertouch messages in those cases. You’ll need to know what CC number controls which parameter on your external synthesizer - check its manual. Standardly, CC1 overrides a synth’s mod wheel, so should at least control something.
Just like with internal sound parameters, the parameter knobs for MIDI clips in fact may be toggled between eight different functions (i.e. MIDI parameters) with the parameter function (amber) buttons. Press a different one of these to switch to that “function”, and assign a fresh pair of MIDI parameters to the parameter knobs for that function. You’ll notice, of course, that the different parameter function buttons have labels such as “VOLUME / PAN”, etc. You are not required to necessarily set the corresponding control numbers to control the exact parameters of these descriptions on your external synthesizer, although you may choose to.
MIDI parameters may be automated in the same way as for synth clips - either by recording parameter knob movement or by manually setting values per step.
When recording to a MIDI clip from an incoming MIDI channel, any CC, pitch bend and channel aftertouch messages will also be recorded as automation for those parameters on the clip. This will happen even when the gold parameter knobs are not assigned to that particular MIDI parameter - the automation will still be recorded and exist. As mentioned above, MIDI parameters containing automation will display their name with a dot next to them when assigning a parameter knob’s MIDI parameter - so it will be easy to see where automation exists.
Assigning a new MIDI parameter to a parameter knob does not move the knob’s automation over to the new MIDI parameter. If you do want to do this, it can be done by holding down the select knob while turning it (while also holding down the parameter knob in question). In this case, MIDI parameters already containing automation (on any track set to the same MIDI channel) are skipped - you can’t overwrite existing automation this way.
Tempo and syncing
Setting tempo
Tempo may be set by turning the tempo knob. When the knob is turned, the tempo in BPM (beats per minute) is displayed on the text display. You can also press down on the knob to display the current BPM. Turning the knob changes the tempo in standard metronome increments. To change by 1 BPM increments instead, hold down the tempo knob while turning it.
Tempo may also be set with the “tap tempo” button. Simply tap this button at least twice (more will give greater accuracy) at the speed at which you want your quarter-notes to play.
Swing
The Deluge supports swing rhythms, and you can dial in the exact amount of swing that you want. Holding down the shift button and turning the tempo knob adjusts the amount of swing as a percentage between 1 and 99. 50 means no swing. Values greater than 50 cause every second 16th-note (by default) to be swung late, while values less than 50 swing them early.
The swing “interval” is 16th-notes by default, but there is an editable setting for this - see the Settings menu.
Syncing
The Deluge can be synchronised with other music equipment or software by sending or receiving a MIDI beat clock (via either hardware or USB MIDI) or a trigger clock signal.
The Deluge will begin playing as a slave as soon as it begins to receive a MIDI beat clock or trigger clock (if trigger clock auto-start is enabled - see the Settings menu). While playing as a slave, the tempo cannot be changed, as this is determined by the master device (the device sending the MIDI beat clock).
By default, the Deluge itself outputs a MIDI beat clock on both its hardware MIDI output and USB port whenever it is playing (except when it is playing as a slave). This means that any other connected equipment or software may be configured to play as a slave, treating the Deluge as a master. See the Settings menu for instructions on turning this off if you wish.
If your Deluge somehow ends up out of sync with your other device(s) while playing, you can “nudge” the sync forward or backward in time. To do this, hold down the ◄► knob and turn the tempo knob. One “click” of the tempo knob corresponds to one MIDI “clock” message, which is one 96th-note. The Deluge will blink the word “NUDGe” to indicate that the action has been performed. If the Deluge is the syncing slave, then it is its timing that will be nudged in either direction relative to the syncing master. Or, if the Deluge is the syncing master, then it will adjust the MIDI beat clock that it is sending so that it is the syncing slave’s time which is nudged relative to the Deluge’s.
The Deluge is also capable of outputting a trigger clock signal - see CV, gate and trigger clock for instructions.
Tempo magnitude matching
When playing as a slave via MIDI beat clock (but not via trigger clock), if the incoming clock is around half or around double the tempo that the user had previously set the song to, then the Deluge will accordingly multiply or divide the tempo of the incoming clock so that the tempo at which the song on the Deluge plays is as close as possible to the tempo that the user had it set to.
This is useful in a couple of scenarios:
- Perhaps the user doesn’t understand, or doesn’t like to think in terms of, the labelling of time divisions (8th-notes, 16th-notes, etc.) and nonetheless wants to sync the Deluge as a slave without worrying about whether their song will play at the intended tempo rather than twice as fast or half as fast, etc.
- Some loop pedals (though it is a rare feature) have the ability to act as a syncing master by outputting a MIDI beat clock whose exact tempo is determined on the fly according to the length of the loop that the user creates. The user may wish, for example, to record a guitar loop with their loop pedal (with no kind of metronome or anything determining the tempo in advance), and then have the Deluge play a drum beat along to it, perfectly in sync. With a compatible loop pedal, this works. However, the loop pedal would not necessarily know the difference, say, between a loop that the user intended to be at 160bpm, and one intended to be at 80bpm (160 being double 80), and may pick the wrong option. The Deluge, knowing what tempo to approximately expect, can automatically correct the incoming MIDI beat clock if it is around double or half the tempo expected, making it a certainty that the Deluge will begin playback at somewhere near the expected tempo.
If you wish to deactivate tempo magnitude matching, instructions can be found in the chapter on the Settings menu.
If the Deluge got it wrong and you find your song playing too fast or too slow relative to the syncing master, then the relative speed of the Deluge can be manually halved or doubled by holding down the learn button and turning the tempo knob anti-clockwise or clockwise, respectively.
And for further flexibility, if the Deluge is the syncing master and some other piece of hardware or software is playing as a slave to it, and you find that the slave is playing at half or double the speed you would have liked relative to the Deluge, the speed of the MIDI beat clock or trigger clock that the Deluge outputs can be changed by holding down the MIDI learn button and turning the tempo knob.
Sync-scaling
For users syncing the Deluge as a slave and wanting to make use of unusual time signatures, sync-scaling is a fun feature. A clip of an unusual time signature may be created by setting its length to an unusual number of beats - e.g. seven 8th-notes. Using sync-scaling, the Deluge, when synced as a slave, can make those seven 8th-notes take up the same amount of time that the incoming MIDI beat clock says that eight 8th-notes are meant to take up.
There are a couple of applications for this:
- The user may wish to create polyrhythms by e.g. having an external device (the syncing master) playing a sequence in 4:4 timing, while the Deluge (the slave) squeezes 7 notes into a bar instead of 8.
- As mentioned above, some loop pedals may act as a syncing master. However, they are likely to assume that any loop created (e.g. with a guitar) is in 4:4 timing. If the user had in fact played a guitar loop in 7:8 timing, the loop pedal would still be outputting a 4:4 MIDI beat clock - dividing the entire loop into, say, fours rather than sevens. The solution is to tell the Deluge to scale the incoming 4:4 MIDI beat clock into a 7:8 one, so that a 7:8 sequence created on the Deluge would play perfectly synced to the 7:8 guitar loop, despite the incorrect 4:4 MIDI beat clock passing between the two devices.
Sync-scaling is tied to the length of one clip in a song, and tells the Deluge that that clip’s length should be squeezed into 1 bar of incoming MIDI beat clock (or 2 bars, or 4 or 8 bars, depending on how long the clip is; the Deluge will use whatever magnitude of sync-scaling causes the smallest change in tempo).
To enable sync-scaling, enter clip view for the clip that you wish to tie sync-scaling to. Press the sync-scaling button to set this clip as the sync-scaling clip. The button will blink continuously, indicating that this is the sync-scaling clip. If you leave clip view for this clip, the button will remain illuminated, but will cease to blink, indicating that sync-scaling is active, but not for this clip. Sync-scaling may be switched off at any time by pressing the sync-scaling button.
Even while the Deluge is playing synced as a slave, sync-scaling may be switched on or off, and the sync-scaling clip may have its length changed. Despite any such changes, the Deluge will keep the sync-scaling clip playing in time to the syncing master. It will also attempt to keep all other clips in time; this works best if the other clips are of the same time signature as the sync-scaling clip (that is, their lengths are the same, or half our double, or 4 times shorter or longer, etc.)
MIDI control of functions and sounds
Many functions on the Deluge can be controlled externally via MIDI commands. Common applications of this are:
- Using a MIDI footswitch to control functions such as stopping or launching a clip, or stopping or starting playback, by sending in particular a MIDI note / channel combination.
- Using an external MIDI keyboard to control (play through) one of the Deluge’s synths or kits live, or to record notes into a sequence.
- Using an external controller with knobs or faders to control parameters of one of the Deluge’s synths or kits, or things like volume (covered separately).
Some MIDI commands are song-specific. With them, you can:
- Launch a given clip or section
- Mute / unmute a row belonging to a clip in clip view
- Play one sound in a kit clip
- Play a synth belonging to a clip. For this, an entire MIDI channel is assigned, rather than just one note in that channel. This allows the synth to be played with a MIDI keyboard. The same function is available for MIDI and CV clips.
Other MIDI commands are “global” - controlling core Deluge features like playback and recording. Of these, some can only be set via the settings menu, but those functions with a dedicated button may be set up more intuitively, as described in this section. These are:
- Play
- Record
- Tap tempo
- Restart
- Loop record
- Undo
- Redo
The process for assigning an external control (the type which will send a MIDI note-on) to a function for which you can see a button / pad is as follows:
- Ensure that your MIDI controller device is appropriately connected to the Deluge - either by physically connecting its MIDI output to the Deluge’s hardware MIDI input, or by using software to route the MIDI to the Deluge via its USB connection, or by having the Deluge host a USB MIDI controller.
- Hold down the learn button on the Deluge, and then also hold down the button or pad on the Deluge for the function that you wish to assign MIDI control to - for instance, a “launch” pad (second from right; green or red) belonging to a clip in song view. The button / pad will begin to blink, indicating that you have the option to assign MIDI control to it.
- While holding these two buttons / pads on the Deluge, press the button or key on your MIDI controller that you wish to assign to this function on the Deluge. The button / pad that you are holding on the Deluge should begin blinking pink to indicate that MIDI control is assigned. (In the case of non-pad buttons, they are not capable of flashing pink, but see the next step to verify that MIDI control is correctly assigned to a given button.)
Now that MIDI control is assigned, anytime that you hold down the learn button, whatever buttons or pads that MIDI control is assigned to will blink pink - or just blink their normal colour in the case of non-pad buttons. To un-assign MIDI control from a button or pad, just press it while holding down the “MIDI learn” button.
And, you can now use the button or key on your MIDI controller to enact whatever function you assigned it to on the Deluge.
An individual sound within a kit clip may be set to be played via a MIDI controller (e.g. a keyboard) by assigning an individual key or button on the MIDI controller to that sound (i.e. row)’s audition pad.
Setting up a MIDI keyboard to play a synth clip the way one would normally play a keyboard, i.e. with each key corresponding to a different note, is a similar process: while in clip view for the track, hold down the learn button, then hold down any audition pad, and then press any key on the MIDI keyboard.
This same process can be used on a CV clip to cause incoming MIDI to control a CV / gate output, effectively turning the Deluge into a MIDI-to-CV/gate converter.
Song-specific MIDI commands are saved along with the song. Global ones, once set, remain the same no matter what song you are working on.
MIDI controllers with knobs that send CC messages can also be set up to control synth and sound parameters in the Deluge.
Settings menu
A number of settings are controllable from the settings menu, which is navigated in the same way as the sound editor - refer to its chapter for instructions on menu navigation. To enter the settings menu from any of the Deluge’s main views, hold down the shift button and press down on the select knob.
This is the structure of the settings menu and its submenus:
- CV
- OUT1 and OUT2
- VOLTs per octave - can be set anywhere from 0.01 to 2.00, or to HZPV (Hz per volt)
- TRANspose - pitch adjustment in semitones, with cent adjustment
- GATE
- OUT1 to OUT4 - sets the gate output as either VTRIg or STRIg. Outputs 3 and 4 each have an additional special option of RUN and CLOCk respectively. See the chapter on CV / gate for more details
- OFFTime - the minimum amount of time, in milliseconds, that a gate output will switch off between consecutive notes. Most analog synthesizers with a gate or trigger input should be happy with the minimum, 0.1, but some may require a higher value
- TCLO (trigger clock)
- INput
- PPQN - pulses per quarter-note
- AUTO-start - whether the presence or absence of a trigger clock signal should start and stop playback automatically
- OUTput
- PPQN - pulses per quarter-note
- MIDI
- CLOCk
- IN (MIDI beat clock input) - ON or OFF
- OUT (MIDI beat clock output) - ON or OFF
- MAGN (tempo magnitude matching) - ON or OFF
- THRU - MIDI thru, ON or OFF
- CMD - global MIDI commands - see special instructions
- PLAY / stop playback
- RESTart playback, if already playing
- RECord
- TAP tempo
- UNDO
- REDO
- LOOP - see MIDI control of looping
- LAYEr - same as LOOP, but overdubs created are continuous-layering
- DEFAults - these let you set the default features applied to a new, blank song when it is created - for instance when the Deluge is first powered on. All except SCALe (which has its own RANDom option) allow you to set a range within which a value will be picked at random. To set this, turn the ◄► to edit the minimum and maximum values
- TEMPo
- SWINg
- KEY
- SCALe
- SWINg interval - sets the timing interval to which swing may be applied. By default this is set to 16th-notes. Unlike all of the other settings menu settings, this is specific to a song and is saved with it. Loading a song recalls its swing interval setting, and creating a new song reverts to the default
- PADS- sets the shortcut and alpha-numerical keyboard layouts
- SHORtcuts - 1.0 (old convention) or 3.0
- KEYBoard - QWERTY, AZERTY, or QWRTZ
- CURSor - controls the appearance of the play-cursor - FAST (short and sharp blinks), SLOW (solid white squares), or OFF
- PREViewing - controls whether audio samples will automatically be previewed audibly (played) when browsing them in the file browser. Options are: ON, OFF, and CONDitional (meaning only if playback not active)
- RECOrd - these let you set the default features applied to a new, blank song when it is created - for instance when the Deluge is first powered on. All except SCALe (which has its own RANDom option) allow you to set a range within which a value will be picked at random. To set this, turn the ◄► to edit the minimum and maximum values
- COUNt in - turns record count-in ON or OFF
- QUANtization - the level at which recorded notes are quantized. May be set to an interval such as 16-notes, or set to OFF (which will in fact quantize to 192nd-notes)
- MARGins - turns ON or OFF the Deluge’s “margins” feature, which helps avoid a click at the loop-point of recorded audio clips
- MONItoring - sets the monitoring mode for recording samples: ON, OFF, or CONDitional
- FIRMware - not a “setting” per se, but will tell you the firmware’s version number
Global MIDI commands
The MIDI -> CMD menu contains an item for each of several global functions which may be learned to a MIDI note / channel combination. Some of these (those functions with a dedicated button, such as “PLAY” may also be set in the more intuitive way described above.
When you enter one of these menu items, the learn button will begin blinking, indicating that it may be used. The Deluge’s text display will show the word “NONE” by default, indicating that no MIDI note / channel combination is currently assigned to the command.
Ensure that your MIDI controller device is appropriately connected to the Deluge - either by physically connecting its MIDI output to the Deluge’s hardware MIDI input, or by using software to route the MIDI to the Deluge via its USB connection. Then, hold down the learn button and press the button or key on your MIDI controller that you wish to assign to this function on the Deluge. The text display will now show the word “SET” - indicating that the command is set.
To unset the command, simply turn the select knob, or set a different one.
Factory reset
Almost all of the settings menu settings are stored in the Deluge’s internal memory, as opposed to the SD card. To restore the Deluge’s default factory settings, switch it on while holding down on the select knob. The numeric display will briefly blink “RESE”, indicating that the reset has been performed.
If you wish to restore the contents of your SD card to their factory state, these contents are available to download from our website.
Hardware connections
USB
The Deluge’s USB type B connector allows it to connect to your computer as a USB MIDI device, for use in any software that supports MIDI. The Deluge may also be powered by its USB connection - either from a computer, or from a phone charger with an appropriate cable. The Deluge may draw up to 500mA from its power source.
USB host mode for MIDI devices
The USB connection can also be used to host USB MIDI devices. In order to use this feature, you must power your Deluge via its DC power socket (see below; centre-negative) - the feature is not available when running the Deluge on its battery.
The Deluge is able to deliver a little bit of power to connected devices, but this is very limited. More basic controllers without too many LEDs should work in many cases, but bigger controllers with advanced features may not. If your MIDI controller has the option to provide it with power externally, that will enable it to work in most cases.
In order to make use of this feature, you must have the USB MIDI controller connected before switching the Deluge on. Once USB host mode as been thus activated, you may disconnect and reconnect the device, but you won't be able to successfully connect your Deluge to a computer until you reboot.
Some USB MIDI devices in fact present themselves to their host as a “hub” - not just a MIDI device. Unfortunately, the Deluge does not yet support such devices, though support is expected in a future firmware update. If such a device is detected, the Deluge will blink “HUB”, so you’ll know that this is the reason it won’t work. Or, it will blink “MIDI” for a working MIDI device, or “UNKNown” for anything other unsupported device. If your device doesn’t work and you get no error message, it may be a power issue - see above.
Currently, hosted MIDI USB devices are supported for MIDI input only - not output. This is expected to change in a future firmware update.
DC power socket (9 - 12V)
The Deluge may be powered by any 2.1mm pin centre-negative 9 - 12V DC power supply which can provide at least 500mA. It can share a power supply (e.g. using a daisy-chain) with other units or pedals if the power supply can provide adequate current; the Deluge contains circuitry to minimise ground loop noise in such a setup, although some noise may still be introduced. DC and USB power may be connected simultaneously, in which case the Deluge will draw its power from the DC power supply rather than USB.
We wish to re-iterate that the 9 - 12V DC power supply must be centre-negative, not centre-positive. Using the incorrect power supply may cause damage to the Deluge.
Battery
The Deluge has an internal Li-ion battery, providing 6+ hours of life. The battery charges anytime a power source is connected to the USB or DC power socket, regardless of whether the Deluge is switched on. The battery status LED illuminates yellow for charging, green for charge-complete, or red for low-battery.
The Deluge’s battery is an “18650” 3.7V Li-ion, and may be replaced by the user. These batteries are readily available from stores everywhere. A “protected” or “unprotected” type may be used. A battery of any mAh rating may be used - higher mAh ratings simply mean longer battery life.
Please note that your Deluge will be shipped with very little charge in the battery. You will need to plug it into a power source to use it and begin charging the battery.
SD card slot
The Deluge uses SD (or SDHC) card storage to load and record audio samples, store presets and save songs. A card of up to 32GB may be used, as it needs to be FAT32 format.
The Deluge’s firmware may also be updated via an SD card. Synthstrom Audible will occasionally distribute firmware updates in the form of a .bin file. Simply place one of these files in the top-level directory of your SD card (also remove any other .bin file you put there previously), insert the card into the Deluge, and then hold down the shift button while powering on the Deluge. The Deluge will display the text “UPDA”, followed by a spinning animation which may last up to half a minute or so. The Deluge will then display the text “DONE”, before booting up on the new firmware, which will now be permanently installed.
There is no risk of damaging your Deluge even if power is lost during a firmware update. You will still be able to perform the process again by repeating the above steps.
L / MONO and R outputs
The Deluge’s main audio outputs are two quasi-balanced (that is, resistor-balanced but not differential) 1/4" connectors. They will of course work with non-balanced cables too. For best noise rejection, use balanced cables when connecting the Deluge’s outputs to a balanced / differential inputs. Output impedance: 47 ohms.
If only the “L / MONO” output has a cable inserted, but not the “R” output or headphone output, the Deluge will detect this and output all sound in mono: all panning and ping-pong delay will be deactivated, and stereo samples will be condensed to mono. This allows you to work on your music on a stereo setup, but not necessarily need to change anything if you are faced with a mono setup.
Headphone output
This can drive headphones, or can be used to connect other equipment with a 3.5mm connector - perhaps computer speakers or a car stereo.
Line input
For recording from another device’s line output. This is a ¼” TRS connector, which may accept a single-ended / unbalanced signal, a differential / balanced signal, or a stereo signal (this mode is automatically detected). Input impedance: 4k.
Mic input
For recording with an external microphone with a 3.5mm jack. Gain is set via the “mic gain” switch, which also affects the internal microphone. Stereo and mono microphones are supported (and automatically detected). 4.5V plug-in power is supplied on the tip and ring of the connector, each through a 3.9k resistor.
CV, gate, and trigger clock (“CLK IN”) connectors
These all have the signal on their “tip”, ground on their “sleeve”, and their “ring” connected to ground via a 10k resistor. See further details.
MIDI implementation chart
Message type | Transmitted | Recognised |
Velocity
| YES NO | YES NO |
Aftertouch / pressure
| NO YES | YES YES |
Pitch bend | YES | YES |
CC, general | YES (Where numbers assigned by user - see MIDI CC control and sequencing) | YES (Parameter must be “learned” by user - see Assigning knobs to parameters) |
Bank select
| YES YES | NO NO |
PGM change | YES | NO |
Channel mode
| NO NO NO NO | NO NO NO YES |
System common
| NO NO YES NO NO | NO NO YES NO NO |
System real-time
| YES* YES* YES* YES* NO NO | YES YES YES YES NO NO |
* Only if MIDI clock output is enabled. See the settings menu.
SYNTH PRESETS 2.1
0 | Rich saw bass | 28 | PWM | 56 | FM bell modulation 10 |
1 | Sync bass | 29 | Chiptune trill 5 | 57 | FM lead |
2 | Basic square bass | 30 | Distant porta 6 | 58 | FM rising attack |
3 | Synthwave bass 1 | 31 | Nasal choir | 59 | Distorted lead guitar |
4 | Dubby bass | 32 | Bandpass choir | 60 | Bass guitar |
5 | Sweet mono bass 1 | 33 | Rich square | 61 | Blown / staccato / panpipes 1 |
6 | Vaporwave bass | 34 | Square choir 7 | 62 | Trumpet |
7 | Detuned saw bass | 35 | Bell lead & bass 3 | 63 | Tuba |
8 | FM rich distorted bass | 36 | Analog ambient square 1 | 64 | Reeds / flute / oboe 1 |
9 | Hoover bass | 37 | Echo chord 8 | 65 | Cello |
10 | Gravel basscamp 2 | 38 | Vapor arp 9 | 66 | Violin |
11 | Dubstep bass 3 | 39 | Detuned retriggering saws | 67 | Marimba |
12 | Blunt sync bass | 40 | Spacer leader 2 | 68 | FM bells 1 |
13 | Trap bass 1 | 41 | Zithar - vibed 1 | 69 | FM bells 2 |
14 | Trap bass 2 4 | 42 | High triangle | 70 | Glockenspiel |
15 | Resonant filter bass | 43 | Square porta | 71 | Rhodes |
16 | Dark saturated bass 1 | 44 | 8-bit lead | 72 | Kyoto phono 2 |
17 | Impact saw lead | 45 | Square sync | 73 | Piano |
18 | Rich saw lead | 46 | Saw sync | 74 | Electric piano |
19 | Fizzy strings 1 | 47 | Basic dirty bass | 75 | Electric piano with strings |
20 | Soft saw lead | 48 | Thin pulse bass | 76 | Organ |
21 | 80s TV lead | 49 | Basic FM | 77 | FM perc / organ 11 |
22 | Rich filter LFO lead | 50 | FM basic bass | 78 | House 1 |
23 | Analog mono wow 1 | 51 | FM rich brass | 79 | Phased arper 8 |
24 | Warble bass pluck 1 | 52 | Soft FM | 80 | House 2 |
25 | Soft synth organ | 53 | Detuned FM horns 3 | 81 | Xylophone big bass 3 |
26 | PW organ | 54 | Ghostly sines 6 | 82 | Short sharp delay |
27 | PW envelope | 55 | FM theremin 6 | 83 | Dark chorus |
84 | FM narrow band | 113 | Bio lab 16 | 142 | Phaser |
85 | Deep fizz 12 | 114 | Sootheerio 12 | 143 | Chillout pad 19 |
86 | Techno organ 13 | 115 | Sounds after take-off 17 | 144 | Sweep chords 11 |
87 | Define leader 2 | 116 | Evolving frequencies 17 | 145 | Eerie high pad |
88 | Yelp chords 11 | 117 | Belledy 12 | 146 | Atmospheric squares pad 15 |
89 | Degraded retro lead 8 | 118 | Small bridge pad 2 | 147 | Resonant filter pad 15 |
90 | FM organ | 119 | Stars of the bin pad 8 | 148 | Warm 5th pad |
91 | FM ricochet | 120 | High harsh pad 1 | 149 | Cold 5th pad 10 |
92 | Degraded tremolo | 121 | Tiny lights 18 | 150 | Vaporwave pad 8 |
93 | FM distorted bells | 122 | Majestic synth orchestra 16 | 151 | Radiant FM pad |
94 | Ambient occlusion lead 8 | 123 | Space dust | 152 | Small jet pad 2 |
95 | Harsh FM feedback | 124 | Filter modulation pad | 153 | FM modulation pad 19 |
96 | FM guitar power chord | 125 | Evolving pad 3 | 154 | Rich FM pad 1 |
97 | Saturated filter | 126 | Dark FM pad | 155 | Rich FM pad 2 |
98 | Saturated sync | 127 | Alien larvae | 156 | Rich FM pad 3 |
99 | Overdrive reese sync 13 | 128 | Lunar landing 15 | 157 | Rich FM pad 4 |
100 | Noise lead 11 | 129 | Sci-fi scenic 15 | 158 | Tempo-synced LFO |
101 | Atebit 12 | 130 | Dark strings 3 | 159 | 80s bass rhythm 5 |
102 | Harsh 5th | 131 | Warm strings | 160 | Synthwave bass arp 1 |
103 | Sci-fi chaos 2 | 132 | Organ strings | 161 | Synthwave vibrato arp 1 |
104 | Alien vomit | 133 | 80s strings 3 | 162 | Busy arp 1 |
105 | Attack bass 13 | 134 | Melody string 19 | 163 | Crisp pop arp 1 |
106 | Hang drum 1 | 135 | Soothing growth pad 5 | 164 | Study arp 2 |
107 | FM LPG percussion 14 | 136 | Synthwave pad 1 | 165 | Acid arp |
108 | Robo arp 1 | 137 | Epic saw modulation pad 1 | 166 | Harpsichord cyborg 16 |
109 | Talking arp 1 | 138 | Brassy pad | 167 | FM metallic bass arp 13 |
110 | Crystalline ringmod 15 | 139 | Detuned saw pad | 168 | Hang drum 20 |
111 | Satellite drum 16 | 140 | Slow aural swells 17 | 169 | Double bass 20 |
112 | Hard tech beat 16 | 141 | Ringmod pad | 170 | Sitar 21 |
- Marcel Bellve, tinyurl.com/y73dozlt
- NJM, soundcloud.com/staysun
- Guilherme Gomes, ohdeo.com
- Steve Swisher, youtube.com/steveswisher
- Stephen Scofield
- Luke Rowell, disasteradio.org
- Ron Cavagnaro, youtube.com/channel/UCAuuJw6Au8-k1WDIqmvmnSA
- Jeremy Blake (Red Means Recording), youtube.com/jjbbllkk
- Joey Esposito - Moralz, soundcloud.com/moralz
- Travis Hampton, youtube.com/channel/UCltwiftFumcCro94jT5YA4Q
- Matt Bairstow, soundcloud.com/tactile-af
- Jani Hakala, soundcloud.com/moobius
- Pawel Czubak, soundcloud.com/dj-spoyler
- Neil Baldwin, marmotaudio.co.uk
- Brad Antone
- Franz Keller, youtube.com/VJFranzK
- Daniel Stern
- Michael Bath, soundcloud.com/workergray
- Ron Rapprich, soundcloud.com/ron-rapprich
- Leonard Ludvigsen aka Icoustik
- Michael Bulaw
Thanks to those in our amazing community of users who generously donated synth presets for our official collection.
KITS
0 | TR-808 |
1 | DDD-1 |
2 | SDS-5 |
3 | TR-909 |
4 | R-50 |
5 | R-100 |
6 | LD |
7 | HR-16B |
8 | SCDT |
9 | RX-5 |
10 | XV-5080 |
11 | KR-55 |
12 | HR-II |
13 | AT Rhythm |
14 | CR-78 |
ARTIST PACKS
15 | Andrew Stirton (Frugal) |
16 | Electronisounds |
17 | Electronisounds |
18 | Electronisounds |
19 | Fairburg |
20 | Leonard Ludvigsen |
21 | «hodeur» |
22 | «hodeur» |
23 | «hodeur» |
24 | James R Closs |
25 | James R Closs |
26 | amiga909 |
27 | Reciprocal Sound |
28 | Danny Taurus |
29 | Danny Taurus |
30 | Chaz Bundick |
31 | Reuben Winter |
32 | Kody Nielson |
33 | Alfred Darlington |
34 | Travis Egedy |
35 | Sjionel Timu |
36 | Stefanie Franciotti |
37 | Stephanie Engelbrecht |
38 | Jonathan Snipes (FX) |
39 | Campbell Kneale |
40 | John Atkinson |
41 | Jonathan Snipes (Waterfalls) |
42 | Phil Elverum |
Andrew Stirton (Frugal), soundcloud.com/frugaltunes
Fairburg, fairburg.bandcamp.com
Electronisounds http://electronisounds.com
Leonard Ludvigsen aka Icoustik
«hodeur» https://soundcloud.com/hodeur
James R Closs, http://redmeatrecords.uk
Amiga909, https://mixcloud.com/roman_hats/
Reciprocal Sound, https://reciprocalsound.com/
Danny Taurus, https://meatbeats.com
Popular commands - quick reference
All Views | |
Adjust brightness | Shift + Learn + turn ▼▲ knob |
Current zoom level | Push ◄► knob, turn to change zoom level |
Scroll left-right | Turn ◄► knob |
Scroll up-down | Turn ▼▲knob |
Metronome | Shift + Tap Tempo |
Load song (with saved tempo) | Load, turn Select knob, Load |
Load song (with current tempo) | Load, turn Select knob, push Tempo knob + Load |
Delay load | After pressing Load, turn Select knob |
Delete song | Shift + Save |
New song | Shift + Load, Load |
Resample | Shift + Record |
Loop resample | Record + Play, Record + Play |
Tempo 1 BPM increments | Push and turn Tempo knob |
Swing amount | Shift + turn Tempo knob |
Nudge clock | Push ◄► knob + turn Tempo knob |
Settings menu | Shift + push Select knob |
Undo | Back |
Redo | Shift + Back |
Parameter knob push functions | |
LP, HP, EQ | P2 LED on, push URPK |
LPF slope | P2 LED on, push LLPK |
Ping-pong on/off | P4 LED on, push URPK |
Delay style: digital/analog | P4 LED on, push LLPK |
Compressor sync: 32nd/8th | P5 LED on, push URPK |
Reverb room size | P5 LED on, push LLPK |
Effect song or kit: chorus, flanger, or phaser | P6 + Affect Entire LED on, push URPK |
Effect song or kit: depth, offset, feedback | P6 + Affect Entire LED on, push LLPK |
Stutter | P7 LED on, push URPK (push + turn to ramp speed) |
Song View | |
Clip Parameter adjust | Hold Grid pad of clip + turn Parameter knob |
Change section assignment/colour | Shift + Section pad |
Section repeats/share status | Push Section pad + turn Select knob |
Move row | Hold Grid pad of clip to move + turn ▼▲ knob |
Clone clip | Hold Grid pad of master clip + tap pad of another row |
Solo section | Double-tap Section pad |
Instant mute/launch | Shift + Mute pad |
Solo clip (arm) | Hold down ◄► knob + press clip's Launch Pad |
Solo clip (immediate) | Hold down ◄► knob + Shift + press clip's Launch Pad |
Un-solo | Press clip's Launch pad |
Delete clip | Hold Grid pad on clip to delete + press Save/Delete |
Drag clip-instance to arranger | Hold Grid pad + press Song + turn ◄► knob + release Grid pad |
Record to Arranger | Hold Record + press Song |
Song View (audio clips and looping) | |
Create audio clip | Hold grid pad of (empty) clip + press Select knob |
Set input source for audio clip | Hold Learn + press clip |
Set record-armed status for clips | Hold Record; see Launch pads |
Loop record | Be in Record mode, press Play, with armed, empty clip(s) present |
Close loop recording | Press Launch pad of recording clip |
Close loop + immediate solo | Hold ◄► while pressing Launch pad to close loop - this is especially useful for MIX/OUTP loops |
Loop record during playback | While in Record mode, unmute armed, empty clip |
Overdub | Hold Record + press clip row underneath |
Continuous layering-overdub | Hold Record + press Audition pad of row underneath |
Tempo-detecting "loop pedal" record | Record loop while no other clip is playing/unmuted and metronome is off |
Grab tempo from audio clip | Hold Tempo knob + press clip row in song view or any of the grid pads in clip view |
Select clip for overdubbing via global MIDI commands | Enter clip, or hold clip row in song view + press LOOP or LAYER command |
Arranger View | |
Place clip-instance | Press one of the main Grid pads |
Delete clip-instance | Press clip-instance’s left-most Grid pad |
Clip-instance length | Hold clip-instance start Grid pad + tap end Grid pad |
Move clip-instance horizontally | Hold grid pad of clip-instance and scroll horizontally |
Change instance’s clip | Hold grid pad of clip-instance + turn select knob |
Make clip-instance “unique” | Shift + press Grid pad of clip-instance |
Clip-instance parameter adjust | Hold Grid pad of clip-instance + turn Parameter knob |
Move row | Hold Audition pad + turn ▼▲ knob |
Mute / unmute instrument | Mute pad |
Solo instrument | Hold down ◄► knob + press Instrument’s Mute pad |
Un-solo instrument | Press clip-instance's Mute pad |
Enter clip view for clip | Press Grid pad other than left-most for clip-instance |
Change or add new Instrument for row | Hold Audition pad + turn select knob or press instrument-type buttons |
Delete instrument/row | Hold Audition pad + press save/delete |
Clear arrangement | Push ◄► knob + Back |
Audition instrument | Press Instrument’s Audition pad (song's root note or a snare drum in kit mode) |
Drag “unique” clip-instance to song view | Hold Grid pad + press Song + turn ◄► knob + release Grid pad |
Create new audio track | Hold empty lane audition pad + press Select knob |
Set input source for audio track | Hold Learn + press audio track audition pad |
Set record-armed status for tracks | Hold Record; see Launch pads |
Record clip(s) from current position | Start playback while in Record mode, with armed audio track present |
Clip View | |
Change clip colour | Shift + turn ▼▲ knob |
Change clip preset or MIDI ch or CV out | Turn Select knob |
Adjust clip length | Shift + turn ◄► knob |
Duplicate (multiply) and append track content | Shift + push ◄► knob |
Horizontal clip shift (nudge) | Push ▼▲ knob + turn ◄► knob |
Note length | Hold note start Grid pad + tap end Grid pad |
Note length (long) | Note start Grid pad, turn ◄► knob, push ◄► knob + end Grid pad |
Note velocity | Hold Grid pad + turn ◄► knob |
Parameter Automation | With record LED on, turn Parameter knob |
Per note parameter change | Note start Grid pad + turn Parameter knob |
Delete parameter automation | Shift + push Parameter knob |
Clear clip | Push ◄► knob + back |
Load sample | Audition pad + load |
Enter Sound Editor | Shift + (shortcut labeled) Grid pad or push Select knob |
Begin playback from current screen | Push ◄► knob + Play |
Set Probability % a note plays | Hold Grid pad + turn Select knob left |
Set several notes to play only when first plays | Hold all Grid pads at same time + turn Select knob left |
Set iteration dependence for a note | Hold Grid pad + turn Select knob right |
Copy notes | Hold Learn + push ◄► knob |
Paste notes | Hold Learn + Shift + push◄► knob |
Copy automation | Hold Learn + push Parameter knob |
Paste automation | Hold Learn + Shift + push Parameter knob |
Preset load interface | Press Load + synth/kit |
Audio clip trim | Press rightmost column at end of waveform |
Sound Editor | |
Move cursor | Turn ◄► knob |
Parameter/MIDI knob assignment | Learn + turn Parameter knob or learn + MIDI knob |
Unassign MIDI knob | Shift + Learn |
Save preset | Save |
Apply parameter change to whole kit | Hold affect-entire while changing parameter (POLYPHONY, MODE, REVERSE, SPEED, PITCH/SPEED) |
Synth, Keyboard, MIDI, CV Clips | |
Synth resample | Record + Audition or Grid pad |
Load blank synth | Shift + Synth |
Save synth preset | Press Save/Delete + Synth |
Cycle default scales | Shift + Scale |
Change root note | Scale + Audition pad |
Chromatic scale | Scale LED off |
Create scale | With scale LED off, select notes using the Grid pads, press the scale button |
Alter current scale | Audition pad + push and turn Select knob |
Transpose current clip an octave | Push + turn ▼▲ knob |
Transpose current clip a semitone | With scale LED off, Shift + push and turn ▼▲ knob |
Transpose all clips a semitone | With scale LED on, Shift + push and turn ▼▲ knob |
Create drone note | Create a note that occupies the visible screen length |
Assign midi CC to Parameter knob (MIDI track) | Push Parameter knob + turn Select knob |
Kit Clips | |
Change colour of a specific kit row | Shift + Audition pad + turn ▼▲ knob |
Create new kit | Shift + Kit |
Save kit preset | Press Save/Delete + Kit |
Slice sample | Shift + Kit, turn Select knob to find sample, Shift + push Select knob |
Record sample from input | Audition pad + Record to start, Record to end |
CV trig kit row | Audition pad + push and turn Select knob |
Move row | Audition pad + push & turn ▼▲ knob |
Delete row | Hold Grid pad on row to delete + press Save/Delete |
Compliance information
FCC compliance for United States
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:
- Reorient or relocate the receiving antenna.
- Increase the separation between the equipment and the receiver.
- Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
- Consult the dealer or an experienced radio/TV technician for help.
You may also find helpful the following booklet, prepared by the FCC: "How to Identify and Resolve Radio-TV Interference Problems." This booklet is available from the U.S. Government Printing Office, Washington D.C. 20402.
Changes and Modifications not expressly approved by the manufacturer or registrant of this equipment can void your authority to operate this equipment under Federal Communications Commissions rules.
In order to maintain compliance with FCC regulations shielded cables must be used with this equipment. Operation with non-approved equipment or unshielded cables is likely to result in interference to radio & television reception.
CE compliance
This product is CE marked to denote conformity with Directives 2014/30/EU (Electromagnetic Compatibility) and 2014/35/EU (Low Voltage), as amended.
Environmental Protection
Waste electrical products should not be disposed of with household waste. Please recycle where facilities exist. Check with your local authority or retailer for recycling advice.
© Synthstrom Audible 2019
Deluge instruction manual
First Edition v3.0
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