Miniraze Manual v1.0.

Table of Contents

Table of Contents

Foreword

Using Miniraze Controls

Menu Bar
About Box
Gear Icon
Floppy Icon
Question Mark Icon
Exclamation Point Icon

Patch Browser

LFO
LFO Matrix

Matrix

Glide, Bend and Wheels

Oscillator Section

Voice Mode

Mixer Section

Ring Math

Arpeggiator

Filter Section

Envelope Section
Envelope Matrix

Effect Section

Appendix A - Wave Shapes

Appendix B - Modulation Destinations

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Appendix C - Miniraze Development Credits

Appendix D - US Patent

Miniraze Community

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Foreword
Thank you so much for choosing Miniraze. We are honored that you would join us in our
voyage to new sonic frontiers! When we developed the first prototype of our patented
wave-slicing oscillators, we had no idea where it would take us, but soon we were making
sounds no one had ever heard before. While experimenting with our premiere instrument,
Waverazor, we felt like we were once again discovering synthesis for the first time.

Now that we understand so much more about the unusual capabilities of wave-slicing, we were
compelled to create an instrument that focuses on all of its sweet spots. The idea behind
Miniraze was to concentrate the most razoring fun into a streamlined user interface inspired by
the Minimoog Model D, which we consider to be one of the best balances of speed and power
in synthesizer design.

The 1970s were a magical time when Bob Moog’s creations changed the sound of music. It’s
hard to imagine within today’s musical landscape, but before Moog synths existed, few people
on Earth had ever heard an electronically synthesized sound. There was a sense of exploration
and discovery back then that we hope to bring back with Miniraze and its companion, the Bob
Moog Foundation 15th Anniversary Sound Bank.

In this new golden age of synthesis, we are excited to hear where your inspiration takes you!

- Taiho Yamada

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Using Miniraze Controls

Clicking, and sometimes dragging, on Miniraze controls allows you to perform various actions
within the plugin window. Buttons can be clicked to turn them on and off, while knobs are
dragged vertically to change their value. Browsers and Menus can be clicked to open, and then
you can select from multiple options.

Double clicking on a parameter will reset it to its default value, which may be different from its
stored value.

Holding the Control key down while dragging a parameter, gives you finer resolution for
selecting exact values. Note that for oscillator tuning values and envelope times, you can click
and drag directly on the numerical value, giving finer control than turning the knob, even without
holding down the Control key.

Menu Bar

Miniraze’s synthesis controls are all readily available from one window, however there are a
couple of pop up panels for information and operational controls in this Menu Bar section that
allow you to perform non-synthesis actions.

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About Box
Clicking on the MOK logo in the upper left corner will open the About Box. The most useful bit
of information here is probably the software version number. MOK will be releasing updates
from time to time, and this is where you can check to see if you have the latest version of
Miniraze.

Gear Icon
This button provides access to the system settings.

Registration - Shows registration status.

Click on the “REGISTER” button to the right in order to unlock Miniraze, or a
Miniraze sound bank you’ve purchased. You will be asked to enter your MOK
User Account credentials in order to verify your license.

Language - Allows you to select from available languages.

Theme - Changes the color scheme of the user interface.

Audio Input and Output - The standalone version of Miniraze allows you to select your
preferred audio hardware for audio I/O.

Number of Voices - Sets a voice limit for the plug-in from 1 to 64 voices.

Voice Buffer - Sets the sample buffer size between 16 and 256 samples.

Floppy Icon
This button provides a menu for file management functions.

Save - Saves the patch with the current name into the User bank.

Save As - Allows you to name the patch before saving into the User bank.

Rename - Allows you to rename the patch.

Import - Allows you to import .mraz patch files to the User bank.

Export - Allows you to export .mraz patch files.

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Delete - Deletes the currently selected patch.

Question Mark Icon

This button provides a menu for opening this User Manual documentation, or for navigating to
the MOK forum for the latest answers posted by the Miniraze community.

Exclamation Point Icon

This is a panic button for turning all notes off if they somehow get stuck.

Patch Browser

Clicking on the triangles to the left and right of the patch name will decrement or increment the
patch. Or you can click on the patch name to open the browser and select a new patch.
Clicking once on a patch will load it, but will also leave the browser open so that further
selections can be made. Double clicking will select a new patch and close the browser. Or, if
the browser is open and you’re done with it, you can click in the top name field once in order to
close the extended browser.

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There are three types of banks supported in the Miniraze browser. Factory patches are singular
sounds created by MOK’s sound design team. The User bank holds any patches that you have
saved yourself. And you have the option to purchase additional banks, such as the Bob Moog
Foundation 15th Anniversary Sound Bank.

LFO

The Miniraze LFO section offers 4 LFOs, each with 8 modulation routes. The buttons at the top
of the section select between the 4 available LFOs, and the parameters shown within the
section are the settings for the currently selected LFO. Similarly, the 8 buttons in the bottom
half of the section select between the LFO’s 8 Matrix Routes. Only the parameters for the
currently selected modulation route are shown.

Shape - All oscillator wave shapes are available in the LFO. For a full list of waves, see
appendix A at the end of this manual.

Polarity Mode (menu below Shape) - Determines the output polarity mode of the LFO.
By default, the LFO is bipolar, generating a +1.0 to -1.0 signal (representing positive
100% to negative 100% scale). Mode settings:

Bipolar: This is the default, with both positive and negative going values. For
example, a sine wave will begin at 0, rise to 1, then fall through 0 to -1, and
finally return to its beginning at 0.
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Unipolar: This will 'normalize' the signal into a positive (0 through 1) value range.
For example, a sine wave in Unipolar mode will begin at 0.5, rise to 1, then fall to
0.5, then to 0, and return to its beginning at 0.5.

Rectified: This setting forces a bipolar signal to always be positive. Any

negative values will be turned into positive values, creating a positive mirror
image of the signal that would otherwise have been negative. For example, the
bipolar sine wave shape after being rectified will begin at 0, rise to 1, then fall to
0, then rise to 1 again, then fall to its beginning point of 0.

Speed - Adjusts the frequency of the LFO cycle linearly in Hertz.

Trig - Governs how the LFO responds to notes and triggering. Mode settings:

Reset - The LFO will begin at its start phase each time it is triggered (either by
Note On or Reset input.)

Free - The LFO is constantly running and never re-triggered.

Legato - The LFO will reset to its start position only when the first note (or Reset
input) arrives. If subsequent notes are played legato (overlapping), then the LFO
does not reset. If all previous notes have ended and a new note (or Reset input)
is received, the LFO will reset to its starting phase position.

Random - The LFO has a new starting phase position with every new note (or
Reset input).

Clock Sync (menu below Trig) - Sets the clock to Time in Hz, or to synchronize to the
main Tempo setting. When Clock Sync is set to Tempo, the speed parameter sets the
LFO in quantized Note Divisions.

Duty - Adjusts the duty cycle of the LFO output signal.

Phase - Sets the start point of the LFO in degrees from 0 to 360.

Quantize - Reduces the bit resolution of the LFO wave shape from 0 to 100%. At 0%
the wave is normal and unquantized. As you turn the quantizer up, the wave will have
fewer bits of resolution and become stepped. At 100%, the wave shape will become
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quantized to 2 or 3 bits of resolution, depending on the wave shape. This amount is

tailored to each shape so that the increase in quantization will sound natural, as
opposed to normal bit reduction which doesn’t sound natural with all wave shapes.

LFO Matrix
The 8 LFO Matrix buttons select between the 8 available modulation routes per LFO. The
parameters for each modulation route are:

Route Level - Amount to scale the signal output to the destination. This is a bipolar
parameter, so negative values will invert the modulation polarity. Note that the final
output will be limited to the minimum and maximum value range of the destination
parameter.

Destination - Menu for selecting categorized modulation destinations. Note that some
modulation targets in the synth have additional destinations beyond their visible
parameters. These “hidden” destinations often provide alternate functionality when
modulated. (See Appendix B for a list of all modulation destinations and what they do.)

Scaler Level - Sets the amount of scaling applied by the Scaler Source.

Scaler Source - Chooses between six control sources to scale the Level of the LFO
applied to the destination. Choices are:
None (off)
Mod Wheel
Pitch Wheel
Aftertouch
Sustain Pedal
Velocity

● Note: A quick way to set up vibrato would be to route an LFO to the Osc All
Tune destination. This allows the LFO to modulate the pitch of all 3 oscillators at
once. You can then set the desired amount of modulation at the Route Level.
Finally, select Mod Wheel as your Scaler Source and set it to 100% Scaler Level
to have this controller completely bring the LFO modulation in and out.

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Matrix

The free matrix allows you to connect 17 different control sources to any of the modulation
destinations in the synth.

Source - The modulation source applied to the destination. Choices are:

None
Mod Wheel
Pitch Wheel
Aftertouch
Sustain Pedal
Key Velocity
Key Number
Key Count
Glide
Glide Gate
Glide Slope
Glide Slope Inv
Random
Random Once
Random Table
Always On
Key Num Log 1
Key Num Log 2
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Dest - Menu for selecting categorized modulation destinations. Note that some target
modules have additional modulation destinations beyond their visible parameters.
These “hidden” destinations often provide alternate functionality when modulated.

Level - Amount of modulation applied to the destination. This is a bipolar parameter, so

negative values will invert the modulation polarity. Note that the final output will be
limited to the minimum and maximum value range of the destination parameter.

Glide, Bend and Wheels

Glide is time-based and set by the knob. The button turns Glide on and off without affecting
the time setting.

The Bend parameter sets pitch bend range in cents, with 200 cents (or 2 semitones) being the
default.

The PB (Pitch Bend) and MW (Mod Wheel) sliders allow you to check the pitch bend and mod
wheel controls directly from the plugin window. Note that pitch bend does not spring back to
center

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Oscillator Section

Each of the three oscillators offers a set of controls for adjusting the waveshapes of the two
wave-slices, the razor that slices the waves, and the tuning parameters for all of these
elements. There is even a waveform display to show you what the parameters are doing to the
oscillator output. With these tools, you can create a multitude of complex waveforms.

Miniraze’s patented wave-slicing oscillators have several interesting and unique properties for
producing intricate waveshapes. For instance each half of a wave cycle can have independent
shapes and tunings, and the resulting complex waveform sounds like a mixture of both halves.
A single wave-slicing oscillator can sound detuned, or even produce a 5ths lead, all by itself.

The razor slicing frequency can be slowed down to BPM range to create wave-sequencing
effects, or sped up into fractions of a wave cycle, creating new harmonic and inharmonic
interactions. When alternating at audio rate between two wave slices with different frequency
and timbral content, you get an advanced type of amplitude modulation, which we call Mutant
AM. Depending on the content of each slice, the fundamental and/or any of its harmonics may
modulate on and off, modulate to different levels, or stay the same across the full wave cycle.
This weaves an intricate tapestry of amplitude modulated harmonics in a sequenced pattern.

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And since each wave cycle can have its own frequency and phase reset, multiple simultaneous
hard sync points can be set up per cycle. With Multi-Sync engaged, modulating individual
wave fractions to different frequencies creates a more complex and harmonically rich version of
the classic hard sync sound.

Finally, we should note that in a wave-slicing system, timbral differences are created by having
varied content in each wave slice. If you have a sine wave in each slice, both with the same
tuning, it won’t matter where you slice and splice them together - the output would still be a
sine wave. But as soon as you start changing one of the slices, you’ll start hearing the effect of
the razor.

Razor Size - Changes the size of the wave slices, from fractions of a cycle to multiples
of a cycle.

Razor Duty - Allows adjustment of the razor’s alternating duty cycle, favoring one wave
segment or the other.

Wave 1 - Selects which wave shape to use in the first segment. Aside from a variety of
waveform variations, choices also include “None” and the Audio Inputs. (For a full list of
the available wave shapes, see Appendix A.)

Wave 2 - Selects which wave shape to use in the second segment. Aside from a variety
of waveform variations, choices also include “None” and the Audio Inputs. (For a full list
of the available wave shapes, see Appendix A.)

● Note: DAWs and other host applications handle routings for audio and MIDI in
different ways. For the latest information on Audio Input routing, please check
the MOK forum.

The oscillator knobs at the three points of the triangle are the tuning parameters for the Razor
and the two associated wave segments. The menu at the bottom of the triangle selects the
tuning mode for these three knobs, allowing for one of four settings:

Full - Allows for smooth pitch sweeps through the full range of each knob.

Octave - Sets the frequency of the wave segments and Razor in octave steps.

Semi - Sets the frequency of the wave segments and Razor in semitone steps.

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Cents - Sets the frequency for the wave segments and the Razor in cents.

Razor Tune - This tuning parameter is the reference tuning for the entire oscillator. It’s
also the base frequency of the razor, or wave slicer, although you can change the ratios
of slicing to the base oscillator frequency through the Razor Size parameter. If you
modulate Razor Tune, both waves will also be modulated by the same amount and
follow the reference tuning, but you can also modulate the individual waves and Razor
Size parameter by different amounts and generate harmonics from waveform
discontinuities.

● Note: It is possible to click and drag on the numerical values of the Razor Tune
parameter directly in order to change them. The value is divided into three
segments with the octave value first, then semitones, then cents. Each segment
also has a “+” or “-” indicator denoting positive or negative amounts for the
value of that particular segment.
● Remember, double clicking on a setting will reset it to its default value. If you
double click on one of the three tuning segments, it will only reset the value for
that particular segment to zero. Double clicking on the knob itself will reset all
the values to zero.

Wave 1 Tune - This is the tuning value for the first of two wave segments. As with
Razor Tune above, it has a three segment value field that can be clicked and dragged in
order to set values directly.

Wave 2 Tune - This is the tuning value for the second of two wave segments in the
oscillator. This also has a three segment value field that can be clicked and dragged in
order to set values directly.

Multi-Sync - This button turns multi-sync on and off for both oscillator waves
simultaneously. When engaged, the button will light and each wave will reset its phase
whenever the oscillator base reference frequency completes a cycle.

● Note: Oscillators 2 and 3 are special in that they feed the Ring Math module,
which intermodulates the two signals according to 21 different mathematical
operations. This allows you to generate additional harmonic and inharmonic
partials based on the intermodulation of the oscillators.

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● Note: Oscillator 3 is special in that it can be used as a modulator in the Filter

section. For some modulations, you may want to remove keytracking from the
oscillator, so that it remains at the same pitch no matter what you play on the
keyboard. To turn keytracking on and off for oscillator 3 only, click on the small
square keyboard icon, next to the Osc 3 Level, in the Mixer section.

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Voice Mode

This Voice Mode section has controls that govern how the available synth voices respond to
note messages. The central menu selects the voice mode, allowing for one of two settings:

Poly - Allows multiple synth voices to play separate notes according to the note
messages received by the synth. The polyphony upper limit can be set in the
Num Voices parameter found in the Settings window.

UniMono - Puts Miniraze into mono-legato mode combined with unison

behavior. This does three things. First, only one note will play at a time, with the
priority placed on the last note message received. Second, the envelopes do
not reset unless the previous note is released before the next note plays. Third,
it allows for multiple voices to play simultaneously from the same note message.

Voices - The voices parameter determines the number of voices that play from a single
note message when the Voice Mode is set to UniMono. This can be set to a value from
1 to 16. When the Voice Mode is set to Poly, this parameter is ignored.

Detune - This detunes all the voices in cents, spreading equally from center pitch,
fanning them out. This is useful to create a thick Unison Detune sound. However,
Detune will still work in Poly Voice Mode, causing each separate voice to be out of tune
from any other within the range of the detune setting.

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Mixer Section

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The Mixer Section provides levels for each pre-filter audio source and also allows you to turn
the sources On and Off with the touch of a button. The mix of these sources is then fed into
the Filter Section for timbral shaping

Osc 1 Level - Changes the volume level of oscillator 1 from 0% to 100%. The On/Off
button can be used to mute the oscillator output without changing the level.

Osc 2 Level - Changes the volume level of oscillator 2 from 0% to 100%. The On/Off
button can be used to mute the oscillator output without changing the level.

Osc 3 Level - Changes the volume level of oscillator 3 from 0% to 100%. The On/Off
button can be used to mute the oscillator output without changing the level.

Noise Level - Changes the volume level of the noise generator from 0% to 100%.
Connected to the level knob, there is a menu containing choices for 11 different noise
types or to turn the noise generator off. The choices of noise types are:

Off - Turns the noise generator off.

White - A random signal with equal intensity across all audio frequencies.

Pink - A frequency spectrum such that the power spectral density is inversely
proportional to the frequency of the signal.

Turquoise - A noise signal with the mid-range frequency spectra scooped out as
a semi-Fletcher Munson curve, centered around 1.5 kHz.

Brown - This noise color is named for Brownian motion, a term used to describe
the way that particles move randomly through liquids. Brown noise has higher
intensity at low frequencies and decreases in intensity at 6 dB per octave in the
upper frequencies.

Black - A type of noise where the dominant energy level is zero throughout all
frequencies, with occasional sudden rises in intensity. It sounds a bit like the
pops and clicks of a dirty vinyl record.

Red - Red noise is not well defined, and is commonly just another term for
Brown noise. In Miniraze, we’ve moved the energy rolloff point higher, from the
39 Hz of Brown, to 390 Hz in Red.
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Orange - Using the Bricks Scale, this is generated with a pair of serial BiQuad
BP Filters, with a combined focus around 500 Hz and the removal of the very
high part of the spectrum in order to match natural sounds.

Yellow - Using the Bricks Scale, this is generated with a pair of serial BiQuad
filters, LP and HP, with a combined focus around 1 kHz and the removal of the
very high part of the spectrum to match natural sounds. Yellow Noise is very
closely related to the “Green Noise for Sleep”, a distant waterfall, or the ocean.

Green - Using the Bricks Scale, this is generated with a pair of serial BiQuad
Filters, BP and LP, with a combined focus around 2 kHz and the removal of the
very high part of the spectrum in order to match natural sounds, such as tropical
rain.

Blue - The inverse of Pink Noise. In Blue noise, the spectral intensity is
proportional to its frequency, so the energy of the signal increases as frequency
increases.

Violet - The inverse of Brown Noise. It has higher intensity in the high
frequencies with 6dB per octave High Pass filtering increasing as it descends.

Ext In Level - Changes the volume level of the external audio input from 0% to 100%.
The On/Off button can be used to mute the external input without changing the level.
Connected to the level knob, there is a menu containing choices for audio input routing.
The selections are:

Off - Turns the audio input route off.

Audio In - Receives audio from the audio track on which Miniraze is instantiated.

Sidechain - Receives audio from the sidechain bus.

● Note: DAWs and other host applications handle routings for audio and MIDI in
different ways. For the latest information on Audio Input routing, please check
the MOK forum.

Main Level - Changes the main output volume level for the entire patch, post effects.

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Analog On/Off - Turning this button On adds subtle analog randomness to the multiple
areas of the patch. Small frequency randomizations and drift are added to the
oscillators and the filters. It also randomizes the starting phase of the oscillators.

Ring Math

At the bottom of the Mixer Section is the Ring Math module, which offers a selection of
oscillator intermodulation opportunities selectable via the menu. Oscillators 2 and 3 feed the
Ring Math input and are available to the module even when they are turned down, or off, in the
mixer. The available Ring Math types are:

None - Disables the intermodulation signal.

Ring Mod - Multiplies the signals from oscillator 2 and oscillator 3. This is
traditional ring modulation.

Amp Mod - Multiplies the absolute value of oscillator 3 with the bipolar oscillator
2 signal. The result always maintains the same polarity as oscillator 2, since
there will never be two negative values creating polarity changes.

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MagMax 1 - Whichever signal has the greatest absolute value, between

oscillator 2 and oscillator 3, will be selected as the resulting output signal. In
this case, the Ring Math Amount parameter will scale the level of oscillator 3.

MagMax 2 - A variation of mag max where only the positive values of each
signal are used for comparison. The Ring Math Amount parameter is used to
blend the original oscillator 2 signal back into the output.

Diff Modes (Diff 1, Diff 2, Diff 3, Diff DYN, Diff AM1, Diff AM2) - These modes use
the polarity of the oscillator 2 signal to create addition and subtraction
combinations of oscillator 2 and oscillator 3.

Sum Modes (Sum DYN, Sum ADD, Sum OR, SumBOOL) - These modes use the
polarity of the oscillator 2 signal to create addition based intermodulations of
oscillator 2 and oscillator 3.

Ring Modes (RingEXC, RingDYN, RingAND, RingBL1, RingBL2) - These modes

use the polarity of the oscillator 2 signal to create multiplication combinations of
oscillator 2 and oscillator 3.

Gate BL1 - Uses oscillator 3 to gate the oscillator 2 signal. The processed
output is derived solely from the gated oscillator 2 signal.

Gate BL2 - Uses oscillator 2 to gate the oscillator 3 signal. The processed
output is derived solely from the gated oscillator 3 signal.

Amount - A special control that tailors the amount of signal applied in each Ring Math
mode. Typically this parameter scales the amount of oscillator 3 math applied to the
oscillator 2 signal, but it behaves differently for the MagMax modes (see the MagMax
descriptions above).

Level - Sets the output level of the module from 0% to 100%.

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Arpeggiator

The Arpeggiator allows you to input notes into Miniraze and have them play back in an
algorithmic pattern determined by the Arpeggiator settings. Most of the behavior of the
Arpeggiator is determined by the Pattern you select in the browser. The pair of numbers at the
beginning of the name tells you the note value the Arpeggiator will play. “1 - 1” is a whole note,
while “1 - 2” is a half note, and so on. The rest of the name describes the Arpeggiator
algorithm:

Down - Any held notes are played in sequence from highest to lowest. When
the lowest note is reached, the Arpeggiator starts from the highest note again.

Fwd - Any held notes are played in sequence from oldest received to newest.
When the newest note is reached, the Arpeggiator starts from the oldest note
again.

FwdRev - Any held notes are played in sequence from oldest received to
newest, then reverses direction and returns to the oldest note. The pattern
repeats as long as notes are held.

Random -Any held notes are played in random order.

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Rev - Any held notes are played in sequence from newest received to oldest.
When the oldest note is reached, the Arpeggiator starts from the newest note
again.

Up - Any held notes are played in sequence from lowest to highest. When the
highest note is reached, the Arpeggiator starts from the lowest note again.

UpDown - Any held notes are played in sequence from lowest received to
highest, then reverses direction and returns to the lowest note. The pattern
repeats as long as notes are held.

The Arpeggiator Browser works almost exactly like the Preset Browser. Clicking on the triangles
to the left and right of the pattern name will decrement or increment the pattern. Or you can
click on the pattern name to open the browser and select a new pattern. Clicking once on a
pattern will load it, but will also leave the browser open so that further selections can be made.
Double clicking will select a new pattern and close the browser. Or, if the browser is open and
you’re done with it, you can click in the top name field once in order to close the extended
browser.

Tempo - Although it appears in the Arpeggiator section, this knob is used to adjust the
tempo value for the entire synth in beats per minute. The Arpeggiator can synchronize
to this setting, but so can the LFOs and Effects. You can set any tempo value between 1
and 480 BPM.

Sync - This setting appears below the Tempo knob and governs how the entire synth
might synchronize with an external source, or if it plays according to its own tempo. This
setting can be set to one of three values:

Internal - The Tempo knob sets the Tempo for the entire synthesizer.

External - The Tempo knob is ignored and any tempo synchronized elements of
the synth follow the incoming clock from the host application.

Ext+Beat - The Tempo knob is ignored and any tempo synchronized elements of
the synth follow the incoming clock from the host application, and are further
quantized to line up with the beat.

Arp On/Off - This button activates and deactivates the arpeggiator.

Some performance meters for the synth also appear in this section, but relate to the synth as a
whole, rather than just the arpeggiator.

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Voices - Shows how many voices are currently being used.

CPU - Shows the current percentage of processor usage.

Filter Section

Miniraze features two filters arranged in series with four parameters each, which vary according
to the filter type. Audio rate modulation, coming from oscillator 3, can be applied to either or
both filters.

The selection of filters include both subtractive and generative types. The subtractive filters all
have common parameters:

Cutoff - This is the filter’s cutoff frequency, where it begins to roll off.

Emphasis - A classic term for resonance, used as an homage to another famous

“Mini”. Controls the level of regeneration of the signal at the cutoff frequency

FM - Audio rate modulation to the filter cutoff frequency from oscillator 3.

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Keytrack - The amount the filter cutoff frequency follows the keyboard. At a
setting of 0%, the cutoff of the filter will be the same, regardless of the note
number that triggered the voice. At 100%, the cutoff frequency will double with
each octave on the keyboard.

The available filter types are:

None - Bypasses the filter slot.

4 Pole LPF - A 4-pole ladder low pass filter.

4 Pole HPF - A 4-pole ladder high pass filter.

2 Pole LPF - A 2-pole state variable low pass filter.

2 Pole HPF - A 2-pole state variable high pass filter.

2 Pole Band - A 2-pole state variable band pass filter.

2 Pole Notch - A 2-pole state variable notch filter.

2 Pole Blend - A combination of all the 2-pole state variable filter modes.

SallenKey LPF - A 2-pole low pass filter.

SallenKey HPF - A 2-pole high pass filter.

Wavefolder - In this generative effect, as a waveform is driven into clipping, the clipped
portion is folded back down below the clip threshold, creating new waveform
harmonics.

Drive - Adds gain to the input signal to create more folding.

Stages - Increases the amount of folding stages, generating additional

harmonics.

AM - Amount of amplitude modulation applied to the output level.

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Folder - Selects the folding algorithm for different flavors of harmonic generation.
The available types are:

Bi-Fold - This is the typical fold back mode. When the signal reaches the
fold point, it will bounce back in the opposite direction until it reaches the
next maximum fold point, at which time it will reverse direction again.

Polar-Fold - This is the same as Bi-Fold, except the signal is only folded
within its original polarity. For example, as a signal exceeds the positive
maximum it will bounce back in order to begin a downward fold, however
it will only go as far as zero (mid-point), before folding back again in a
positive direction. This creates wavefolding that maintains the original
fundamental orientation of the source signal.

Bi-Flip - Instead of folding the signal as it reaches the fold points, the
signal will pass through to the opposite polarity. This is similar to
wrapping. For example, as a signal reaches 1.0 (maximum), it will be
wrapped to -1.0 and continue its upward trajectory.

Polar-Flip - This is the same as Bi-Flip, except the signal will be wrapped
to the midpoint, giving a similar effect, but maintaining the fundamental
orientation of the original source signal.

Decimator - Performs sample rate and bit reduction.

SRate - Reduces sample rate in a range from 100% down to 1%.

Crush - Reduces bit depth in a range from 100% down to 1%.

BAM - Amount of audio rate modulation to bit depth.

Keytrack - Adjusts the Key Tracking of the sample rate, relative to the Sample
Rate parameter. At a setting of 0%, the sample rate stays the same, regardless
of the note number that triggered the voice. At 100%, the sample rate perfectly
tracks note frequency. Key Tracking is centered around C3.

Saturator - A basic Saturation stage with adjustable dB rails.

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Drive - Controls the amount of additional Gain to drive the source signal into the
rails.

Rail - Similar to analog voltage rails, this control sets the absolute maximum dB
clipping point.

DM - Amount of audio rate modulation to Drive level.

Keytrack - Adjusts the Key Tracking of the Drive amount, relative to the Drive
parameter. At a setting of 0%, the Drive amount stays the same, regardless of
the note number that triggered the voice. At settings above 0%, the effect
applies an inverted response that reduces drive in the high range, for less
harshness, and increases drive in the low range for extra aggressiveness. Key
Tracking is centered around C3.

Compressor - An effect that reduces the volume of loud sounds over a certain
threshold, thus compressing the dynamic range of the audio signal.

Threshold - Sets the level at which the effect is engaged.

Ratio - Sets the amount of gain reduction. A ratio of 2:1 means that if input level
is 2 dB over the threshold, the output signal level is reduced to 1 dB over the
threshold.

Attack - Sets the amount of time it takes to reach the full compression ratio after
the signal goes over the threshold.

Release - Sets the amount of time it takes to return to zero compression after
the signal falls below the threshold.

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Envelope Section

The Miniraze Envelope section offers 4 Envelopes, each with 4 modulation routes. The buttons
at the top of the section select between the 4 available Envelopes, with Envelope A being
hardwired to Amplitude. The parameters shown in the section are the settings for the currently
selected Envelope. Similarly, the 4 buttons in the bottom half of the section select between the
Envelope’s 4 Matrix Routes. Only the parameters for the currently selected modulation route
are shown.

● Note: When Envelope A is selected, a “V” button appears next to the Matrix
Route selector buttons. The V button turns velocity response on and off for the
hardwired amplitude modulation route.

Attack - The time it takes for the envelope Attack stage to go from its beginning level to
maximum level.

Attack Curve - Click on the curve shape connected to the Attack knob in order to select
between 9 different curves. There are different intensities of logarithmic and
exponential curves as well as a straight linear response.

Decay - The time it takes for the envelope Decay stage to go from maximum level to the
Sustain level.

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Decay Curve - Click on the curve shape connected to the Decay knob in order to select
between 9 different curves. There are different intensities of logarithmic and
exponential curves as well as a straight linear response.

Sustain Level - Once the envelope reaches the Sustain stage, it remains at this level
until the note is released.

Release - The time it takes for the envelope Release stage to go from the Sustain level
to zero.

Release Curve - Click on the curve shape connected to the Release knob in order to
select between 9 different curves. There are different intensities of logarithmic and
exponential curves as well as a straight linear response.

Envelope Matrix
The 4 Envelope Matrix buttons select between the 4 available modulation routes per Envelope.
The parameters for each modulation route are:

Route Level - Amount to scale the signal output to the destination. This is a bipolar
parameter, so negative values will invert the modulation polarity. Note that the final
output will be limited to the minimum and maximum value range of the destination
parameter.

Destination - Menu for selecting categorized modulation destinations. Note that some
modulation targets in the synth have additional destinations beyond their visible
parameters. These “hidden” destinations often provide alternate functionality when
modulated. (See Appendix B for a list of all modulation destinations and what they do.)

Scaler Level - Sets the amount of scaling applied by the Scaler Source.

Scaler Source - Chooses between six control sources to scale the Level of the Envelope
applied to the destination. Choices are:
None (off)
Mod Wheel
Pitch Wheel
Aftertouch
Sustain Pedal

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Velocity

● Note: A quick way to set up a Filter Envelope for Filter 1 (for example) would be
to select an unused envelope and set the Destination to Filter 1 Cutoff. As soon
as that’s complete, the Route Level knob acts as your Filter Envelope Amount
knob. You can also go on to add a Scaler if you like. The most common
envelope scaler would likely be Velocity, and it’s readily available in the drop
down menu.

Effect Section

Miniraze offers an effect at the end of the voice path with 9 different types to choose from.
Each effect offers 4 parameters, which are different for each type. Select the effect you want to
use in the Config menu:

None - No effect.

Delay - A stereo delay effect.

Sync Mode - Turns synchronization on and off for the effect.

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Time - Under the Time setting, the Time knob sets the delay time in
seconds.

Tempo - When set to Tempo, the Time knob sets the delay time in note
values, synchronized to Miniraze’s main Tempo settings, located in the
Arpeggiator section.

Time - Adjusts the length of the delay time from 0 to 3 seconds.

Feedback - Positive feedback can be set from 0 to 100%.

Spread - Increases the stereo effect by scaling the delay times on the right
channel up to 2x its original length. At a value of 0%, there is no change.

FX Mix - A balance between the wet and dry signal. It goes from 100% dry to
100% wet, with an equal balance at 12 o’clock.

Ping Pong - A stereo ping pong delay effect.

Sync Mode - Turns synchronization on and off for the effect.

Time - Under the Time setting, the Time knob sets the delay time in
seconds.

Tempo - When set to Tempo, the Time knob sets the delay time in note
values, synchronized to Miniraze’s main Tempo settings, located in the
Arpeggiator section.

Time - Adjusts the length of the delay time from 0 to 1.5 seconds.

Feedback - Positive feedback can be set from 0 to 100%.

Spread - Changes the ping pong relationship by scaling the delay times on the
right channel up to 2x its original length. At a value of 0%, there is no change.

FX Mix - A balance between the wet and dry signal. It goes from 100% dry to
100% wet, with an equal balance at 12 o’clock.

Chorus - A stereo chorus effect.

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Sync Mode - Turns synchronization on and off for the effect.

Time - Under the Time setting, the Rate knob sets the LFO rate in Hertz.

Tempo - When set to Tempo, the Rate knob sets the LFO rate in note
values, synchronized to Miniraze’s main Tempo settings, located in the
Arpeggiator section.

Rate - Adjusts the LFO Rate.

Depth - The amount of LFO modulation applied to the delay line.

Feedback - Standard Delay line feedback, which can be Positive or Negative.

FX Mix - A balance between the wet and dry signal. It goes from 100% dry to
100% wet, with an equal balance at 12 o’clock.

Flanger - A stereo flanger effect.

Sync Mode - Turns synchronization on and off for the effect.

Time - Under the Time setting, the Rate knob sets the LFO rate in Hertz.

Tempo - When set to Tempo, the Rate knob sets the LFO rate in note
values, synchronized to Miniraze’s main Tempo settings, located in the
Arpeggiator section.

Rate - Adjusts the LFO Rate.

Depth - The amount of LFO modulation applied to the delay line.

Feedback - Standard Delay line feedback, which can be Positive or Negative..

FX Mix - A balance between the wet and dry signal. It goes from 100% dry to
100% wet, with an equal balance at 12 o’clock.

Phaser - A stereo phaser effect.

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Sync Mode - Turns synchronization on and off for the effect.

Time - Under the Time setting, the Rate knob sets the LFO rate in Hertz.

Tempo - When set to Tempo, the Rate knob sets the LFO rate in note
values, synchronized to Miniraze’s main Tempo settings, located in the
Arpeggiator section.

Rate - Adjusts the LFO Rate.

Depth - The amount of LFO modulation applied to the phaser frequency.

Feedback - Standard feedback, which can be Positive or Negative..

FX Mix - A balance between the wet and dry signal. It goes from 100% dry to
100% wet, with an equal balance at 12 o’clock.

Reverb - A comb filter based reverb algorithm.

Sync Mode - Turns synchronization on and off for the effect.

Time - Under the Time setting, the Time knob sets the pre-delay time in
milliseconds.

Tempo - When set to Tempo, the Time knob sets the pre-delay time in
note values, synchronized to Miniraze’s main Tempo settings, located in
the Arpeggiator section.

Pre-Delay - Sets ​the amount of time between the original dry sound and the
audible onset of early reflections of the reverb.

Size - Sets both the size and decay of the reverb, from 0 seconds to 30
seconds.

Tone - Sets the tonal balance of the reverb from dark to bright.

FX Mix - A balance between the wet and dry signal. It goes from 100% dry to
100% wet, with an equal balance at 12 o’clock.

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Wavefolder - In this generative effect, as a waveform is driven into clipping, the clipped
portion is folded back down below the clip threshold, creating new waveform
harmonics.

Drive - Adds gain to the input signal to create more folding.

Stages - Increases the amount of folding stages, generating additional

harmonics.

Folder - Selects the folding algorithm for different flavors of harmonic generation.
The available types are:

Bi-Fold - This is the typical fold back mode. When the signal reaches the
fold point, it will bounce back in the opposite direction until it reaches the
next maximum fold point, at which time it will reverse direction again.

Polar-Fold - This is the same as Bi-Fold, except the signal is only folded
within its original polarity. For example, as a signal exceeds the positive
maximum it will bounce back in order to begin a downward fold, however
it will only go as far as zero (mid-point), before folding back again in a
positive direction. This creates wavefolding that maintains the original
fundamental orientation of the source signal.

Bi-Flip - Instead of folding the signal as it reaches the fold points, the
signal will pass through to the opposite polarity. This is similar to
wrapping. For example, as a signal reaches 1.0 (maximum), it will be
wrapped to -1.0 and continue its upward trajectory.

Polar-Flip - This is the same as Bi-Flip, except the signal will be wrapped
to the midpoint, giving a similar effect, but maintaining the fundamental
orientation of the original source signal.

FX Mix - A balance between the wet and dry signal. It goes from 100% dry to
100% wet, with an equal balance at 12 o’clock.

Saturator - A Saturation effect with adjustable dB rails.

Drive - Controls the amount of additional Gain to drive the source signal into the
rails.
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Rail - Similar to analog voltage rails, this control sets the absolute maximum dB
clipping point.

Clip - Sets a hard clip threshold for the Saturator, and can be used to get harder
distorted tones.

FX Mix - A balance between the wet and dry signal. It goes from 100% dry to
100% wet, with an equal balance at 12 o’clock.

Decimator - Performs sample rate and bit reduction.

Drive - Increases gain in order to drive the bit crusher, but can also introduce
distortion from clipping.

SRate - Reduces sample rate in a range from 100% down to 1%.

Crush - Reduces bit depth in a range from 100% down to 1%.

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Appendix A - Wave Shapes

None ExLog 2 ExpSawUp 8

Sine ExLog 3 ExpSawUp 9
SineInv ExLog 4 LogSawUp 1
SineEx ExLog 5 LogSawUp 2
SineLog ExLog 6 LogSawUp 3
Triangle ExLog 7 LogSawUp 4
Exp 1 ExLog 8 LogSawUp 5
Exp 2 ExLog 9 LogSawUp 6
Exp 3 LogEx 1 LogSawUp 7
Exp 4 LogEx 2 LogSawUp 8
Exp 5 LogEx 3 LogSawUp 9
Exp 6 LogEx 4 Saw Down
Exp 7 LogEx 5 ExpSawDn 1
Exp 8 LogEx 6 ExpSawDn 2
Exp 9 LogEx 7 ExpSawDn 3
Log 1 LogEx 8 ExpSawDn 4
Log 2 LogEx 9 ExpSawDn 5
Log 3 Saw Up ExpSawDn 6
Log 4 ExpSawUp 1 ExpSawDn 7
Log 5 ExpSawUp 2 ExpSawDn 8
Log 6 ExpSawUp 3 ExpSawDn 9
Log 7 ExpSawUp 4 LogSawDn 1
Log 8 ExpSawUp 5 LogSawDn 2
Log 9 ExpSawUp 6 LogSawDn 3
ExLog 1 ExpSawUp 7 LogSawDn 4

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LogSawDn 5 Rand S6 Noise S5

LogSawDn 6 Rand S7 Noise S6
LogSawDn 7 Rand S8 Noise S7
LogSawDn 8 Rand S9 Noise S8
LogSawDn 9 Rand R0 Noise S9
RipSawUp Rand R1 Noise R0
RipSawDown Rand R2 Noise R1
Chop Saw Rand R3 Noise R2
Chop Sin Rand R4 Noise R3
SawTri Up Rand R5 Noise R4
SawTri Dn Rand R6 Noise R5
Square Rand R7 Noise R6
Pulse Rand R8 Noise R7
Rand S0 Rand R9 Noise R8
Rand S1 Noise S0 Noise R9
Rand S2 Noise S1
Rand S3 Noise S2 (Oscillator only)
Rand S4 Noise S3 ExtIn L
Rand S5 Noise S4 ExtIn R
ExtInL+R

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Appendix B - Modulation Destinations

None - No destination, effectively turning the modulation route off.

Osc All Tune - Targets the Razor Tune parameter for all three oscillators. This allows for setting
up modulations like vibrato, using only a single modulation route.

Osc 1-3 Razor Tune - Targets the main reference tuning for the oscillator. Modulating Razor
Tune, will also modulate Waves 1 and 2.

Osc 1-3 Razor Duty - Modulates the Razor Duty parameter, which adjusts the duty cycle of the
wave slices.

Osc 1-3 Wav 1 Tune - Modulates the tuning of Wave 1 only. Useful for creating waveform
discontinuities when slicing.

Osc 1-3 Wav 2 Tune - Modulates the tuning of Wave 2 only. Useful for creating waveform
discontinuities when slicing.

Osc 1-3 Razor Size - Modulates the slice size multiplier for the Razor.

Osc 1-3 Level - Targets the Mixer Level of the oscillator.

Osc 1-3 OneOctave - Modulate the oscillator reference tuning over a range limited to 1 octave.
This is useful if you want more control resolution within a 1 octave range, and if you want to
know that the maximum modulation will be exactly 1 octave.

Osc 1-3 Semitones - Modulates the oscillator reference tuning in a +/- 1 octave range,
quantized to Semitones.

Osc 1-3 Major - Modulates the oscillator reference tuning in a +/- 1 octave range, quantized to
Major Scale intervals.

Osc 1-3 Minor - Modulates the oscillator reference tuning in a +/- 1 octave range, quantized to
Minor Scale intervals.

Osc 1-3 Quadrants - Modulates Up and Down in ¼ Octave Fractions. Good for harmonic
intervals, as every step will have some mathematical relationship to the root.
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Osc 1-3 Fractal - Modulates Up and Down in 1/8 Octave Fractions. Good for harmonic interval
exploration, but a bit more wild since ⅛ octave steps are not as harmonically pleasing as ¼
octave steps.

Osc 1-3 Octave - Modulates the oscillator reference tuning in octave steps.

Osc 1-3 Wav 1 Duty - Modulates the Duty Cycle of Wave 1 only. Used to create Pulse Width
Modulation in any waveform you select that is not purely noise based.

Osc 1-3 Wav 2 Duty - Modulates the Duty Cycle of Wave 2 only. Used to create Pulse Width
Modulation in any waveform you select that is not purely noise based.

Ext In Level - Modulates the level of the external input in the Mixer.

Noise Level - Modulates the level of the Noise generator in the Mixer.

Ring Math Amount - Modulates the amount of Ring Math intermodulation.

Ring Dry Level - Modulates the level of the Ring Math input from oscillators 2 and 3.

Ring Out Level - Modulates the level of the Ring Math output to the Filter section.

Voice Level Pre - Modulates the level of the voice just prior to entering the Filter section.

Voice Level Post - Modulates the level of the voice just prior to entering the Effect section.

Voice Pan - Modulates the placement of the synth voice in the stereo field.

Filter 1-2 Cutoff (Control 1) - Modulates the Filter Cutoff level, or whatever parameter appears in
its place if you are using a generative filter instead of a subtractive one. For example, if you are
using the Wavefolder in Filter 1, this destination will appear as Filter 1 DRIVE because that is
the equivalent parameter when that filter is selected.

Filter 1-2 Emphasis (Control 2) - Modulates the Filter Emphasis level, or whatever parameter
appears in its place if you are using a generative filter instead of a subtractive one. For
example, if you are using the Wavefolder in Filter 1, this destination will appear as Filter 1
STAGES because that is the equivalent parameter when that filter is selected.

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Filter 1-2 FM (Control 3) - Modulates the Filter FM level, or whatever parameter appears in its
place if you are using a generative filter instead of a subtractive one. For example, if you are
using the Wavefolder in Filter 1, this destination will appear as Filter 1 AM because that is the
equivalent parameter when that filter is selected.

Env A, 1-3 TimeScale - Modulating this destination allows you to scale all the time-based
parameters of the envelope simultaneously. This is useful for creating plucked string sounds
for example, because the higher notes decay faster than lower notes. You would use Key
Number as your source modulator for this, and route it with a negative value to TimeScale.

Env A, 1-3 LevelScale - Modulating this destination allows you to scale the overall level of the
envelope positively or negatively from its current level.

Env A, 1-3 Attack - Modulating this destination allows you to scale the Attack parameter. Since
scaling is a multiplication of a value, a setting of zero in the target value cannot be modulated.

Env A, 1-3 Decay - Modulating this destination allows you to scale the Decay parameter. Since
scaling is a multiplication of a value, a setting of zero in the target value cannot be modulated.

Env A, 1-3 Sustain - Modulating this destination allows you to scale the Sustain parameter.
Scaling the Sustain parameter can be done even when its value is at zero, but the Decay stage
needs to be at a non-zero time value.

Env A, 1-3 Release - Modulating this destination allows you to scale the Release parameter.
Since scaling is a multiplication of a value, a setting of zero in the target value cannot be
modulated.

Env 1-3 Reset - When this destination is selected, each time the modulation source value goes
from low to high, the Envelope will re-trigger.

Env 1-3 Freeze - When this destination is selected, if the modulation source value is high, the
Envelope will freeze at its current position. When the modulation source value is low, the
Envelope will continue from its current position.

LFO 1-4 Level - Modulates the output level of the LFO.

LFO 1-4 Speed - Modulates the Speed of the LFO.

LFO 1-4 Shape - Modulates the LFO shape.

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LFO 1-4 Duty - Modulates the LFO Duty cycle, allowing for Pulse Width Modulation of the LFO.

LFO 1-4 Phase - Modulates the phase of the LFO.

LFO 1-4 Quantize - Modulates the Quantization amount of the LFO.

LFO 1-4 Reset - When this destination is selected, each time the modulation source value goes
from low to high, the LFO will re-trigger from its start phase.

LFO 1-4 Freeze - When this destination is selected, if the modulation source value is high, the
LFO will freeze at its current position. When the modulation source value is low, the LFO will
continue from its current position.

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Appendix C - Miniraze Development Credits

MOK
- Rob Rampley : Application and DSP Algorithm Design and Development
- Taiho Yamada : Product Design and Marketing
- Chris Compton : Online Systems Architect

Additional Credits
- Kris Daniel : DSP Mentoring
- Amplify Marketing : Product Messaging, Press Releases, Web Copy
- Daniel Alflatt : Teaser Video Production
- Patrice Tarabbia : Big Tick Software / Zen Database API
- Yasuo Matsunaka : Japanese translation
- Wolfram Franke : German translation
- musiXboy : Chinese translation
- Dmitry Larionov : Russian translation
- Bernardo Ostojic : Dutch, French, Italian, Serbian, Afrikaans translations
- Hugo Rampley : Beta Testing

Special thanks to Michelle Moog-Koussa, Executive Director of the Bob Moog Foundation.

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Appendix D - US Patent

Miniraze’s wave slicing oscillator algorithm is protected by US Patent, number 10,262,646.

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Miniraze Community

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We are here for you!

- Rob, Taiho and Chris

Media Overkill, MOK and Miniraze are trademarks of Media Overkill, LLC.

Specifications subject to change without notice.

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