The deepest of all the views in the Display, the Mixer is used to adjust NEXUS2's broad array of effects, and tweak the individual layers and oscillators of a sound. N EXUS2 is built on a powerful synthesis engine featuring all the oscillators, filters, modulators and effects you would expect in a modern virtual instrument.
Instead of presenting page after page of baffling parameters, NEXUS2 makes it easy to get to the most important parameters instantly, providing a great degree of editing potential with a minimum of complexity. If you want to become an expert at editing NEXUS2 patches, you will need to understand a bit about how sounds are constructed, and how the signal flows.
Below you will find information on the basic concepts. Every sound starts out with at least one oscillator. An oscillator can be a generated waveform such as sine or square , or a mulitsample. NEXUS2 has 64 oscillators. An oscillator's output is routed into one or more layers where it is filtered, processed with layer effects, and shaped with envelopes. Layers are very flexible. For example, a single sawtooth wave could be routed into multiple layers for parallel processing, or a 16 oscillator patch could utilize four layers, each containing four oscillators.
Once the layers are summed together, the signal is passed through the effects block which consists of two insert effects, followed by an EQ, a convolution reverb, and two master effects. After all of this processing has occured, the signal is sent to the Front Panel effects: Master Filter, Delay and Reverb.
Before the final output, the signal passes through a limiter to prevent peaks from going above 0dB. As mentioned in the previous section, each layer of a NEXUS2 sound has its own filter and filter envelope. The Filter Modifier section provides a way to globally adjust the filter settings of all layers simultaneously. At the neutral position 12 o'clock , all filters and filter envelopes perform exactly as programmed in the preset.
When a knob is turned clockwise, the values are scaled upwards, reaching their maximum values at the far right position. Moving a knob counterclockwise scales values downwards, with values for all layers being set to the minimum at the far left. Click this button to switch the Filter Modifier section on or off.
When switched off, all modifications to the filter are disabled, and the patch plays back as it was originally programmed. This knob determines the amount of filter envelope modulation applied to the cutoff frequency. At the far left position, filter envelope modulation is disabled, and the following controls Attack, Decay, Sustain, Release have no effect.
This knob modifies the attack time of each layer's filter envelope. Move knob to the right to increase the attack time, and left to decrease it. This knob modifies the decay time of each layer's filter envelope. Move knob to the right to increase the decay time, and left to decrease it. This knob modifies the sustain level of each layer's filter envelope. Move knob to the right to increase the sustain level, and left to decrease it. This knob modifies the release time of each layer's filter envelope.
Move knob to the right to increase the release time, and left to decrease it. The Amp Modifier section allows you to globally adjust the volume envelope and panning for all layers simultaneously. Moving a knob counterclockwise scales values downwards until they reach their minimum value at the far left position. Click this button to switch the Amp Modifier section on or off. When switched off, all modifications to volume and panning are disabled, and the patch plays back as it was originally programmed.
Turning the knob clockwise moves all layers towards the right from their initial position, while turning the knob counterclockwise moves all layers towards the left side of the stereo image.
Spike creates a short volume "spike" during the first three milliseconds of a note's duration. Move this knob to the right to raise the level of the spike and create a punchier, more percussive attack. If a spike has been programmed into the sound, move the knob left to soften the attack. Spread switches the pan position from one note to the next. Turn the knob to the right to increase the width of the alternating panning. If spread has been programmed into the sound, move the knob to the left to decrease the width.
This knob modifies the attack time of each layer's volume envelope. This knob modifies the decay time of each layer's volume envelope. This knob modifies the sustain level of each layer's volume envelope. This knob modifies the release time of each layer's volume envelope. This filter is useful for final shaping of the overall sound, and for automating filter sweeps.
It is completely independent of the Filter Modifier section, and very easy to use. This button is used to activate or deactivate the Master Filter. By default, the Master Filter is switched off. This knob controls the filter's cutoff-the frequency at which it begins to attenuate frequenices. This knob adjusts how much the frequencies around the cutoff are boosted. Especially with a high Slope setting, high values can result in an intense "whistling" or "ringing" sound.
Use the type button to cycle through the types, or click directly on a type to select it. It processes the signal after the Master Filter, and is handy for adding delay to the sound as a whole. The Front Panel Delay has multiple modes for different types of delay, and offers modulation and filtering for adding movement and vibe to the repeats.
Front Panel Delay settings are stored with the preset. To prevent delay settings from being loaded with the preset, right-click on the Delay label above the controls and select "locked" from the context menu.
Alternately, you can completely disable the delay by selecting "global off" instead. If the Front Panel Delay is activated, all layer delays are deactivated. Front Panel Delay and layer delays can not be used simultaneously. For more information on layer delays, refer to layers in the Mixer. Use this knob to adjust how much delay is heard.
It adjusts the ratio of dry unprocessed signal to wet delayed signal. At the far left, the delay is off completely; at the far right, none of the unprocessed signal is heard. This knob adjusts the amount that the delay time is modulated by the delay's built-in LFO. As the delay time is modulated, the pitch of the repeats changes.
Use low values for subtle warmth, and high values for vibrato and chorus-type effects. This knob adjusts the amount of time between the repeats. This knob adjusts the feedback amount. In practice, this determines the number of repeats before the delay fades to silence. The cutoff frequency of a highpass filter that processes the repeats. When set to a position other than the default far left , each repeat gets progressively thinner as the signal is repeatedly passed through the filter.
The cutoff frequency of a lowpass filter that processes the repeats. When set to a position other than the default far right , each repeat gets progressively darker much like an analog or tape delay as the signal is repeatedly passed through the filter. It is unsurpassed in the world of virtual instruments-you will not find a better quality built-in reverb anywhere.
It features three reverb types, and is highly customizable with a simple set of controls. Front Panel Reverb settings are stored with the preset.
To prevent reverb settings from being loaded with the preset, right-click on the Reverb label above the controls and select "locked" from the context menu.
Alternately, you can completely disable reverb by selecting "global off" instead. Use the type button to cycle through the reverb types, or click directly on a reverb type to select it. Use this knob to adjust how much reverb is heard. It adjusts the ratio of the dry unprocessed signal to the wet reverb signal. At the far left, the reverb is off completely; at the far right, none of the unprocessed signal is heard.
This knob adjusts how much the reverb time is modulated by a built-in LFO. Modulation introduces subtle pitch changes, creating additional movement and depth.
This knob adjusts the amount of time before the reverb signal is heard. Longer predelay settings create the perception of a larger space, and can help preserve the clarity of the original signal when long decay times are used.
Use this knob to remove low frequencies from the reverb tail. As the knob is turned clockwise from its default position far left , it raises the cutoff frequency of a highpass filter that processes the reverb signal.
Use this knob to remove high frequencies from the reverb tail. As the knob is turned counterclockwise from its default position far right , it lowers the cutoff frequency of a lowpass filter that processes the reverb signal. T he Display is where detailed information about presets is viewed and edited. There are eight different views which are used to access various parameters. Displays the current preset name.
When front panel knobs are touched, this area temporarily updates to display the name and value of the parameter being modified. Double-click in the Name Area to rename a preset, and press Return on your computer keyboard to confirm the new name, or Esc to cancel renaming.
Click on the label at the top of this area to switch views. The column on the left is the Category List. A Category is like a folder that contains a certain type of sound. Select a category to display its contents in the Preset List on the right. Sometimes you will need a more flexible way of finding presets that goes beyond category browsing. To search, right-click in the Category List and select new 'search' from the context menu.
It does not matter what Category you click on when you do this. In the field that appears, type your search term and press Return. The search results will appear in the Preset List on the right. There are a variety of ways to search:. The search criterion "-" allows you to search for characters that must be at the beginning of each name. If the Overwrite Warning dialog box appears, this means that the preset you are about to save will replace an existing preset.
It is fine to do this if you want, but it is sometimes preferable to save a new version and keep the original version in tact. To save a new version of the preset, first give it a new name. Double-click in the Name Area and type in the new name. Then, right-click in the Name area and select save preset from the context menu. For example, if you were to load the "AR Broken Square" preset, rename it to "AR Broken Square 2," and then save it, you would see this in the preset list:.
NEXUS2 allows you to save presets into existing categories of your choice, or to create. To create new categories of your own. To create a new Category, right-click in the Category List and select new from the context menu. Then, type in a new Category name and press Return.
When you save a preset, it is automatically saved into the currently selected Category. Therefore, you must select a Category before saving a preset. For example, let us say you have tweaked the "Crushed Bass" sound to use it as a lead. To save the new version into the "Dance Leads" category:.
You now have a new preset in a different Category. Be aware that, strictly speaking, you do not have to rename the preset; saving the preset into a new Category will prevent the original from being overwritten. However, this can cause confusion so this practice is not recommended. Favorites folders are handy for quickly organizing presets you like. Unlike Category folders, Favorites folders contain links to existing preset files. This means you can add a preset to a Favorites folder without creating a new copy of it.
A single preset can be added to multiple Favorites folders if you choose. To create a new Favorites folder, right-click in the Category List and select new 'favorites' from the context menu. Type in a name for the Favorites folder i. You can create a maximum of eight Favorites folders. Add presets to Favorites folder by right-clicking on the preset you want to add, then selecting a Favorites folder from the context menu. Once you have rated some presets, you can search by rating to find them quickly.
By default, all presets have zero stars. To give a preset a rating, click the heading at the top of the Info Area until it reads Rating. Click in the row of stars to assign a rating of one to five stars. NEXUS2 has a few simple settings that allow you to enable vibrato pitch modulation for any sound. Find your Nexus Content folder inside it will be a folder called presets. From there create your own folders. Gold Bricks Nexus Pack. Project output files that can be created with this software are in the.
Files with the. In the instrument panel window click on the down arrow in the top LEFT corner. It integrates with the Nexus sites to provide you with a fast, efficient and much less hassled modding experience.
Step 3: Create a directory named app and cd into the directory. Step 4: Download the latest nexus. Step 5: As a good security practice, it is not advised to run nexus service with any sudo user. In the vast majority of cases, the solution is to properly reinstall nexus. For detailed installation instructions, see our FAQ. Installing Mods Search for mods on the Nexus website.
Carefully read through the description of each mod. Choose the Files tab. As this value is increased, every other 16th note step starting with the second is delayed more. Below those options is a preset selector section where you can select from dozens of factory arpeggiator patterns. Use your mouse or the arrow keys to step through and try different presets.
The arpeggiator pattern editor enables the customization of arpeggiator patterns. You can extend, remove, transpose notes, and alter their velocity. This feature can create subtle variations or be used as a powerful built-in step sequencer to create new melodies.
Pencil: The pencil tool can be selected from the toolbar or by pressing "1" on the keyboard. Left-clicking the pencil tool in an empty area creates new notes one at a time. Left-clicking in an empty area and dragging creates a new note and allows it to be moved. Click and dragging on an existing note allows it to be re-sized or moved. Paint: The paint tool can be selected from the toolbar or by pressing "2" on the keyboard. Left-clicking and dragging the paint tool will create a series of notes al with the same pitch.
Holding down shift allows notes of different pitches to be created. Like the pencil tool, the paint tool can move and re-size notes. Select: The select tool can be selected from the toolbar or by pressing "3" on the keyboard. Left-clicking and dragging will select all notes in the marquee rectangle.
Holding shift will add the newly selected notes to the already selected notes. Like the pencil tool, the select tool can move and re-size notes.
Eraser: The eraser tool can be selected from the toolbar or by pressing "4" on the keyboard. Left clicking any note will erase it. Right-clicking in an empty area will clear the selection. Right-click on any notes will erase them. Add Note: While using the pencil or paint tool, left-click on the cell where you wish to place a note. If a note exists in that column step , it moves to where you clicked unless sequence mode is set. Remove Note: With the eraser tool, left-click and note to remove it.
With any other tool right-click on a note to remove it. Or, notes can be selected with select tool and then deleted by pressing the delete key. Transpose Note: Select a note using left-click. Stretch Note: You can stretch a note over multiple steps to create a sustain.
Click and drag the edge of the note to the desired step. Notes do not drag past a step that already contains a note unless in sequence mode. Move notes: You can move notes by selecting and dragging them. Below each note at the bottom of the pattern editor is the note velocity setting. This sets the velocity volume of each note.
Velocity can also be edited by holding "Alt" and using the scroll wheel. Press the "Zoom" button in the top right of the pattern editor to return the zoom view to the full pattern view. The pattern can be scrolled by using the horizontal and vertical scroll wheels or by pressing "S" and then left-clicking and dragging the pattern into position.
The pattern can also be zoomed and scrolled using the overview. Click and drag the overview to scroll. Click and drag the edge of the overview to adjust the zoom. Enabling follow will cause the pattern to scroll with playback. This can be disabled either by manually scrolling or by disabling the follow button. It is possible to create an arp pattern that has a lead-in section only plays a single time and a loop section loops while the note is sustained.
This can be handy to create buildups and fade ins. Above the note editor is the pattern timeline where you find a position head right facing triangle icon. This sets the start of a loop where the pattern returns to when the end of the pattern is reached.
Drag this with the mouse left or right to position the loop marker. The loop is set from this point to the end of the pattern. Setting the arp mode to "seq" opens the sequencer editor, allowing you to create complex patterns, such as chords. In sequencer mode, you can set multiple notes per step and edit the starting point of each note. Click the "zoom" button in the top right to reset the view. NEXUS4 features a powerful sequenced audio gate which is useful for turning sustained notes into rhythmic patterns.
Unlike the arpeggiator, which generates patterns of MIDI notes, the Trance Gate works by rhythmically lowering and raising the volume of the audio signal. Each layer in a preset sound can have a separate trance gate enabled and NEXUS4 now offers user access to each layer's trance gate for manipulation. You see tabbed buttons at the top of the trance gate window for each available layer along with "main". Each layer's trance gate can be edited separately but all layers play together when the sound is played.
The main trance gate applies to the whole preset all layers. When enabled, it overrides and, thus, disables all layer trance gates. Enabling the main trance gate disables all layer trance gates. In "stereo" mode, there are independant gates for the left and right channels. Adjustable from a minimum of two steps up to a maximum of 32 steps.
At , the signal is muted when the gate is active. As the value is decreased, the effect of the trance gate becomes more subtle - the volume of the signal is reduced instead of muted. At zero, no effect is heard. As the value is decreased from , the stereo effect becomes more subtle until zero is reached, at which point the gate functions in mono.
As the value is decreased, the gating effect becomes less choppy as the fade time in and out of every gated step is increased. At the lowest values, the trance gate produces effects less like gating and more like tremolo.
When a "fade-in" value is specified, the mix value starts at zero when a note is played, then fades up to its programmed value over the length of time specified in the "fade-in" menu. Below those options is a preset selector section where you can select from dozens of factory trance gate patterns.
Select a preset with your mouse or use the arrow keys to try different presets. The trance gate pattern editor is divided into steps based on the length setting. A step is either "on: white" allowing sound to pass or "off: dark" blocking or lowering the sound depending on the mix setting. Clicking on a step with the left mouse button toggles the step. When mode is set to "stereo", a thin line runs horizontally across the center of the pattern editor, dividing it into two channels shown above.
The left channel runs along the top and the right channel runs along the bottom. It is possible to create a Trance Gate pattern that has a lead-in section only plays a single time and a loop section loops while the note is sustained. Above the step editor is the pattern timeline where you find a position head right facing triangle icon. NEXUS4 has a few simple settings that allow you to enable vibrato pitch modulation for any sound.
If no vibrato "source" is selected, no vibrato is heard. Choose one of the following options:. Pitch bend range allows the bend range limits to be set for the pitch bend control of a keyboard. Unlike traditional pitch bend ranges that simply limit the up or down pitch ranges, NEXUS4 allows a positive or negative range to be applied to either direction of the pitch bend control.
This makes it possible, for instance, to invert the pitch bend control or even cause an upward movement to do a fine bend down while a downward movement can do a course bend down. Sets the range in semitones of pitch bend up. A positive value causes the note to bend up when the wheel is moved upward normal while a negative value causes a pitch bend down when the wheel is moved up inverted.
Sets the range in semitones of pitch bend down. A negative value causes the note to bend down when the wheel is moved downward normal while a positive value causes a pitch bend up when the wheel is moved down inverted. At zero the default , maximum smoothing is applied.
This works well for most cases. As the value is increased, less smoothing is applied. At , the pitch bend data from the controller is used as-is, without any smoothing. When portamento sometimes called "glide" is enabled, the pitch of each note slides into the next. Select "off" to disable portamento. Pitch glide only occurs for overlapping notes. Envelopes are re-triggered for each note that is played. Envelopes are not re-triggered for overlapping notes.
This is the mode to use for classic monosynth glide. The more voices, the more notes can be sustained at once but more CPU is required. Much like the "Modifier" dials on the front panel, this parameter makes relative changes to a preset's programmed settings.
At zero, the preset plays exactly as programmed. When moved to the right positive values the sound's volume becomes increasingly sensitive to velocity. When moved to the left negative values , the relationship of velocity to volume is inverted, with lower velocity notes becoming louder than high velocity notes. The LFO is restarted whenever a new note is played. In "free" mode, the speed is represented as a numeral between 0 and This "granularity" adds an interesting twist to typically smooth LFO modulations, such as sine and triangle.
At higher values, the modulated parameter audibly jumps from one value to the next instead of shifting continuously. However, the bottom and top shelves can be adjusted to limit the range of the presets. This can be useful to layer with other instruments.
They are split over the range of the keyboard. You can adjust each zone individually and even overlap the ranges. The modulation matrix includes 20 modulation slots to connect source inputs to destination parameters. The Effects section in NEXUS4 is a powerful and easy to navigate FX chain that allows quick and easy adjustment of a loaded sound in a single editor window. Number of insert effects has been increased from 4 to 5.
The limiter has been changed to an insert effect. The audio signal flows from left to right through each effect. Clicking an effect block bypasses the effect turning it grey. Below each effect is a signal meter to show signal activity in the chain. Each effect has a graphical editor that appears in the edit window when the effect is enabled in the chain. Effects appear in order of processing from input top to output bottom.
Effects can be reordered by dragging their names to the desired order. The entire effect chain can be saved and restored using the preset menu. Each effect has a set of dedicated parameters and options on the left and a graphical overview of the effect on the right. Effects such as EQ and Impulse allow adjustment of the effects parameters using handles on the graphical overview:.
There are five custom insert FX slots that are identical in operation but provided at different ends of the audio chain. There are 17 different types of insert effects that can be selected. There are 17 different effects that can be selected for the insert effects devices. Use the dropdown menu to select one of the following effects. This is visualised by the filter graphic under the effect display and can also be adjusted by mouse.
More stages equal a stronger effect. Increase to create a longer delay before the compressor reacts to the signal. Increasing this causes the compressor to latch after a peak signal for longer. Increase to cause a greater level of compression. Increase to adjust the amount of low frequency affected. Increase to adjust the amount of high frequency affected. Lower bits produce a fuzzier sound.
It is possible to verify the integrity of files by right-clicking any installed item in the reFX Cloud app and choosing "Verify". This scans and fixes the files if issues are found. If you wish to apply an action to all items at once, locate the 3-dot menu at the top of the section you are viewing and left-click it. You can download, update, verify, or uninstall all items in that section with a single mouse click.
If you need to uninstall any products, just right-click on the product in the reFX Cloud app and choose "Uninstall". The removed items are then listed under "Not Installed" for easy reinstallation.
If you would like to check if a specific expansion is installed, use the search bar at the top of the reFX Cloud app. The name of the expansion does not need to begin with the search term. For instance, searching for "bass" returns the expansions "Bass" as well as "Drum and Bass" and "Future Bass". Once you have logged in, you see the products you have available for installation: Configuring reFX Cloud Settings and Installation Paths Before starting the installation of your content, you must first set the path where you want the large library of NEXUS3 content to be installed.
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