Explore the vast possibilities below through our demo tracks, videos, specs and more descriptions for some of the finer intricacies.

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1 Intrductin Hexeract is a limitlessly pwerful sftware synth, which has vastly expanded the ptential sund palette fr cmpsers, prducers, sngwriters and all ther artists. Create sunds with Hexeract that yu never befre believed pssible, with enugh capability, material, mdules and cntrls t experiment indefinitely and infinitely. Never befre have the true essence and cmplexity f mdular synthesis, and the best f rganic recrdings/samples been cmbined in such a capable and mighty fashin. With Hexeract, yu have befre yu a pwerful and capable sftware synthesizer, multiplied with the added dimensin f rganic recrdings, leading t snic pssibilities nt even remtely paralleled by any sftware r hardware currently available. Create sunds with Hexeract in secnds which, even if replicable manually, culd ptentially take hurs f manual sund design and editing.

2 Explre the vast pssibilities belw thrugh ur dem tracks, vides, specs and mre descriptins fr sme f the finer intricacies. The true artistry hwever, lies ultimately with yu. We ve created and given yu this amazing tl, and lk frward t seeing yu d yur part as the artist, and hearing the amazing creatins that yu cme up with using Hexeract...

3 Overview At the tp f HEXERACT, exists the Glbal tlbar, frm which yu can access yur versin number and license details (click n the HEXERACT lg), the three main editing tabs and virtual keybard (mre fr the ipad versin), the master vlume with master vlume mnitr underneath, preset name with preset left and right quick scrll (clicking preset name als brings up preset brwser), und, red, panic and settings buttns, and finally, mdes: MONO, POLY and ARP. The Glbal Tlbar: There is als a glide slider (nly applicable fr mn mde) just belw the glbal tlbar n the right: Turning up the slider increases glide, turning it dwn decreases it, all the way t zer, which is n glide at all. Using the ARP r plyphnic mde will bypass pitch glide cmpletely. The OST tab is where yur scillatrs/sund mdules are, as well as where the main bulk f yur sund designing and patching will take place. Here yu can adjust varius cntrls, rute mdulatins, access the mdulatin matrix (matrix buttn, pictured belw n the bttm-ish left hand f the interface), and mre. (matrix buttn click t pen and manually edit cnnectins, as well as assign extra mdulatin cnnectins nt available via virtual patch cables.

4 Virtual patch bay (click a mdulatr link and drag t create a cable, and drag it t the parameter link yu want t mdulate names will pp up as yu scrll ver)

5 The FX tab allws yu t add different effects (Chrus, Degrader, Delay, Limiter, Phase, Reverb, Saturatr and Stere Width) t each sund surce individually. The blue pwer buttns at the tp f each rw can als be used t turn n and ff scillatr 1 3 frm this tab, s yu dn t have t keep switching between when editing the FX. The final MST sectin prvides a master cmpressr and limiter, as well as a master FX sectin where yu can add effects t the verall cmbined sund f the three scillatrs. Perfrmance Mdes In the tp right yu have three perfrmance mdes mn (ne nte at a time), ply (plyphnic playing fr playing mre than ne nte at a time, such as chrds r harmnies) and ARP, which is a very functinal and capable arpeggiatr.

6 There is a Keys tab (has a sticky functin, useful if yu have n midi keybard, fr testing ut sunds), mainly created fr the ipad versin (cming sn!) fr perfrmance purpses.

7 OSC Tab This tab cntains the bulk f sund designing and editing cmpnents. They are listed in the next sectin, with their respective cmpnents and cntrls als explained in detail.

8 Oscillatrs There are three scillatrs/sund surces (frm nw n referred t just as scillatrs ), in which yu select yur starting sund frm a list cntaining synthesized basic wavefrms (SINE, TRIANGLE, SAW, SQUARE), and a vast array f detailed sample sets, cntaining anything frm real vintage synth wavefrms, t nte-by-nte sampled entire rchestras and ensembles. Use the blue pwer buttns abve each scillatr t turn them n r ff. Sund surce display and selectin Click n the name n the display t access a menu which allws access t the vast list f sample sets as well and synth wavefrms available.

9 Yu can als use the left < and right > buttns t scrll thrugh the sund surces ne at a time. UNISON VOICES This allws yu t select anywhere between ne and eight unisn vices, which helps t thicken up the sund, as well as pen up further pssibilities f detuning these vices r spreading them ver the stere field. One very special thing abut this synth is its ability t create thick textures in this way by running real samples thrugh these features in the place f nrmal synth wavefrms (althugh these are als available in Hexeract). In the sund surce menu, accessed by clicking n the current sund s name in the display, yu have tw further cntrls: SAMPLE START Adjust the sample start ffset by up t 1000ms very useful fr example if yu like the bdy and decay f a sund, but dn t want t use the attack, r want t trim it a little. Just play the nte repeatedly whilst adjusting the slider until yu re satisfied. An example f a situatin in which this might help nicely is if yu want t add a filter with a quick pluck-like envelpe t a sund, but the sund itself has a bit f a messy attack. The result might nt cme acrss quite right if the attack is weird and nisy, but if yu trim the attack, yu can find a nice clean spt in the sample t allw the filter and its envelpe t speak.

10 START MOD This feature is ne f many little diamnds available in Hexeract, as it prvides the key t adding the same thickness t a sampled instrument as yu d get when increasing the vice cunt f a synth s wavefrm scillatr. If yu ve already tried selecting a sampled instrument as a sund surce, and increasing the unisn vice cunt, yu might ntice a very ugly phasing sund, caused by multiple very slightly ut-f-phase cpies f the same sund. The start md slider allws yu t ffset these vices frm ne anther, the same as ffsetting the phase f each vice in ther synths t up the vice cunt withut the nasty utf-phase effect. This thickening effect is best used n sustained sunds, but alternatively can als be used interestingly with plucklike and ther shrts sunds t create strange granular/glitch effects. Try lading smething like an acustic guitar pluck, increasing the vice cunt, and sample start slider. Tp rw f buttns MONO If yu select a stere sund/sample set, this will cllapse the sund t mn. A neat tip n why yu might want t use this functin... if yu select a stere sund, and want t add many unisn/dubling vices and spread them ver the stere field, it is a gd idea t mn-ize them first, as yu ll get a nice even spread f sund. On the ther hand, leaving the sunds in stere can als yield different and equally use-able snic/stere shapes! REV If yu have selected a sample set, this will reverse the samples. Obviusly reversing smething flat and sustained in timbre and dynamic, this wn t really change the sund, but if yu select a sample set with any srt f interesting attack/transient/shape, this can create sme interesting sunds!

11 RT Release Trigger, sets the scillatr s that it is triggered nly with the release f a key. Particularly useful fr creating interesting cmbinatins f sunds with ther scillatrs s yu hear the attack f a pian key, with perhaps the decay f anther instrument like an acustic guitar. FM Activates frequency mdulatin. There are further cntrls t adjust and tweak amunt, ctave and de-tune f the FM, cvered further later in this guide. First tab f knbs VOL Adjusts the vlume f that particular scillatr. PAN Adjust panning frm left t right f the scillatr. TUNE Tune the scillatr sund up r dwn by tw ctaves. DETUNE Detune the scillatr s vices frm each ther evenly. Has n effect is the scillatr is set t 01 UNIS (ne vice nly), as there are n vices t de-tune frm each ther. This knb essentially sets the space between pitches f each vice relatively. VIB Amunt f vibrat n the scillatr essentially a dedicated LFO t tune. SHAPE Shape f the vibrat LFO. Click t bring up ppup menu f shapes.

12 SPEED Adjust speed f the vibrat/lfo. SPREAD Adjust the amunt f stere spread between the scillatr s unisn vices. If nly ne vice is used, this cntrl has n effect Secnd tab f knbs Switch tabs with this buttn: ATK Adjust the amplitude attack f the scillatr. This is the time it takes frm the amplitude t g frm zer t full when yu play a nte. DEC Adjust the amplitude decay f the scillatr. This is the time it takes fr the level f the sund t g frm full - as sn as the attack stage has cmpleted - t the set sustain level. SUS Adjust the amplitude sustain f the scillatr. This is the level that the sund will stay at after the attack and decay stages, until yu release the key. If, n the ther hand, yu have the scillatr set t RT (release trigger), the sustain value is irrelevant.

13 REL Adjust the release f the scillatr. This is triggered nce yu release a key and defines the amunt f time that it takes fr the sund t g frm the level it was at, t zer. Dedicated Oscillatr ADSR envelpes vs ADHSR envelpes n the Md Panel Dedicated: Md Panel: The dedicated ADSR is the first in the chain always, s if yu have it set as abve, with the envelpe n the md panel ruted t an scillatr s vlume input, the release will have n effect, as the first dedicated ADSR has already chpped ff the scillatr vice s releases. Think f it as having tw envelpes in a real mdular synth, and the dedicated envelpe cmes first... the sund ut f the dedicated ADSR cmes ut, and ges int the secnd ne, meaning that in the case abve, there is n release fr the secnd ADSR t wrk with. The attack hwever, wuld be affected by the secnd ADSR, but nt the first, in this case. The reasn is, the first ADSR has a shrt attack, almst n time at all, s the secnd ADSR has smething t wrk with. Mst f the time, there wn t be a reasn t rute the envelpe frm the md panel t the sc s vlume, as it already has an envelpe ding just that. The situatin in which

14 yu wuld want t d this, is if yu want t take advantage f the md panel envelpes HOLD functin. T ensure that the dedicated envelpe ADSR des nt get in the way f the md panel envelpe, and that yu can cntrl the entire envelpe f a sund frm the md panel, set the dedicated envelpe cntrls n an scillatr t: Attack: 0 Decay: desn t matter, as sustain will be at max Sustain: max Release: max (vices are verridden and killed after the release perid the same way with the md panel envelpe, s yu dn t have t wrry abut stray vices cntinuing in silence, unheard in the backgrund eating up yur CPU pwer. Once a vice reached silence, it is terminated!

15 Filters Each scillatr has its wn dedicate filter belw it, with a large cutff knb, resnance cntrl, keyfl buttn and filter curve select. List f cntrls Cutff Adjust the cutff frequency fr the filter curve. The large main black knb. KEYFOL Sets the filter curve t fllw the midi nte being played, which helps get a nice even sund acrss all keys and pitches. Fr example, if yu turn KEYFOL ff (default), and set the filter cutff t arund 200hz, playing a nte with a fundamental pitch much higher might nt even be heard. Turning KEYFOL n will set the filter cutff value t adjust t each nte (n a per vice basis f curse), s each nte cmes ut with the same timbre. There are f curse, cases in which yu d want this, and cases in which yu d wuldn t, and it all

16 depends n what srt f sunds yu are creating and the cntext! Resnance The little white knb t the right f the filter cutff knb allws yu t adjust the resnance f the curve. Careful if pushing this beynd arund 6 if yu like yur ears, slwly des it! Filter Curve Menu Select yur type f curve frm this menu. 12dB HP (high pass) 6dB HP, 12dB LP (lw pass) and 6dB LP. The higher 12dB curves have a steeper gradient f effect ver the frequencies at and past the cutff pint, s will bviusly have a strnger cutff sund, as ppsed t the mre gentle 6dB curves.

17 Select yur type f curve frm this menu Cutff Frequency Mdulatin These filters are designed fr fast mdulatin, which immediately presents the pprtunity t d filter cutff frequency mdulatin by mdulating the cutff f a filter at a speed within the audible frequency range. T d this, drag a virtual patch cable frm the LFO yu want t use, t the filter cutff cnnectr, and turn up the temp (make sure sync is ff) int the audi-frequency range (20Hz and up). Try hlding a key, and gradually turning up the temp frm 20HZ t experiment with the range f different timbres. Altering the psitin f the resnance next t the filter (little white knb t the left f cutff), the amunt (AMT) n the cnnected LFO r the intensity at the applicable cnnectin in the mdulatin matrix, will alter the amunt f cutff-frequencymdulatin that is audible, in three different sunding ways. EXAMPLE SCENARIO We discvered that the TUBAS SUSTAINS sund particularly awesme with cutff frequency mdulatin. If yu lad them up int an scillatr and patch the LFO t the cutff, yu can then gradually turn up the temp knb until the Hz value starts t resnate nicely with the nte yu are playing, because the mdulatin rate will apprach the fundamental, r a clse harmnic f the held nte. This methd can be used t find subtle sweet spts with this effect, if s desired. Adding yet anther LFO t the same filter, and nt quite setting it t exactly the same frequency, rather, smething clse, gives a very nice effect, full f harmnic cntent, warmth and mvement. Example diagram:

18 LFO s temp and AMT set (left t right): LFO 1 TEMPO: 36.3Hz AMT 54% LFO 2 TEMPO 38.7Hz AMT 67% LFO 3 TEMPO 37.2Hz AMT 100% This effect can be used t even add sub-harmnics t yur sund, r nrmal harmnics at frequencies abve the fundamental, giving yet anther timbre ptin with which t help a deep bass cut thrugh in a mix. There are n rules thugh, just experimentatin and preference!

19 FX Tab This tab cntains a virtual effects rack, where yu can interactively add effects mdules int different slts. Any effect can be added any number f times t any slt, with the ne exceptin f the phase effect. This can nly be added t slt 4 f each scillatr, and is als a ptential mdulatin target (very useful!) in the mdulatin matrix. Clicking n a slt will bring up the fllwing menu, frm which yu can chse which effect yu d like t insert.

20 At this stage, each clumn f FX crrespnds t each scillatr, and all OSC s sunds are, at this stage, still separated frm ne anther rw 1 is fr adding effects t scillatr-1, rw 2 fr scillatr-2 and rw 3, scillatr-3. The effects run in rder frm tp t bttm, s if yu insert a delay in the first slt at the tp fr OSC 1, and a reverb anywhere beneath it, the audi passes first t the delay, and then t the reverb. Putting the reverb abve the delay, fr example, will have a very different sund, as the reverberated signal/mix will be fed int the delay instead.

21 Mdulatin Panel At the bttm f the OSC tab, yu will find the mdulatin panel, cntaining all manner f different mdulatrs, which yu can use t add mvement t yur sund. Mdulatin can range frm a simple LFO t filter t add a bit f frequency mvement t yur sund, t multiple layers per parameter f mdulating even int the audible spectrum, which can have all manner f different effects. LFO There are three pairs f LFO s and sequencers:

22 By default, yu will ntice that the init patch lads with the blue pwer buttns n the sequencers turned blue. This means that the Sequencers are selected, and ruting frm the LFO/SEQUENCER tab (shwn belw) will rute the sequencer t whichever input yu assign. Easily switch frm sequencer t LFO, but clicking the blue pwer buttn n a sequencer, t turn it grey. Chse yur LFO shape (default set t sine) by clicking and selecting frm the drp dwn list: Sine Triangle Square Saw Randm Use the sync buttn t sync t yur DAW s temp, and the temp knb will autmatically lck t subdivisins f yur prject s set temp. Turn sync ff t have access t the full speed range f the LFO, and turn up t enter int the audible frequency range. AMT cntrls the amunt f LFO, r the amplitude f the wave, and therefre, hw much it affects whichever parameter it is ruted t. A few ideas - mve an LFO s temp int the audible spectrum (20hz and abve), ruted t: Filter cutff Explained in a little mre detail in the filters sectin f this manual. Lts f fun t be had here! Vlume This is amplitude mdulatin Pan This is basically stere amplitude mdulatin, when the LFO is a square wave. The amplitude f the left and right channel g frm zer t full in perfect alternatin, hence, stere AM

23 Tune Frequency Mdulatin. Each OSC has a dedicated FM, but there is much t be said abut subtle amunts f FM, but multiple layers f it. De-tune Very cl - add a few unisn vices (make sure t turn up sample md if using samples), set the detune up halfway is nice. Very useful fr creating dirty lead sunds. Used in cmbinatin with a sund that has plenty f harmnics like a sawtth wave, this will wrk very nicely, but we ve als fund it wrks well with weird experiments n deep warm sunds such as tubas, and it turns the church rgan sample instrument int a rck rgan sunding instrument! Vibrat Interesting adds a srt f grit t the vibrat, analgue sunding in a weird way! Vibrat Speed With the vibrat turned up a little (bviusly if the vibrat knb is set t zer, this will als nt affect the sund), this can create sme very interesting and un-stable pitch wbbles. Add sme vibrat (halfway), turn the speed t full, and rute an LFO sine wave with the temp up halfway and amunt n 100% t the vibrat speed, and yu ll be reaching fr yur fly swatter ;) Yu culd even take this a step further, and set a slw LFO t pan with a pair f headphnes, fr a true msquit VR experience! Spread weird spatial effects when adjusting the temp knb can definitely see use fr this in any sunds that warrants a nice wide stere image with plenty f stere mvement. Sequencers Select a sequencer by clicking the pwer buttn f a sequencer t turn it blue (means sequencer is activated) if it is grey. Click the little sequence diagram at the bttm f the buttn (shwn belw) t pen the sequencer steps (als shwn belw), and draw away! Yu have the ptin t cpy frm ARP, which yu can click t cpy the steps in the arpeggiatr ver t the sequencer, which is useful if yu want any mdulate-able surce t fllw the same steps as the arp.

24 When the sequencer is selected, the cntrls n the LFO (AMT and TEMPO) apply t it t, s yu can use the temp knb and sync t set the speed f the sequence, and whether it lcks t the temp f yur DAW. Similarly, yu can use the AMT knb t adjust the steps relative amplitude and their effect n whatever they are mdulating. Envelpes The envelpes n the md panel can als be ruted t any input, and unlike the dedicated OSC ADSR envelpes, als have a hld stage. T take advantage f this ADHSR and use it as an amplitude envelpe with the hld stage, see the scillatrs sectin f this manual, fr a detailed explanatin. The dedicated OSC envelpes cme first in the chain.

25 Per-Nte/Dynamic Feature Just belw the glbal tlbar n the left, yu will see a small tggle switch with per nte and dynamic written. This is used t alter the way each little vice r nte is treated, and hw the mdulatrs affect the parameters n a per nte basis. When yu select dynamic, any patch cable yu draw between a mdulatr and parameter will be set t dynamic mde, and remain like that until yu remve it. Similarly, if yu switch t per nte, any cables previusly drawn with dynamic mde will remain s, but yu are nt drawing cables in per nte mde, s any cables yu nw draw will be pre nte cnnectins. As fr what per nte des - a simple way f lking at it is t take the example f a simple arpeggiatr sequence, with the pan parameter mdulated with a slw LFO. Draw a patch cable frm an LFO t an scillatr s pan cnnectr (make sure LFO is selected, nt sequencer), turn dwn the temp s it s a nice slw mvement and s yu hear the ntes gradually mving between the left and right channels, back and frth. By default, dynamic is set, and this is the behaviur yu wuld expect. The sequence plays as usual, and it scillates frm hard left t hard right (assuming yu have the AMT set t 100%, and haven t turned dwn the intensity in the mdulatin matrix). If yu were t turn n per nte, and drag this same cable, yu will ntice a very different behaviur every single nte that is played, will grab its mdulatin parameters at that exact pint in time, and freeze them there, but just fr that vice. S if the LFO psitin has mved the pan pt t 25% left, and a nte plays that nte will

26 play at 25% left, and remain there the next nte will play at where the pan parameter is when IT is played and remain there. This tl has s many different uses, and with further and further updates t this manual, we will try t dcument all the different and interesting uses that we find fr this. The first thing we can mentin is that this is extremely useful fr creating interesting and very spatially cnvincing and deep sunds. If yu play a fast sequence and mdulate the pan parameter with an LFO set t randm at the highest pssible speed, yu will ntice hw every single nte played pps up and remains at a different psitin in the stere field.