USER GUIDE

FOR VERSION 1.3

U-HE - HECKMANN AUDIO GMBH - BERLIN

Introduction

the spirit of analogue _________________________4

loading presets ______________________________5
saving presets_______________________________6
editing _____________________________________6
programming 101 ____________________________7

Upper Panels

oscillators __________________________________8
high-pass filters / feedback ___________________16
main filters ________________________________17
envelopes _________________________________22

Lower Panels

24

LFOs _____________________________________24
effects ____________________________________25
tuning _____________________________________28
amplifier & pan _____________________________28
voice _____________________________________29
clock & arpeggiator _________________________30
modifications ______________________________31
trimmers __________________________________32

scope __________________________________33

MIDI Control

34

Tips and Tricks

35

Troubleshooting

38

List of Modulation Sources

39

Introduction
to get the most out of Diva, you will need a powerful computer
Diva is rather demanding in divine mode, but thats the price we pay to hear her wonderful voice in
top form. If your computer stutters while trying out presets, switch the accuracy mode to great, fast
or even draft. You will soon learn which one your system can handle. Monophonic presets without
voice stacking should be no problem, even on older computers. If your computer is fairly new, try
the multicore option which distributes voices between the CPU cores. You should generally render
tracks to audio in the highest quality (set OfflineAcc to best).
This manual assumes that you know at least the basics of subtractive synthesis. If you have any
queries and/or would like to join a lively discussion about Diva and other u-he products, feel free to
post a message in our forum.

install / uninstall
Go to the Diva page, grab the appropriate installer, double-click on the downloaded file and follow
further instructions.
Diva is fully functional in demo mode except for an intermittent crackling which disappears as soon
as the product is registered (by right-clicking on Divas data display and selecting the first entry).
To uninstall, delete the plugin and all associated files from the following directories (these locations
depend on the paths you chose during installation):
Windows presets
...\VstPlugins\u-he\Diva.data\Presets\Diva\
Windows preferences ...\VstPlugins\u-he\Diva.data\Support\ (*.txt files)
Windows themes
...VstPlugins\u-he\Diva.data\Support\Themes\
Mac presets
Mac presets (User)
Mac preferences
Mac resources

MacHD/Library/Audio/Presets/u-he/Diva/
[you]/Library/Audio/Presets/u-he/Diva/
[you]/Library/Application Support/u-he/com.u-he.Diva... (*.* files)
MacHD/Library/Application Support/u-he/ (Diva/ and Themes/)

online resources
For Diva support and other u-he products, go to the u-he website
For a lively discussion about u-he products, go to our forum at KVR
For video tutorials and more, go to our youtube channel
For thousands of u-he presets (commercial and free), go to the patch library

the u-he team

Urs Heckmann (code, concepts, design, discipline)

Clemens Heppner (more code, geek stuff, agility)
Sascha Eversmeier (even more code, but different)
Howard Scarr (presets, manuals, tutorials, grump)
Rob Clifton-Harvey (heavy metal support, everything else)

with special thanks to...

Vadim Zavalishin and Andy Simper for their invaluable info about zero delay feedback filters
Alexander Hacke and Hans Zimmer for lending us some very special analogue synths
The beta-testers and everybody who contributed presets (over 1200 using only the public beta)
Brian Rzycki for keeping PatchLib up and running
Nathaniel Reeves of http://nkurence.com/ for kindly polishing the Diva logo

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the spirit of analogue

Diva captures the spirit of various analogue synthesizers by letting the user select from a variety of
alternative modules. The oscillators, filters and envelopes closely model components found in
some of the greatest monophonic and polyphonic synthesizers of yesteryear.
But what sets DIVA apart from other emulations is the sheer authenticity of the analogue sound.
This comes at the cost of quite a high CPU-hit, but we think it was worth it: Diva is the first native
software synth that applies methods from industrial circuit simulators (e.g. PSpice) in realtime. The
behaviour of our zero-delay-feedback filters when pushed to the limit clearly demonstrates the
advantages of this groundbreaking approach.

about zero delay feedback filters

Most filters in old analogue synthesizers have one or more feedback paths. The input signal
passes through a series of controlled resistors and condensers, and the output is fed back into
the input (or to another point within the signal path). The classic Moog ladder filter has four
simple lowpass filter stages and a resonance control that determines how much of the signal is
fed back into the input. This feedback loop doesnt introduce any delay, feedback is practically
instantaneous...
Digital models try to reproduce this behaviour by calculating the result of applying four simple
lowpass filters to an input sample. Feedback means repeating the current calculation using the
results of the previous one.
While real circuitry can process a signal within a few nanoseconds, digital models calculate per
sample, adding about a million times as much latency to each iteration. The cumulative effect of
feedback latency in digital emulations is very noticeable. Oversampling and higher sample rates
help reduce the latency, but conventional digital filters always smear at high resonance levels.
Methods of addressing the latency problem have been available for many years, but such
implementations either dont model the complex distortion inherent in real circuitry, or they arent
suitable for realtime processing. Common to all methods is that they predict output values and
use that prediction in the current calculation.
Of course we cant see into the future either, but our routines are fast enough to deliver at least
a few voices in realtime. We calculate the filter with a few test samples and look at the deviation
between the prediction and the result, then we use that deviation to calculate a better prediction.
The goal, of course, is to close the gap as quickly as possible!
Diva applies a classic trial-and-error principle but includes a rather intelligent way (or so we like
to think) of learning from mistakes. As a rule of thumb, Divas filters only need to be calculated
once or twice in succession. However, it can take up to 15 cycles if e.g. the resonance is very
high and the input is very complex e.g. includes noise.

accuracy
Click on the Main button at the bottom of the window. In the Voice panel immediately above the
Main button are two selectors called Accuracy and OfflineAcc. In the current version of Diva
these are global parameters i.e. they remain fixed across all presets, per loaded instance:
draft ..........CPU-friendly, but FM will sound rough and resonance is primitive i.e. NOT zero delay!
fast ............Fine for older computers and/or when you need more polyphony in acceptable quality
great.........The best compromise between quality and polyphony on high-power computers
divine ......Top-quality zero delay feedback filters but can your computer can handle it?
OfflineAcc only has two options: same or best (i.e. divine in the current version).
Some host applications may have problems rendering to audio at the selected accuracy, but the
better ones include an inform plug-ins of offline rendering status or similarly named option.

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loading presets
Click on the Patches button at the bottom of Divas window. Select a folder from the bottom left
panel, then choose presets (patches, sounds or even programs) from the main area. The Local
root directory contains a selection of presets from the subdirectories. A white square next to a
folder name means that the folder is collapsed click on that square to expand it!

The folders numbered 1 through 7 contain a bunch of presets sorted according to category.
TEMPLATES contains some very basic presets for whenever you want to start designing your own
sounds from scratch. Feel free to add your own mix-and-match templates here.
THIRD PARTY contains patch banks kindly submitted by various sound designers, plus a special
sub-directory called TREASURE TROVE with hundreds more sounds.
The bottom righthand area of the Patches window contains information the sound designer stored
with the patch, e.g. what the preset is all about, which controllers are used etc..

MIDI Programs folder

Local also contains a folder called MIDI Programs, which is initially empty. If you put a bunch of
presets (up to 128) in there, they are all loaded (into a cache for performance reasons) when the
first instance of Diva starts. Important: changes only take affect after restarting your host so MIDI
Program patches cant be added, removed or renamed on the fly.
Individual patches are selected via MIDI Program Change messages. As they are accessed in
alphabetical order, it is a good idea to put a number at the beginning of each name e.g. 000 restof-name to 127 rest-of-name or similar.
Banks: The MIDI Programs folder can contain up to 127 sub-folders (of 128 patches each), and
these are switchable via MIDI bank select messages 1-127. The MIDI bank select message is
CC#0 (Diva only interprets the MSB) send this value, then a Program Change message.

favourites, junk, reveal

Right-click in the Presets panel to open a context menu: You can classify the current selection as
Favourite or Junk. Favourites are marked with a bright star. Junk will disappear immediately, but
can be made visible (with a Stop symbol) by selecting show Junk in that same menu. Reveal
highlights the clicked preset in Apple Finder / Windows Explorer.
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saving presets
You can create a personal folder by right-clicking in the bottom lefthand panel. Before saving your
own sounds, select that folder!

save
To save, click the button at the top left. A window opens in which you can give your sound a name,
enter your name (as author) and any details you wish to add: preset description, preset usage etc..
Then confirm by clicking on the apply button.
Right-click in the folders pane to create a new folder, to refresh the list (whenever folders or
presets are added using Finder/Explorer) or highlight the clicked folder in Finder/Explorer.

drag & drop functions

Drag presets into other folders to move them. Multiple selection is also possible: Shift+click selects
a region, cmd+click (Mac) / ctrl+click (PC) selects/deselects individual presets.

editing

midi activity
A small indicator that lights up whenever MIDI data is being recieved.

data display
Primarily, the central display shows the name of the selected patch or the current value of any
element being edited. Clicking on the areas either side of the display steps through patches.
Clicking on the display opens a drop-down list containing all the patches in the current directory.

undo/redo
The two curved arrow symbols call Divas undo and redo functions you can step backwards
(or forwards again) through an unlimited number of edit points.

output
The final volume control for the patch. As this control doesnt affect the tone, use Output (in
preference to amp Volume) to balance the levels between patches.

GUI size
Right-click on any blank area in Diva to change the size. Note: At the time of writing, 8 sizes are
available and the only skin is the original. A custom skin editor with a very sophisticated scaling
system (which should also make the labeling much clearer) is in development.

knobs
Values are adjusted via the usual click-and-drag, often allowing finer resolution via the SHIFT
key on your computer. Knobs can be reset to their default values via double-click, and remotecontrolled / automated via right-click (the MidiLearn function). Tip for wheel-mouse users:
mouseover and roll the wheel to edit values or scroll through a list (use SHIFT for fine tuning).

parameter locking
Clicking with the righthand mouse button on any knob or switch opens a context menu in
which you can select Lock. A locked parameter can still be adjusted, but the value
doesnt change when you switch presets. To unlock again, right-click and untick Locked.
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modification symbol
Wherever this symbol appears, it means that the neighbouring parameter is being modulated
from within the Modifications panel.

programming 101
Although Diva ships with a whole bunch of presets, she is meant to be tweaked thats why the
interface is festooned with all those controls! Heres a quick and easy tutorial to get you started.
1.

Click on the Patches button at the bottom of the window, select the TEMPLATES folder and
load the preset called INIT June-60. Now click on the Scope button this gives you access to
the module panels AND Divas oscilloscope.

2.

Play a fairly low note (you do have a MIDI keyboard attached, right?). The shape you can see
in Divas oscilloscope is moving in time with the tone of what you are hearing...

3.

Find the Transpose knob in the lefthand (DCO) panel, and change it to 16 (it was 8). The
oscillator is now an octave lower (play that keyboard).

4.

To the left of the Transpose knob are two faders. Double-click on the one labelled LFO2. The
value of that fader (which controls pulse width modulation depth) is reset to the centre and the
sound has become static. Move the leftmost fader up and down while playing a low note.
Watch how the shape changes, then leave it at minimum.

5.

What you hear (and see) is a 50-50 mixture of 50% PULSE (i.e. square) and SAWTOOTH.
Click on the first SAWTOOTH option (the straight line i.e. silence) to isolate the pulse wave.
Try the different HPF values, then leave it at 0.

6.

Double-click on the PW fader (resets it to 50 i.e. 25% pulse) and take the other fader (pulse
width modulation depth from LFO2) up to maximum. Go to the bottom left of the window,
change LFO2s Waveform to saw up and change Sync to 1/4. Keep playing that keyboard!

7.

Go to the VCF panel and try the CUTOFF and RESONANCE faders. Then double-click on
both to reset them. Still in the filter panel, take the second cutoff modulation knob (currently
labelled LFO 2) down to about -30.00. You now have a rhythmic sound that will cycle through
the notes in a chord if you play them at different times. Try adjusting DETUNE...

8.

Activate the two effects (Chorus and Delay) at the bottom right of the window by clicking on
the small round buttons (they will light up). If you like, experiment with the effects parameters
for a while, especially the Delay controls. Add some NOISE from the DCO panel!

9.

Go back to LFO 2, click on the lower righthand button and select ModWheel (or default). Turn
up the Depth Mod knob to maximum. Now the level of LFO 2 is controlled via the modulation
wheel/stick on your keyboard. Turn Depth Mod down to minimum again so that the modulation
wheel has no effect.

10. Swap the oscillator type: Click on the DCO label and select DUAL VCO. Click both Sawtooth
icons to switch them off, and activate both pulse waves instead. Turn MIX to the centre. Click
on the NO MOD label and select LFO 2 instead. Change the value of that knob to -20.
Similarly, replace the VCF CASCADE with VCF BITE. Experiment with the filter controls until
you get a nicely grungy, resonant pulsating sound (note that Rev 2 sounds fuller).

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Upper Panels
While checking out the presets you must have noticed that the main modules can be swapped out.
Simply click on the label at the bottom of each module, then select from the list. You dont have to
click on the grey triangle anywhere on the label will do.
Some smaller labels within each panel also have grey triangles. Click on these labels to replace
default modulation sources. Selected sources other than the default appear as Dymo tape call
us crazy, but we rather like the retro-look of sticky labels on custom-modified hardware!

oscillators
Diva offers five different oscillator types: Triple VCO (morphing oscillators with FM, sync and filter
feedback), Dual VCO (multi-wave oscillators with sync, PWM and cross mod), DCO (single twowave oscillator with PWM and flexible sub-osc), Dual VCO Eco (CPU-friendly, pulse width, ring
modulation) and the newer Digital (megasaw and much more). All models include a noise source.
Some parameters, although practically the same, have different names in different models.
Note: The output levels of oscillators can have a significant effect on the tonal quality of the filters.
The models that dont allow complete control over volume might get that in future versions or the
filters will include input gain controls (yet to be decided).

TRIPLE VCO
The most CPU-hungry oscillator model, Triple VCO stretches across two panels:

The upper switches on the left activate pitch (tune) modulation for each oscillator. To specify a
modulation source other than the ENV2, click on that label and select from the drop-down list.
In this example, modulation wheel is controlling oscillator 2 pitch only,
as only the middle switch is active (indicated by the white dot).
TUNE MOD specifies the amount of pitch modulation. This control is
bipolar i.e. the amount of modulation can be either negative or positive.

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Similarly, the lower switches activate waveform (shape) modulation see WAVEFORM below.
To specify a modulation source other than LFO2, click on the label and select from the list.
In this example, envelope 2 is modulating the waveforms of oscillator 1
and oscillator 2, but not oscillator 3.
SHAPE MOD specifies the amount of waveform modulation. This knob
is also bipolar i.e. the amount of modulation can be negative.

FM 1->2/3 sets the amount that oscillator 1 frequency-modulates oscillator 2 and

oscillator 3 (both equally). Frequency modulation is useful for complex, dissonant
or even bell-like sounds.
Note: FM 1->2/3 can be modulated from within the Modifications panel.

The octave switches (32 to 2) and DETUNE (oscillators 2 and 3

only) determine the oscillators pitches. These controls are selfexplanatory except for one special feature: The DETUNE knob
acts like a 5-turn potentiometer that can also flip the octave over
try turning it beyond 5 or -5 and see for yourself!
The SYNC switches enable hard-sync for oscillators 2 and 3 (they both synchronize
to oscillator 1). The pitch of a synchronized oscillator should normally be higher
than oscillator 1, or at least modulated upwards via TUNE MOD.
Tip: For the maximum range of sync sounds, set osc 1 to 32 and Transpose to 24.
Unlike in e.g. the Minimoog, the WAVEFORM controls are not rotary switches.
They are continuously variable from ramp through triangle and sawtooth to
square, followed by narrower pulse waves. For maximum PWM (pulse width
modulation), set the waveform to 8.00 (25% pulse), switch on shape modulation
(see above) for the oscillator and set the SHAPE MOD level to 10.00.
The MIXER panel contains volume controls for each oscillator as
well as for the NOISE generator. Below the NOISE volume knob is
a tone switch: PINK noise contains mostly low frequencies, while
WHITE noise is full-range.
The FEEDBACK knob controls the amount of signal taken from
behind the filter and fed back into the mixer like the age-old trick
of connecting the extra output on the Minimoog back into its
audio input. Relatively low feedback values cause a subtle bass
boost, higher values can create subharmonics or even wild howling
noises. A natural side-effect of higher feedback is lower resonance,
so you might have to compensate for that.
Although the mixer panel is an integral part of the Triple oscillator
module, Feedback is also available for all the other oscillator types,
as an alternative to high pass filtering see there.
Note: The Feedback amount can be modulated from within the
Modifications panel.

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DUAL VCO
A slightly simpler model than Triple VCO, but with the advantage of independent (split) pitch
control as well as multiple waveforms within each oscillator...

The two faders to the left both affect the width of pulse waves. PW sets the nominal width from
very narrow through 50% to 100% (silence). The other fader adjusts the depth of pulse width
modulation from the selected source (LFO2 by default), with zero in the centre. The switch
below applies these settings to either VCO1 only or to both oscillators at the same time.
The octave switches (32 to 2) and DETUNE knob (oscillators 2 only) determine the oscillator
pitches. Again, DETUNE acts like a 5-turn potentiometer which can also affect the octave range.
The central SYNC button synchronizes VCO2 to VCO1. When switched on, the pitch of VCO2
should be set higher than VCO1 (or at least modulated upwards). Tip: For the maximum sync
sweep range, set VCO1 to 32 and Transpose to 24.
The 4-way switch (1 / BOTH / 2 / SPLIT) specifies pitch modulation targets for a pair of sources
(ENV2 and LFO2 by default). To modulate VCO1 and VCO2 independently, select SPLIT here.
The two vertical rows of buttons select waveforms: Triangle, Saw, Pulse/PWM, Noise (VCO1)
and Sine (VCO 2). Note that selecting multiple waveforms retains the overall volume.
CROSS MOD (cross modulation) is similar to FM 1->2/3 in
the Triple VCO module (see the previous pages). The main
difference here is that the cross-modulation amount can be
modulated directly from within the oscillator panel.
In this example, the amount of cross modulation is being
(positively) controlled from the modulation wheel.

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10

MIX balances the volumes of VCO1 and VCO2. Note: As VCO1 includes a noise generator, it
made sense to allow MIX to be modulated in the Modifications panel (via Noise & Dual VCO
Mix). This means you can use e.g. an envelope or LFO to crossfade between the two VCOs.
SHAPE gives you a choice of three Dual VCO hardware revisions. Although this switch affects
the sound of all waveforms, it is most noticeable with triangles:

ideal (the sweetest triangle)

analog1 (looks like a sine, sounds more like a triangle)

analog2 (brighter like ideal but with a tooth)

Note: These screenshots were made while playing the note C2. Like real analogue oscillators,
however, the shapes of waves in Diva are not 100% the same at all pitches!

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11

DCO
A single oscillator model (with sub-oscillator and noise), DCO delivers a more complex, brighter
sound than the other analogue types...

The left half of this panel is the same as the Dual VCO but without the switches for VCO2.
Cross-modulation is not possible without that second oscillator, but this lack is tempered by the
DCOs ability to add perfectly synchronized waveforms together.
The output is the sum of four sources: PULSE, SAWTOOTH, SUBOSCILLATOR (each offering
a choice of different shapes) plus NOISE. Even without noise, the result can be quite complex:

In the PULSE and SAWTOOTH selectors, the straight line means silence/off, and the 4th option
from the top (in each case) is the one that reacts to pulse width settings:
these two are the only waveforms that react to pulse width settings
Similarly, the SUB-OSCILLATOR offers six different waveforms, all based on pulse waves. The
top four are all one octave below the main oscillator, the others are both two octaves down.
At the top right of the DCO panel are two faders that control sub-oscillator and noise levels.

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12

DUAL VCO ECO

This one is fairly primitive because it emulates primitive hardware. There is no PWM or FM here
but, as its name suggests, ECO has the lowest CPU-hit...

When switched to RING, the regular VCO2 output is replaced by ring modulation between the
selected VCO1 wave and the VCO2 square wave.
Although the two oscillators can be tuned independently, both TUNE MOD sources (ENV2 and
LFO2 by default) are applied to the overall pitch.
Because VCO1 includes noise, its volume can be modulated via Noise & Dual VCO Mix in the
Modifications panel.
One more thing: the shape of the triangle wave is rather interesting...

DUAL VCO ECO triangle wave as seen in Divas oscilloscope

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13

DIGITAL
This model wasnt included in earlier versions of Diva. It emulates a well-loved but unashamedly
digital-sounding oscillator (including all the dirt and aliasing of the original) plus a few extras.
DIGITAL gives Divas filters plenty of grunge upon which they can work their analogue magic:

DIGITAL has two almost identical oscillators either side of a central modulation panel
Multisaw mode is 7 stacked sawtooth waves. DETUNE adjusts tuning spread,
MULTI is the balance between the original wave and the detuned waves.
Multisaw is great for fuzzy dance music sounds or for exceedingly rich pads.
TriWrap is a wrapped triangle wave positive peaks appear at the bottom of the
wave and negative peaks appear at the top. WRAP adjusts the threshold for the
wrap function, BEND adjusts the horizontal symmetry.
Noise is digital white noise with a resonant lowpass filter. TUNE adjusts cutoff,
Q adds resonance (with significant loss of low frequencies). Tip: For pitched
noise, modulate TUNE with KeyFollow, amount = 24.00.
Feedback is a sawtooth sent through a short delay with feedback, creating
tones similar to an electric guitar. TUNE adjusts the length of the delay,
FEEDBACK sets the amount of feedback (also adds lots of digital distortion).
Pulse is a square/pulse mixture. PW adjusts the pulse width while SPIKE UP
first turns the wave into a saw (at 3.00 already), then multiplies the saw for a
complex 'pseudo-sync' effect. SPIKE UP can create some serious aliasing.
Sawtooth is a sawtooth wave plus synchronized sine. HARMONICS adjusts the
level and polarity of the sine wave (set 50.00 for a pure sawtooth with no sine
component), BEND continuously shifts the sine up an octave.
Triangle is a triangle plus synchronized sine an octave higher. HARMONICS
adjusts the level of the sine, while BEND adjusts horizontal symmetry. You might
like to watch what happens to the waveform in the scope.
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14

The OCTAVE rotary switch adjusts the pitch of oscillator 1 in octave steps. The TUNE parameter in
oscillator 2 lets you adjust its pitch precisely within a range of +/- 30 semitones (for very fine tuning,
hold down a SHIFT key on your computer keyboard).
The SYNC switch at the bottom of oscillator 2 activates hard-sync (oscillator 2
is synchronized to oscillator 1). To hear the effect, turn up both MIX and TUNE.
Note: In Multisaw mode, sync is only applied to the original wave, and has no
effect at all in Noise mode.
The central panel specifies the modulation sources and
amounts for each oscillator. Both oscillators share
common modulation sources (so you cant modulate the
two pitches independently, for instance).
Example: In this image, the pitch of oscillator 2 is being
negatively modulated by pressure, the second parameter
in oscillator 1 is being positively modulated by KeyFollow,
and the third parameter in oscillator 2 is being positively
modulated by LFO2.

Along the bottom are five more controls:

TUNE MOD lets you modulate the pitch of both oscillators at the same time.
CROSS (cross modulation) adjusts the amount that oscillator 1 frequency-modulates oscillator 2.
RING replaces oscillator 2 output with the result of ring modulation between the two oscillators (like
in the DUAL VCO ECO oscillator model).
MIX adjusts the relative levels of the two oscillators.
HIGH QUALITY reduces aliasing artifacts at the cost of (usually) a bit more CPU.

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15

high-pass filters / feedback

While the Triple VCO oscillator includes a mixer, the other oscillator models allow the central panel
to be swapped. There is a choice of filter feedback or one of three high-pass filter models...

all four feedback / HPF panel options

FEEDBACK
The same as integrated into the TRIPLE VCO oscillator model (see there). The knob controls
the amount of signal taken post-filter and fed back into the mixer. Effects range from mild bass
boost to subharmonics / low-frequency howling.

HPF | POST
Although located to the left of the main filter, this model is actually after the main filter in Divas
signal path. It doesnt affect the tone of the main filter by changing its input levels, but either
boosts the bass (BOOST setting) or removes low frequencies from the (already) filtered signal.

HPF | PRE
A high-pass filter before the main filter, with continuous frequency control. HPF | PRE can affect
the tone of the main filter by sending it fewer low-frequencies to work with. Use this model e.g.
to tame the output of the DCO oscillator, or to thin out a noise source etc..

HPF | BITE
A complete high pass filter before the main filter, with cutoff modulation and resonance control.
Unlike the similar-looking ECO oscillator, this is actually the most CPU-hungry option... so you
can expect some powerful tonal shaping. Note: The resonance control is called PEAK here.
Two REV (revision) models are available, with different characteristics. But be warned either
of them can BITE!

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16

main filters
This is where a lot of Divas magic happens. The current version offers five main filter models,
each based on a classic hardware filter (or two): Ladder, Cascade, Multimode, Bite and Uhbie...

VCF | LADDER

Classic 24dB per octave ladder filter based on the behaviour of a specific piece of monophonic
hardware (the word on the street is that each unit that left the factory sounded at least slightly
different the one we borrowed is certainly special).
Either side of the Cutoff and Emphasis (resonance) knobs are three cutoff modulation sources
with bipolar controls: Two user-definable (ENV 2 and LFO 2 by default) plus key-follow (KYBD).
In addition to the original specifications, VCF | LADDER offers bipolar filter-FM from oscillator 1
and a 12dB per octave (2-pole) option.
Note: Emphasis (resonance) and FM amount can be modulated from the Modifications panel.

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17

VCF | CASCADE
A cleaner sounding filter than Ladder, CASCADE offers a very similar set of controls...

Purely in terms of available features, the only difference between Ladder and Cascade is the
Rough/Clean switch. Apart from altering the overall tonal character, it has a noticeable effect on
the amount of resonance at the top end of its range.
Cascade is an all-rounder, and is particularly good for big smooth pads without generating too
much grunge when input signal levels are high.
The 12dB per octave switch (click on the button) removes two of the four poles, resulting in a
brighter sound while still retaining the overall character.

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VCF | MULTIMODE
Featuring extra high-pass and band-pass options, the multimode model is based on the filter in
yet another classic polyphonic synthesizer or two...

All controls except the switch in the middle should already be familiar (assuming you have been
reading about the other filter models above).
LP4 is a 4-pole low pass model, LP2 is a brighter 2-pole alternative.
HP is a high-pass (removes low frequencies) and BP a band-pass (removes both high AND low
frequencies i.e. allows only a band of frequencies around the cutoff point to pass through).

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VCF | BITE
Although VCF | BITE appears to have no distinguishing features compared to the other models,
it actually sounds very different...

The tone is highly dependent on input signal levels, the selected revision (REV) and the value of
PEAK i.e. resonance. Like the corresponding high-pass module, the lowpass BITE filter is a real
character, able to deliver anything from solid 2-pole to screaming mayhem.
Tip: If you want to hear a lot of resonance (Peak), try low oscillator volumes! Even as little as
10% can be just right.

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VCF | UHBIE
Another classic, but a latecomer to Diva: Uhbie, a silky smooth 2-pole state variable filter with
crossfade between three different types (low-pass through notch or bandpass, to high-pass):

the Uhbie filter panel

Again, most of the controls should already be familiar (they are the same as in other models):
We have Cutoff with two modulation sources/knobs on the left, resonance and key-follow in the
middle, and the amount of FM from oscillator 1 at the bottom right.
The switch and pair of controls at the top right are what make Uhbie special:
BR / BP switches the central position of MIX to either bandreject (notch) or bandpass...
MIX crossfades from lowpass through bandreject / bandpass to highpass. The source selector
and amount knob are used for modulating the mixture, as indicated by the arrow.

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envelopes
The righthand panel comprises two envelopes one above the other, each with its own model
selector. Note that the curves of envelopes within the same hardware synth (i.e. those used for
amplifiers vs those used for filters etc.) often differ. This important but often overlooked detail has
also been carefully modeled in Diva.

ADS
Simplified ADSR with shared decay and release times. The Release stage can be switched off so
that even a long decay will stop as soon as the note is released.

This envelope was modeled on that same specific piece of monophonic hardware mentioned
above, but adapted for polyphonic use.
Tip: Before switching RELEASE on in envelope 1, make sure that DECAY is set to a value that is
also a suitable release time.
VEL (velocity) determines how much the envelope level is modulated (scaled) by MIDI velocity.
KYBD (keyboard follow) scales the attack, decay and release times according to the MIDI note
number. This makes the envelope of high notes shorter and low notes longer.

ANALOGUE
ADSR type modeled on the envelope of another famous but unnamed analogue synthesizer...

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DIGITAL
Digital ADSR type modeled on a later (and significantly cheaper) successor to the above. The
DIGITAL envelope contains two extra buttons labeled Q and C:

Q (quantize) gives you a slightly steppy sound (think e.g. Alpha Juno, Matrix 1000 envelopes).
C (curve) affects the overall curvature, giving the envelope more of an S form...

DIGITAL envelope without / with C (curve) switched on

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Lower Panels
LFOs
At the bottom left of all windows except Patches, you will see a pair of low frequency oscillators:

LFO 1 is also used as the direct source of vibrato, and LFO 2 is connected by default to several
parameters in Divas other modules (hence the labels in brackets).
The Waveform selector opens a list of all available LFO shapes:
sine ....................typical sine wave
triangle .............typical triangle wave
saw up ..............rising sawtooth
saw down ........falling sawtooth
sqr hi-lo ............square wave that starts positive / high when Phase is at minimum
sqr lo-hi ............square wave that starts negative / low when Phase is at minimum
rand hold .........steppy random wave
rand glide.........smooth random wave
The Restart selector has four options specifying when the LFOs will be restarted:
sync ...................never restarts. LFOs for all notes are in phase unless modulated apart
gate ...................restarts per note at the specified Phase (see below)
single ................similar to sync, but restarts at the next note after all notes are released
random .............restarts at a random phase per note
Phase adjusts where (within its cycle) the LFO waveform will be restarted whenever a note is
played. Ignored when Restart is set to random.
Delay fades the LFO in, with a range from immediate to about 20 seconds.
Rate knob offsets LFO speed (negatively or positively) from the Sync value.
Rate Mod controls the amount of rate modulation from a source specified in the neighbouring
selector (none in the above image try e.g. ModWheel or KeyFollow here).
Sync is the rate / synchronization mode: 3 absolute times, plus 24 synchronized to song tempo.
Depth Mod controls the amount of LFO level modulation from a source specified in the neighbouring selector (set to ModWheel in the above image). Tip: If the depth modulation source is set
to none, you can use the knob to reduce the overall LFO level.

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effects
At the bottom right of all windows except Patches you will see a pair of stereo effects. The upper
selector specifies the kind of effect and the button to the left is an on/off switch.
The two effects are arranged in series. This means that you can even set up two reverbs one after
the other (e.g. one for complex early reflections and the other for the main reverb tail).

chorus

Type Classic, Dramatic, Ensemble are based on real hardware effects. Ensemble is especially rich
it can turn a raw VCO into a classic string machine sound.
Rate is the modulation speed. Use low values for slow stereo effects.
Depth is the modulation amount. Set to zero (with Classic or Dramatic) for static colouration.
Wet is dry/wet mix. Subtle Chorus can add stereo width without making the sound too washy.

phaser

Type Stoned or Flanged also based on real hardware effects. The Flanged type is more
resonant, and is particularly interesting when applied to bright sounds.
Feedback is the resonance amount control.
Sync synchronize the Phasers LFO to song tempo. See Rate below.
Stereo is a bipolar stereo width control. Note that with the Stoned type, maximum stereo width is
at +/- 25.00 (especially obvious if you turn Feedback up).
Rate controls the modulation speed. If Sync (see above) is switched on, the value is measured in
beats (i.e. quarter notes) so the rate actually gets slower as values increase. Example: For one
cycle every 3 bars in 4/4 time, set this to 12.00 (3 times 4).
Phase controls phase offset, from 0 to 360.
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plate (reverb)

PreDelay is a simple delay before the reverb starts. This is especially useful for retaining the
closeness of the original signal.
Diffusion adds a subtle chaos to the reverb, thus reducing metallic resonances.
Damp causes higher frequencies to fade more quickly than low frequencies. Damping emulates
the warming effect of carpets, curtains, wood etc. in a room.
Decay controls the time it takes for the reverb to fade out
Size ranges from tiny bathroom to huge cathedral. Tip: It is well worth experimenting with all
combinations of Decay and Size!
Dry / Wet are level controls for the untreated and effect signals.

delay

Left / Center / Right delay times across the stereo field, always relative to host tempo (BPM).
Integer values are exact semiquavers (quarter-beats), and Center defines the Feedback time. This
configuration is unusual it lets you set a repeat rate without hearing that particular tap (simply
turn down Center Vol to zero).
Dry is the level of the unprocessed signal.
Center Vol / Side Vol are separate levels controls for the center tap and the stereo (L/R) taps.
Wow emulates slow tape wobble, ranging from subtle/spacey to almost seasick.
Feedback is the regeneration amount. 100.00 will give you an infinite loop if HP is set to minimum
and LP to maximum... well worth trying out!
HP / LP are cutoff controls for highpass and lowpass filters within the feedback path. Lower the
value of LP for typical damping, increase HP to reduce the bass and mid frequencies.

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rotary
A realistic rotary cabinet i.e. Leslie emulation, with tube-like distortion.

Mix is a dry/wet balance control

Out attenuates or boosts the output level (whatever the Mix value)
Stereo controls stereo width (you could call this microphone separation)
Balance controls the relative volumes of the horn and bass speakers
Mode (unlabeled) selects Normal, SyncBass or NoBass. In Normal mode, the horn and bass
speakers rotate independently, in SyncBass mode they are phase-locked. NoBass mode
switches the bass speaker off you might have to reduce Mix a little to bring back the bass
Controller determines which of the available modulation source (mod wheel, breath,
expression pedal or pressure) will be used to control the speed
RiseTime adds a variable lag to the selected controller
Slow sets the Slow speed, with a range from about 10 seconds to 0.2 seconds
Fast sets the Fast speed, also with a range from about 10 seconds to 0.2 seconds
Drive is the amount of distortion. Note that distortion is also highly dependent upon the input
level if there is still too much distortion in the signal when Drive is set to minimum, turn down
Volume in the Amplifier & Pan section, then turn up Out (see above)

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Note: The following panels are switched via the dark buttons at the bottom of Divas window...

tuning
This panel is visible when either Main or Patches is selected:

Vibrato controls the amount that oscillators are pitch-modulated from LFO1 (remember that LFO
levels also depend on the value of Depth Mod).
Glide sets the basic portamento rate. Glide2 is a bipolar offset applied to VCO2 (Dual VCOs and
Triple VCO) as well as VCO3 (Triple VCO). Range is the portamento strength, a u-he speciality.
Lower values shift the beginning of the slur closer to the target note, which is great for sloppy
intonation effects! GlideMode has two options:
time ........however far apart notes are, the glide will take exactly the same amount of time
rate .........when notes are further apart, glide is proportionally slower
Fine (fine tune) shifts the pitch over a range of +/- 1 semitone and Transpose shifts the pitch in
semitone steps over a range of +/- 24 semitones. Up and Down set the pitch bend ranges, from 0
to 24 semitones
Microtuning: Diva supports the .tun microtuning format. Hundreds of tables are available online,
most of them free. Put all your .tun files into the following folder:
WIN
...\Diva.data\Tunefiles (specifically for Diva)
MAC
MacHD/Library/Application Support/u-he/Tunefiles/ (global for all u-he plugins)
After loading a microtuning file, switch it on by clicking the button.

amplifier & pan

This panel is visible when either Main or Patches is selected

VCA selection: either envelope 1 or a simple gate (thus freeing up Env1 for other purposes!)
Volume is a bipolar gain control. Positive values can subtly overdrive the amplifier Vol Mod is for
gain modulation (via the neighbouring modulation source). Pan (panorama) shifts the voice(s)
towards the left or right channel. Pan Mod modulates pan position. To pan stacked voices apart,
use StackIndex here.
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voice
This (unlabeled) panel is visible while the Main or Patches tabs are selected:

Accuracy is a very important global parameter, as it determines CPU-hit vs realtime audio

quality (especially resonance). See page 3 for details.
Offline Acc determines the accuracy for offline audio rendering, and is also a global parameter.
Multicore causes Diva to distribute voices across multiple cores, which will usually allow more
voices to be played simultaneously without overloading the CPU. To activate this feature, click
on the LED. Multicore works well on recent processors such as Intel i5 and i7, but please note
that performance can even be reduced if your CPU is older! Also, this feature might interact with
multi-threaded hosts in an unpredictable fashion (we havent seen any problems so far).
Switching Multicore on is not an adequate replacement for freezing tracks etc., its purpose is to
allow as many simultaneous voices as possible in a single instance of Diva. If your project
includes several instances, make sure that as many as possible do not have Multicore enabled
certain combinations of hosts, drivers etc. are succeptible to drop outs / stalls when several
instances are set to Multicore at the same time.
Mode has five options:
Poly..............normal polyphonic
Mono ...........monophonic, each new note triggers the envelopes
Legato .........monophonic, doesnt retrigger until a space is left between consecutive notes
Duo ..............duophonic i.e. split voices. Osc 2 follows the highest note, Note Priority is ignored
Poly2 ...........a variant of Poly in which voices in their release stages are stolen before new ones
Note Priority only applies to Mono and Legato modes. The options are:
last ...............plays the most recent note (digitally controlled synthesizers)
lowest ..........plays the lowest note (most classic USA mono-synths)
highest ........plays the highest note (EMS as well as most Japanese mono-synths)
Voices sets the maximum number (2-16) of voices before note-stealing occurs. Mostly used to
guard against audio glitches while running CPU-intensive patches.
Stack sets the number of unison voices. Use Stack Tuning and/or the StackIndex modulation
source to offset voices against each other. Note that stacking will eat up CPU!

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clock & arpeggiator

This (unlabeled) panel is visible whenever the Main or Patches tabs are selected:

Clock
Clock selects a clock interval for the arpeggiator (and perhaps future additional features). Note
that Divas clock is always synchronized to host tempo, there are no absolute times.
Multiply scales the clock interval from 0.50 (half as long) to 2.00 (twice as long).
Swing factor, 50% = 2:1 (triplet time), 100% = 3:1 (dotted note / strongest shuffle).

Arpeggiator
Arp switches the arpeggiator on/off.
Mode
played .........in the order the notes were originally played
up .................from lowest to highest
down ............from highest to lowest
up+dn 1 ......normal up & down
up+dn 2 ......up & down, repeating the top and bottom notes
random........chaotic order
Progression determines when the arpeggio will proceed to the next octave:
serial ...........plays all notes, then jumps octaves up (set Octaves to 2 or more)
round ...........same as serial, but also jumps octaves down again (set Octaves to 3 or 4)
leap ..............plays a note, jumps octave up for next note etc. (set Octaves to 2 or more)
repeat ..........like leap, but repeats the same note for all octaves before playing the next one
Octaves (1 to 4) transposes the arpeggio according to the Progression setting (see above). The
current octave is indicated by the vertical row of LEDs.
Restart (none, 4 10, 12, 14, 16, 24, 32): This sets the number of notes the arpeggiator will
play before it starts from the beginning again, as indicated by the bottom LED in the row. The
idea is to help keep arpeggios musically in meter e.g. 4/4 time.
Experiment with the setting 8 first. Note that setting low values here can cause the arpeggiator
to restart before all your notes have been played.

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modifications
Many synth enthusiasts like experimenting for hours (or even days) on end with the more esoteric
features of their chosen instruments. Diva doesnt disappoint here click on the Modifications tab
to open the following panel:

The upper half includes options that arent available in the module panels (for instance resonance
modulation), plus a few that are only available in certain modules. The lower half contains a bunch
of simple modulation processors with input selectors see below for details.

VCO
FM & Cross Mod Depth lets you modulate the FM amount in the TRIPLE VCO (and perhaps
future oscillator models) from the selected modulation source. Note that this feature mirrors the
extra Cross Mod parameters in the DUAL OSC model.
Noise & Dual VCO Mix lets you modulate the level of Noise (or the oscillator also responsible for
noise) in all oscillator models, from the selected modulation source. For the Triple VCO and DCO
models, this is easy because the noise generator is a separate audio source in both cases. In Dual
VCO and Eco models, however, it modulates VCO1 level because noise is an integral part of
VCO1. In the Dual VCO (not ECO) model, it does this by modulating Mix great for cross-fading
between the two oscillators. For the sake of consistency, Mix is also modulated in the DIGITAL
model although both oscillators are capable of generating noise.

filter
Resonance Mod lets you modulate Resonance / Emphasis / Peak from the selected modulation
source. There is no equivalent within the main oscillator panels.
Filter FM Mod lets you modulate the amount of filter FM (OSC1) from the selected mod source.

feedback
Feedback Mod lets you modulate the amount of Feedback from the selected source. This only
applies if the oscillator model is Triple VCO, or Feedback is selected as the central module.

modification symbol
This isnt a button or knob, but a reminder that wherever the (M) symbol appears in the main
panels, the neighbouring parameter is currently being modulated from within this panel.

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modulation processors
rectify converts all negative values in a modulation source to positive values
invert turns a modulation source upside-down negative becomes positive, and vice versa
quantize creates discrete steps the value is a division factor: the lowest value 2.00 means
two steps if the input is unipolar (e.g. envelope), and four steps if it is bipolar (e.g. LFO)
lag slows down abrupt changes in the source e.g. makes square waves more rounded
multiply outputs the product of two modulation sources
add outputs the sum of two modulation sources
There are a few practical examples of how to use these functions in Tips and Tricks.

trimmers

This panel is the most esoteric part of Diva. As well as letting you detune voices (individually or
stacked), a variable degree of slop can be applied to cutoff frequency, envelope times, pulse width
and glide times. By popular demand, individual oscillators can now be reset to a definable phase.
Oscillator Voice Detune lets you detune individual voices (per oscillator). Double-click to reset.
LEDs indicate which voices are currently being played. They are arranged in pairs (01/09,
02/10, 03/11, 04/12 etc.)
Voice Map Modulator specifies values for the modulation source called VoiceMap. Use
VoiceMap for any offsets you like, e.g. panning, cutoff, resonance.
Note: The Oscillator Voice Detune and the Voice Map Modulator have 8 knobs (per row) for all 16
available voices presets with more voices than 8 simply reuse those values.
Detune Amt (amount) is a scaling factor for all Oscillator Voice Detune knobs. Keep this low for
good tuning!
Voice Drift is a slow wavering of the overall pitch. Again, keep values low for good tuning
Voices mirrors the parameter in the Main / Voice panel
Stack specifies the number of voices played in parallel (also available in the Main / Voice panel)
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 Stack Tuning sets the pitch of each stacked voice within a range of +/- 2 octaves. Set Stack to
a number other than 1 and use these knobs to create megasaws, one-finger chords etc..
Reset Phase only works if Transient Mode (see below) is set to osc reset. The 3 knobs set the
phases at which the 3 oscillators will be reset every time a note is played. This feature is
particularly useful for sounds in which the attacks need to be very consistent. Tip: the most
percussive setting is seldom zero you will need to experiment!
Transient Mode offers four options affecting how the first few milliseconds of new voices are
handled in all voice modes except Legato. The effect is seldom obvious, but when attack times
are set to minimum, choosing a different transient mode can make all the difference between
punchy and clicky.
Bipolar Noise is best left switched on. Included for reasons of compatibility with early presets.
Variance is similar to Oscillator Voice Detune, but these four apply to cutoff, envelope times,
pulse widths and glide times. Instead of individual knobs per voice, they have associated
buttons which randomize the 8 values.
LED Colour determines the colour of all indicator lights in Diva. An automatable parameter!

scope
Every synth needs an oscilloscope...

Frequency controls horizontal resolution

Scale controls vertical resolution
Note that Divas scope takes its signal from before the effects.

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MIDI Control
MidiLearn and MidiUnLearn
Diva can be remote-controlled / automated via MIDI messages from a hardware controller unit
or from your sequencer program. Right-click any knob to open a menu containing MidiLearn
and MidiUnLearn.
If you ever have problems with parameters magically resetting themselves, the usual reason is
an accidental MIDI learn. Find the offending control, right-click and MidiUnLearn it.

MIDI controllers
Note: The functionality described here should be considered beta. It works well enough, but is
likely to change in future.
Divas extended MidiLearn function lets you define how any parameter will react to MIDI CC
(continuous controller) messages. Before you use MidiLearn, right-click on the data display and
select the MIDI Controllers entry from the top of the list. The options are:

none
normal
integer
fine
octaves
semitone
fineSelected

practically MidiLearn Off, prevents accidental MIDI learns

full range, standard
whole numbers only
between nearest integers, in 0.01 steps
32 to 2 without changing fine tune
semitones/cents between octaves
the same as fine, but always controls the most recently selected
element. Switch the mode to fineSelected and MidiLearn the knob/fader
you would like to use as a general-purpose fine control. Note: It doesnt
matter which of Divas elements you right-click to do this.

The seven page options have not been implemented, and should be ignored for now.
The last four options are used to specify the kind of harware you are using. If in doubt, set this
to the default Continuous 7bit.

Encoder 127
Encoder 64
Continuous 7bit
Continuous 14bit

unipolar encoders
bipolar encoders
7-bit MIDI CC (standard default)
14-bit MIDI CC

Note: MIDI remote control is channel sensitive. You can map up to 16 channels of any CC you
like except Modulation Wheel, Bank Select, Hold or All Notes Off, for a grand total of over 1,900
mappable controllers.

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Tips and Tricks

so bite me!
The BITE models are based on relatively cheap but (as I only recently started to realize) extremely
characterful Japanese hardware perhaps BITE stands for Big In The East?
Lets take a closer look at a preset that uses the BITE highpass filter:
Load POLY SYNTH / HS Ecobite Clav and play that sound for a while. Use your pitchbender.
One thing you should notice is that the HPF cutoff has glide while the oscillator pitch doesnt. This
is because HPF cutoff is modulated by KYBD2 (keyboard follow 2) with Glide2 set to 32.
Go to the Main page and change the HPF to e.g. POST. The sound has lost all its bite so the
main ladder filter has little to do with the character of this patch. Change the HPF back to BITE.
You could make this sound honk a bit more by switching the VCF to 12dB mode. Try that...
Still not gritty enough? Select Rotary in Effect 1 and switch it on. Set Drive to maximum and turn
the Balance way down.

bass boost
The BITE highpass can also be used to boost bass frequencies see the preset HS Model K12.
Note that much of the actual bite in that preset comes from the lowpass ladder filter.

twin effects
Divas two effects are arranged in series, and they offer the same options... which means you can
even use the same type of effect in both slots:

twin reverb
Load PERCUSSIVE / MK FX Zapper (if it works with sharp percussion, it works with anything!)
Turn Effect 2 Wet up to 50 and Decay to minimum. Compare by switching Effect 2 off and on. Try
adjusting the Size parameter slightly, but leave it somewhere between 15 and 35.
Select Plate in Effect 1 and switch it on. Take Effect 1 Wet to about 15.
Note that the first effect in the signal chain is responsible for the tail and the second is for the early
reflections a richer sound than the more obvious early reflections first, as long as the tails
PreDelay is very fast.

twin rotary
Load TEMPLATES / INIT Alpha
Take envelope 1 Sustain to zero and adjust the
decay until you get your preferred organ-type click
(even 0 works). Turn Sustain back up to 50 and
Release to zero.
Set up the effects to look exactly like this image:
Effect 1 is responsible for removing some high
frequencies (via Balance) as well as for the strong
distortion (via Drive). Effect 2 is a typical stereo
Rotary push your modulation wheel up while
performing.
This patch can be improved by adding a bit of
vibrato, by using different waves, adding SUB etc..
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stereo without effects

Divas signal is basically mono (with pan) until processed by effects.
However, stacked voices can be panned apart try this:
Load TEMPLATES / INIT Alpha. Go to the Trimmers panel and set
Stack to 2. Turn the second (from the left) Stack Tuning knob up to
4.00 a major third interval. Play your keyboard and watch the voice
activity LEDs light up in pairs. Note that you can only play 3 note
chords before voice-stealing occurs (for 8-note polyphony, set
Voices to 16 if your computer can handle it).
Open the Main panel, click on the box next to Pan Mod and select
StackIndex. Slowly turn the knob to maximum and hear how this
pans the two notes apart.
StackIndex doesnt have to be used in such a static way. For instance,
we could multiply it with an LFO: Go to the Modifications page, select
LFO2 and StackIndex as the two multiplication factors. Go to the Main
panel and replace the Pan Mod source (currently set to StackIndex)
with Multiply.
Also try modulating cutoff with Multiply instead of LFO2. Your VCF and
Amp panels would then look something like this image...

LFO as ramp generator

If you dont need both LFOs for cyclic modulation, you can use one of them as a ramp generator
(a simple envelope). In the end, its all about the LFOs Delay parameter:
Load TEMPLATES / INIT Jupe-6 and turn MIX up to 50.
Turn VCO2 pitch modulation (the knob below VCO1 octave range, labelled LFO2) up to exactly
1.00. The pitch of VCO2 now wanders in a drunken stupor around the nominal pitch. Change
the LFO2 waveform to sqr hi-lo. VCO2 now jumps a semitone above and below.
Turn LFO2 Rate down to minimum and set VCO2 detune to exactly -1.00. Everything is now
back in tune. Finally, turn LFO2 Delay to about 20 yes, its all about the Delay parameter!
Of course it would have been easier to use envelope 2, but its good to have that envelope free for
cutoff duties. On the other hand, we could have used LFO2 for cutoff and envelope 2 for VCO2
pitch instead. Hmm... that would have been easier (envelopes are unipolar), and perhaps more
interesting (full-spec ADSR instead of ramp).

voice map tricks

Looking through the presets in Diva, the Voice Map Modulator isnt used very often. Perhaps all the
other slop parameters are enough to get by, but to surgically detune any modulation target you
like over a wide range, you do need those knobs...

chord inversions

Load TEMPLATES / INIT Jupe-8 and go to the Trimmers page

Set the Voice Map Modulator values to -100, 0, 100, 0, -100, 0, 100, 0
Use VoiceMap to modulate oscillator pitch, amount = 12.00 (or 7.00 if you like Jazz)
Switch the Effects on, adjust filter settings to taste etc. and play simple triads

cutoff offset
Load TEMPLATES / INIT Minipoly, go to the Trimmers page and change the Voices parameter
to 4. Double-click on Cutoff and turn the resonance up to about 80.
Replace the second cutoff modulator (currently LFO2) with VoiceMap and turn it up to about 50.
Adjust the first four Voice Map Modulator knobs to taste while repeatedly playing the same note.

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dual oscillator crossfade

Two of the oscillator models in Diva have a balance (MIX) control instead of individual oscillator
levels DUAL VCO and DIGITAL. In the Modifications page, modulate Noise & Dual VCO Mix to
crossfade between the two oscillators.

modulation processor tricks

Mastery of the modulation processors in the Modifications page is the key to making seemingly
impossible sounds in Diva, and a fantastic playground for experimentation. A few examples:

quantize
Load TEMPLATES / INIT Mongrel-2, turn envelope 1 Sustain up to maximum.
In the oscillator, turn the lower of the two TUNE MOD knobs up to maximum. You should hear a
cheap alarm siren sound caused by LFO2.
Open the Modifications page and specify LFO2 as input for the QUANTIZE processor. In the
oscillator panel, replace that LFO2 modulation with Quantize. Change the LFO2 Sync to 1/2.
Specify Quantize as input for the LAG processor, go to the oscillator and replace Quantize with
Lag. Turn the Lag time up to about 22.
Experiment with different LFO2 waveforms, Sync and Quantize values.

rectify
Here are a few examples of what you can do with the rectifier try them out!
Double the speed of a triangle or sine LFO
Change a saw LFO into a triangle
Change a square LFO into a constant (DC)
Make your pitchbender unipolar

all processors
Load HS All Processors from the Local folder, and open the Modifications page. This patch uses all
of the modulation processors, but its still fairly easy follow:

LFO1 > Lag > feedback modulation

LFO1 > Lag > Add with Inverted Mod Wheel > cutoff modulation
LFO2 > Quantize > shape modulation of VCO1, cutoff modulation
LFO2 > Quantize > Rectify > pitch modulation of VCO1
LFO2 > Quantize > Multiply with LFO1 > resonance, filter FM

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Troubleshooting
Diva has proved herself to be very stable. You shouldnt have any trouble running Diva in any of
the popular host applications (but see CPU Overload below).

intermittent crackling sound?

Thats Divas one and only demo restriction. To purchase a license, go here and click on the
shopping cart symbol. If you already own a license, right-click on Divas data display and select
enter serial number.

CPU overload?
Diva is very demanding, especially in divine mode. You will need quite a powerful computer. Even
if your system only delivers one or two voices before the CPU starts complaining, there are still a
few things you can do without upgrading your hardware:
Lower the Accuracy setting (in the Main panel)
Lower the polyphony and/or switch the Mode (Main panel) to Poly2, then resave the preset.
If you have e.g. a quad-core computer, also try activating the multicore option (Main panel).
Multicore is not an adequate replacement for freezing tracks etc., its main purpose is to let
users play one instance of Diva with as many voices as possible. If a project consists of many
instances of Diva, please check that as few as possible have multicore enabled. In certain
combinations of hosts, drivers etc., multicore can even cause drop outs and stalls.
Use Diva as a purely monophonic synth. Many classics were only monophonic...

out of tune?
First of all, you have good ears! Diva emulates classic analogue hardware, and many of the
presets (including some of the template files) have been programmed to sound very similar to
wobbly old synthesizers. Some people actually like that...
However, the amount of slop is optional: Go to the Trimmers page and turn down Detune Amt as
well as Voice Drift before saving a sound. Then read all about the Trimmers.

other problems?
If youre really stuck, you should contact us via our support page.
You could also help us improve Diva by sending a log file. To set this up, create a new text file and
save it immediately as Diva to your desktop. Rename the file to Diva.log. Once the problem
occurs, quit your host app and send a copy of Diva.log to [email protected] together with a short
explanation of the problem. Please also state your operating system and host application. Thanks
in advance!

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List of Modulation Sources

The available modulation sources are divided into two alphabetical lists. The upper half is for MIDI
data, envelopes and LFOs. The lower half is for simple math functions and stack/voice indices etc.:
default
A modulation source chosen to suit each target... but often none.

Breath
Breath controller, MIDI CC #02
Env1

Envelope 1 (amp envelope)

Env2

Envelope 2 (modulation envelope)

Expression

Expression pedal, MIDI CC #11

Gate

MIDI gate i.e. whenever a note is being played

KeyFollow

MIDI note pivoting around E2, including any Glide

KeyFollow2

Ditto, but includes Glide2 offset

LFO1

Divas vibrato LFO

LFO2

Divas mod LFO

ModWheel

Modulation wheel, MIDI CC #01

PitchWheel

MIDI pitch controller (wheel, stick, ribbon... depending on the hardware)

Pressure

Channel or key pressure (mono or poly aftertouch), whichever is received first

Velocity
MIDI velocity

Add
Adds two mod sources together
Alternate

Flip-flop per voice i.e. two alternating (extreme) values

Invert

Inverts the mod source negative to positive and vice versa

Lag

Slows down changes in the mod source, makes e.g. square waves rounded

Multiply

Multiplies two mod sources together e.g. LFO2 x modulation wheel

Quantize

Creates discrete steps the value is a division factor (try 2.00, 4.00, 8.00...)

Random

A random value per played MIDI note

Rectify

Converts any negative values within a modulation source to positive values

StackIndex

Voice number (use for e.g. Pan). For detuning, use the Stack Tuning knobs
instead. StackIndex values are evenly spread between +1 and -1

VoiceMap
Voice Map Modulator (general-purpose voice offsets see Trimmers panel)

none
nothing at all!

The End
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