Synthesizer Expander Module User Guide

Last updated 2024.09.23

The Voltage Modular Synthesizer Expander Module is an emulation of the

classic Oberheim® Synthesizer Expander Module, aka the "SEM." Originally
released in 1974, the keyboardless, mono SEM module was intended as a
companion to the Oberheim DS-2, one of the earliest digital sequencers.
Soon thereafter, Oberheim realized they could interface a digitally scanned
keyboard, mount the whole mess in a big box, and create polyphonic
synthesizers, beginning with the Two Voice, followed by the Four Voice, and
finally the beastly Eight Voice (be sure to check out Cherry Audio Eight
Voice, our super-rad virtual instrument emulation).
Though it was a simple, barebones monosynth, the SEM sounded fantastic,
and had a tone quality very different than the common fuzzy, fat Moog
sound, thanks to its 12 dB/oct state-variable filter. With lowpass, bandpass,

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highpass and notch modes, this flexible filter was the star of the show. We've
precisely recreated it here with a filter section and Phasor effect programmed
by award-winning synth designer, Mark Barton (MRB).

Technical Assistance
Cherry Audio's unique online store and automatic updating should make
operation a smooth experience, but if you run into any issues or have
questions, you can discuss issues online at the Cherry Audio forums.
... or you can communicate directly with one of our surly and grumpy
outgoing and friendly tech support staff at:
[Link]
Disclaimer: Oberheim® and SEM are trademarks of Tom Oberheim/Marion
Systems LLC. There is no association, affiliation or endorsement of Cherry
Audio or its products by Tom Oberheim.

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The purple strip at the top of the interface is where you’ll load, save, and
create sound presets. It contains utility functions such as undo/redo, UI
zoom, under-the-hood settings, and more. Let’s go over them:
New- Opens a new blank patch preset. If an unsaved patch is currently open
or you’ve modified an existing saved patch, a dialog asks if you’d like to save
the patch in its current state. This greatly reduces the possibility of losing an
edited unsaved patch.

Save- Use this to save patches. There are a couple of levels of hierarchy:

Collection- This is the top level of organization, and contains entire

“sets” of presets. The Synthesizer Expander Module Presets are the main
included collection. We also include a User Presets Collection for storing
your own presets, but you’re free to create your own collections. To create
a new collections, click in the Collection text field (where it says User
Presets above) and type a name. User-created sounds can be freely saved
to any collection; we like to keep ‘em separated for organizational
purposes.

Categories- Within each Collection are a number of sound categories. As

with collections, you’re free to create as many categories as you like. To
create a category, click in the Category text field of the Save dialog
window and type a new category name.

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 Patch- A patch is an individual sound. To save a patch, simply type the
name in the Name field and click Save.

Keywords- You can add descriptive words such as “lead,” “bass,” etc., to
patches to make them appear when terms are typed in the Search field.
Use commas to separate multiple keywords entries.

Browsing Patches- Patches can be browsed by clicking the <Select Preset>

field. To select a preset collection, click in the area that says <All
Collections> or on the downward-facing arrow next to it.
Clicking on the left-side categories narrows down which patches are
displayed.

<All Presets> will show presets from all collections and categories.

<Recent> displays recently used presets.

Refresh- This is the circular arrow button to the right of the downward
arrow; clicking this checks the Cherry Audio server for new or updated
presets.

Pin- Clicking the push-pin icon locks the patch selection list open, allowing
fast and easy browsing and auditioning of patches. Click the icon again to

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disable pin mode. when in pin mode, the up and down arrow keys can be
used to select patches. (Thanks to Starship/Phil Bennett for this useful
feature suggestion.)

Preset- Step Back/Forward Arrows- These step to the previous or next

preset. macOS [⌘+left/right arrow key] or Windows [CTRL+left/right arrow
key] will navigate through presets back and forth in the currently selected
collection/category.
Undo/Redo- These circular arrows will undo or redo the last action. It
remembers many steps, so if you really loused something up, keep on
clickin'...
Settings- This is where user preferences for user interface, audio interfaces,
user account, and more are configured. See the Settings section for full
information.

Importing Presets with drag-and-drop

Presets can be imported singly or en masse (as a single compressed ZIP file)
simply by dragging and dropping from the desktop anywhere on the user
interface.

If a single .*preset file is dragged and dropped, the sound is immediately

loaded and the standard Save Preset dialog appears; this lets you save the
sound to the instrument's preset browser. Note that you don't have to save
the sound to preset browser; if you just want to hear and play the sound,
click the Cancel button in the Save Preset dialog - the sound will still be
loaded.
Compressed zip files containing multiple sounds can also be drag and
dropped onto the UI. This works the same as with single sounds, but instead
of the Save Preset dialog, you'll see the Import Preset Collection dialog. The
presets will be added as a new collection and available in the categories for
which they were tagged.

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Zoom Magnifying Glass- Click to resize the interface. Selecting 100%
returns the user interface to native size.

MIDI Tab- Opens the MIDI controllers tab for configuring internal and
hardware MIDI controls. See the MIDI Controllers Setup and MIDI Tab
section for full information.

! (MIDI Panic) - Click to send an all-notes-off message in case of, "why

won't this thing stop making noise?!?" stuck-note incidents.
(If the ! MIDI Panic button doesn't shut off the sound, make sure the VCA
switch at the bottom of the panel isn't in set to On position.)
Tempo (Standalone Version Only)- Displays current internal tempo
[Link] internal tempo affects the LFO and Echo sections when their
corresponding Sync switches are enabled. The tempo setting can be changed
by moving the mouse up and down anywhere in the tempo section, or by
double-clicking the number and entering the desired BPM value.

The tempo display only appears in the standalone version of

Synthesizer Expander Module. VST, AU, and AAX plug-in versions
receive tempo data from their host DAW app.

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QWERTY Musical Typing Keyboard- Opens an onscreen keyboard allowing
a standard QWERTY computer keyboard to be used for playing music notes.
For more information, see QWERTY Musical Typing Keyboard (MTK)
section.

Help - Clicking this launches your web browser and opens the help
document you’re currently reading. Which means you're already here...

Synthesizer Expander Module (top center) and yellow Cherry Audio

logo (front panel/left side) - Clicking either of these displays “about”
information, and shows the version number and current registered user ID.

Preset List Right-Click Functions

Show File- This displays the selected preset in the Mac or Windows folder
containing it. This is useful for backing up or sending a preset file to another
user.

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Show In Original Category- Selects the preset within its category, i.e. the
category will highlight in the left preset menu. The Show In Original Category
command only displays if the preset was selected within the <All Presets>,
<Favorites>, or <Recent> categories.
Favorites- Favorited presets will show in when the <Favorites> category is
selected. A star will display next to the preset name. Right-click on the preset
and reselect Favorite to un-favorite it.
Delete- Deletes the selected preset.
Restore Factory Preset- If one of the factory (i.e. not user) patches is
edited and saved, selecting this command restores the patch to its unaltered
"factory" setting. This menu will be grayed-out for user bank patches.
Restore All Factory Presets From 'Synthesizer Expander Module
Factory Presets'- If any patches from the "factory" bank are edited and
saved, selecting this command restores all of them to their unaltered
"factory" setting.

Restore All From Factory- If any patches from the "factory" banks are
edited and saved, selecting this command restores all of them to their
unaltered "factory" setting.

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Volume and meter- Sets overall volume. The meter should be kept "in the
green" to avoid ugly digital clipping.
Tune- Master tuning for the entire instrument, with a range of a half-step up
or down.

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Synthesizer Expander Module includes two almost identical voltage-
controlled oscillators. The only difference are their modulation routing
options.
Range- Sets the pitch range for each oscillator in octaves. These are at
standard organ footage settings of 32', 16', 8', and 4'.
Frequency knob- This can be used to fatten up two oscillator patches by
detuning a small amount, or for "building-in" a set interval. Its range is a
smidge over a fifth, up or down.
Modulation amount knob and source switch- The mod amount knob is
bidirectional; rotating it left from center position adds pitch modulation,
rotating it right modulates pulse width of the pulse wave. Center position is
off, i.e. no modulation.
The three-position slide switch selects the oscillator mod source from three
sources:

Env 1 (VCO 1) / Env 2 (VCO 2)- Modulation source is envelope 1 or

envelope 2. Selecting the envelopes as mod source doesn't "disconnect"
them from the VCA or VCF.

Off- Disables modulation.

LFO- Enables mod from the onboard LFO.

Pulse Width- Sets the width or "duty-cycle" of the pulse wave. It has no
effect on the saw wave. This defaults to 50%, i.e., a perfect square wave.

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Moving the knob left or right narrows its width as well as the thickness of
sound until it almost disappears at its extremes.

Sync- This causes VCO 1 to force reset the start of VCO 2's waveform to the
beginning of its cycle, resulting in a wide range of harmonic tones from VCO
2. The range of tones can be varied by adjusting VCO 2's Frequency controls.

Choosing oscillator waveforms- One unusual aspect of the original

instrument's design is that the oscillators themselves contain no waveform
controls. Instead, the level of saw and pulse waves is adjusted via the mixer
knobs at the bottom of the VCF section.

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The Synthesizer Expander Module filter section represents a departure from
the 24 dB "ladder" style filter often seen in vintage synths. Like the
Oberheim SEM module it's based on, ours uses a 12 dB state-variable filter.
This refers to its curves - it can function as a lowpass, bandpass, or highpass
filter and features a knob allowing a continuous sweep from lowpass to
highpass response (with "notch" filtering in the middle position). This gives it
a great deal of flexibility, and the 12 dB curve gives it a brighter overall
tonality than a typical ladder filter. The classic state variable filter generally
sounds awesome, and our model of it really does it justice!

If you're not familiar with how filters work, a lowpass filter allows frequencies
below the cutoff frequency setting to pass through, but blocks frequencies
above the cutoff frequency. Highpass is the opposite of lowpass mode: high-
frequency content remains, but low frequencies are removed as the cutoff
frequency increases. Sliding the Bandpass switch enables Bandpass mode
combining both lowpass and highpass modes, leaving sound only "in the
middle." The cutoff frequency lies roughly halfway between the falloff on
each side. A notch filter does the opposite - it removes a middle piece of the
audio spectrum but leaves other frequencies intact. (That might not sound
useful, but setting the filter to Notch mode and slowly sweeping the cutoff
frequency with an LFO creates nifty phaser-like tones - great for imitating
vintage string synths.)

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Frequency- Sets the frequency where frequency attenuation begins with its
effect dependent upon the currently chosen
lowpass/bandpass/notch/highpass/etc. filter mode.
Resonance- Emphasizes sound energy at and around the cutoff frequency
by adding feedback from the filter's output back to its input. This is useful for
creating commonly heard synth "wah" tones, especially when the cutoff
frequency is modulated with an envelope generator or one of the LFO's.
Modulation amount knob and source switch- Applies modulation to the
filter cutoff frequency. The mod amount knob is bidirectional; rotating it right
from center position adds positive modulation, rotating it left adds negative
modulation. Center position is off, i.e. no modulation.

The three-position slide switch selects the filter mod source from three
sources:
Env 1 (VCO 1) / Env 2 (VCO 2)- Modulation source is envelope 1 or
envelope 2. Selecting the envelopes as mod source doesn't "disconnect"
them from the VCA or VCF.
Off- Disables mod.

LFO- Enables mod from the onboard LFO.

LP>HP/Notch control- Continuously varies the filter response from lowpass

to highpass as the knob is rotated from left to right. The middle position
creates a notch response.
BP (bandpass) switch- Alters the filter response to bandpass when
engaged (i.e. combination of lowpass and highpass leaving frequencies "in
the middle." The LP>HP knob is disabled and gets grayed when the BP
switch is enabled.
VCO 1 / VCO 2 Saw/Pulse level- The VCO 1 and VCO 2 knobs adjust the
volumes of the saw and pulse waves for VCO 1 and 2, respectively. These are
bidirectional knobs as well - rotating them left from center position increase
the saw wave level, rotating it right increase the volume of the pulse wave.
Center position is off (if you're getting no sound, check these first).

Noise level- Sets the level of pink noise - the original instrument had a pink
noise generator, not the more common white noise. For those of you keeping
score at home, the random signal of pink noise represents each octave
across the frequency spectrum equally, and sounds duller to the ear than
white noise.

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The original instruments included two attack/decay/sustain (ADS) envelope
generators. These function much the same as more common
attack/decay/sustain/release (ADSR) envelopes, the only difference is that
the decay and release stages are combined into a single control.

How the Envelope Generators Work

When a voice sees a gate voltage from a note, the envelope outputs a
dynamically changing voltage, according to the settings of its stages.
The Attack stage defines how long it takes for the output voltage to rise
from 0 to 5 volts.
Once the Attack stage reaches 5V, it moves to the Decay phase. If the key
is released, the Decay knob defines how it long takes for the voltage to
fall back to zero. If the key is held, the Decay time defines how long it
takes to fall to the Sustain level setting.
The note then holds at the Sustain level until it is released, and fades to
zero at the time set by Decay knob - the Decay knob effectively does
"double-duty," acting as a decay and a release control.

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Envelope Controls
Attack- Defines the length of time for voltage to rise from 0V to 5V when a
key is played.
Decay- If the key is released, the Decay knob defines how it long takes for
the voltage to fall back to zero. If the key is held, the Decay time defines how
long it takes to fall to the Sustain level setting.
Sustain- Sets the voltage (i.e. the level) the envelope holds at following the
Attack and Decay phases.

Envelope 1 and 2 Routing

As indicated by the parentheses on the front panel, Env 1 generally affects
the VCA, i.e., amplitude. If VCO 1's three-way mod routing switch is set to the
Env 1 position, it will also modulate VCO 1's pitch.
Env 2 is mainly intended to modulate VCF cutoff frequency, but because it's
not hard-wired, VCO 2's three-way mod routing switch needs to be in the Env
2 position for cutoff mod to occur. In addition to filter cutoff frequency, Env 2
can also be used to modulate VCO 2's pitch when VCO 2's three-way mod
routing switch is set to the Env 2 position.

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Synthesizer Expander Module includes a basic sine wave-only low-frequency
oscillator for modulation purposes.

Mod Wheel switch- Switching this to the up position automatically

configures your MIDI/USB controller's mod wheel to control LFO depth
control. This makes setting up the LFO with a mod wheel super easy.
If the Mod Wheel switch is on and your controller's mod wheel is at zero, the
LFO won't have any signal output, soooo... if the LFO doesn't seem to be
working, make sure the Mod Wheel switch is in the off/down
position (or push up your controller's mod wheel).
Frequency (control unlabeled)- The Rate knob sets the speed of the LFO,
from 0.08 to 15 Hz (with Sync switch off) or from 8 beats up to 1/64th note
triplets (Sync switch on). The LED beside it flashes at the current mod rate.
Sync- When the Sync switch is in the up position, LFO speed will lock to host
tempo when used within DAW software, or to the current tempo in the top
menu bar when using the standalone version.

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VCA switch- Synthesizer Expander Module's VCA has only one exciting
control, but it's important to understand. It's located in the middle, directly
above the master Output knob. When set to Env 1 position, amplitude is
controlled by envelope 1; this where you'll generally leave it when playing
with a keyboard or sequencer controller. The On/Ext position latches the VCA
open; this useful for drones (or times when you're too lazy to actually press
down keys. We've all been there.)
The red LED to the left of the switch will glow when the VCA is open. We think
it's a funny spot for an LED, but that's how the original is.

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Echo

The built-in echo has a vintage tone and its repeats are ever-so-slightly
spread in the stereo field to widen up patches.
On switch- Guess what? This turns on the Echo effect.
Time- Sets delay time, from 1 to 2000 ms. If the Sync button is enabled,
time settings snap to synchronized note values.
Sync- The Sync switch locks the delay time to master tempo. When
engaged, the Time knob snaps to note values ranging from 1/64th note
triplet to 8 beats. Sync mode locks to the tempo in the top toolbar when
using the SEM standalone version or the current project tempo when the
plug-in version is used in a DAW.
Feedback- Routes the output to the input for additional repeats. Be careful
at high settings as this can result in runaway feedback madness.
Mix- Sets the ratio of clean to effected sound.

Phasor

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This one is admittedly ridiculously simple, but its DSP was created by our
frequent collaborator, Mark Barton (MRB). He managed to dig up the circuit
diagrams for the rare-as-hen's-teeth Oberheim Phasor stomp box and
modeled it, and it sounds awesome.
On switch- Turns on the Phasor effect.
Speed- Sets the phaser's internal LFO speed from 0.10 to 5 Hz. The LED
flashes at the current mod rate.

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Assigning internal and external hardware controls adds a whole new
dimension of control and musicality to patches, and it's really easy to do. The
MIDI Tab is where all controller assignments can be viewed and tweaked.
First we'll show how to assign an external hardware controller to a
Synthesizer Expander Module control, then we'll go over all parameters in
the MIDI Tab.

Basic External Hardware Control Assignment

This is the quick, "I just want to assign a hardware control right now!,"
section. We recommend reading this whole section to best take advantage of
MIDI control assignments.
In this example, we’ll assign a hardware slider/knob control to the filter
Frequency (aka, cutoff) slider.

Begin by right-clicking on the Fc slider in the VCF section and selecting MIDI
Learn. A transparent purple overlay appears over the knob indicating that it's
in learn mode. Now move the desired hardware control device. The purple
overlay disappears and the hardware control will move the onscreen slider. If
you get cold feet (or accidentally put the wrong control into learn mode),
learn mode can be aborted by right-clicking and selecting Stop Learning.
This is the basic procedure for assigning hardware controllers to almost any
control.

The MIDI Tab

This is command central for all MIDI controller assignments. Here you’ll be
able to see information about all currently assigned controllers and adjust
control ranges.

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When in MIDI learn mode, any previously assigned controller numbers will
show in squares. These indicate the MIDI continuous controller number of the
assigned hardware control (these are also displayed in the MIDI library tab at
left).
Once a MIDI controller has been assigned, in addition to real-time control of
any parameter, you’ll also be able to record and play back controller data
from a DAW.

To view or hide the MIDI Tab, click the MIDI button in the purple top toolbar.

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MIDI Learn button- This is almost exactly the same as enabling MIDI learn
mode by right-clicking a control. Click the MIDI Learn button to enter learn
mode (all controls turn purple). Unlike right-clicking on specific knobs, where
Synthesizer Expander Module automatically exits controller assignment
mode, clicking the MIDI Learn knob "stays on" to enable assignment of
multiple hardware controls. This is handy for quickly assigning a bunch of
sliders or the buttons of a grid-style controller.
To assign multiple controls, click MIDI Learn, click an on-screen control, move
the desired hardware knob or slider, continue clicking and assigning on-
screen controllers until all desired controls are assigned, then click Stop
Learning to exit learn mode.
Remember that a single hardware knob/slider/button isn't limited to
controlling just one parameter - a single hardware controller can
simultaneously operate as many controls as you'd like.
New Mapping Type- This popup menu selects whether newly assigned MIDI
mappings will be global (affects all sounds and doesn't change when
different presets are selected) or saved with individual presets.

MIDI Tab Columns

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Name- Displays the name of the parameter being controlled.

Type- There are five possible types of controller automation:

Note- Notes played on a MIDI keyboard controller, expressed as C-1 to G9
CC (MIDI Continuous Controller)- The standard 128 MIDI controller
numbers as defined in the MIDI spec. More specifically, these are the
controllers transmitted by hardware knob and slider controls. MIDI CC’s
can be used to control parameters in real-time or recorded and played
back within DAW software.
MMC (MIDI Machine Control)- The MIDI control protocol for tape
machine-style transport controls. Back in the dark ages, this was used to
control wonky old Tascam and Fostex reel-to-reel monsters, but it's useful
if your MIDI controller has tape-style transport control buttons.
Aftertouch- Besides sounding like a 1981 Melissa Manchester record,
some keyboard controllers transmit controller data when keys are pressed
and released as they're held down. The vast majority of keyboard
controllers with aftertouch transmit "mono" aftertouch only; in other
words, aftertouch data is the sum of all keys to one single data stream.
Key- This allows keys of the computer QWERTY keyboard to at as button
controls for onscreen controls.

Value- Displays the specific automation controller. In the case of a Note this
would show a MIDI note number (C-1 to G9, for a MIDI CC, this would be the
MIDI CC controller number, etc. Clicking on the value opens a pop-up menu
where all values are displayed and can be selected.
Preset- This slider works in conjunction with the New Mapping Type menu. In
the left position (gray background), the MIDI mapping is global (affects all
sounds and doesn't change when different presets are selected), in the right
position (lavender background), the MIDI mapping is saved with, and only
affects the current sound preset.
The Preset switch is super nifty, because it means MIDI mappings
can easily be set to global or per-preset status at any time. (A lot of
folks asked us for this feature.)
Min- Sets a limit on the lowest value any automation control can set a
mapped controller to. This actually recalibrates the range of the automation
controller to the remaining parameter range.

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Max- Sets a limit on the highest value any automation control can set a
mapped controller to. This actually recalibrates the range of the automation
controller to the remaining parameter range.
Super Tricky Min-Max Tricks- Not only can parameter ranges be limited
via the the Min and Max knobs, mapped control destinations can be
completely inverted by setting the Min knob all the way up and the
Max knob all the way down (or anywhere in between).
Limiting and inverting parameter ranges with the Min/Max controls is
particularly useful when multiplexing a single hardware control to operate
multiple parameters. Along with the Curve control, the customization
possibilities are super flexible.

Curve- These allow the customization of how incoming MIDI CC controls

affect the movement of onscreen controls, ranging from exponential to linear
to logarithmic curves.

MIDI Tab Column Configuration Right-Click

Menus

Right-clicking anywhere in the top row (Name, Type, Value, etc.) displays the
column configuration menu. Checking/unchecking these allows hiding and
display of each column. This has no effect on assignments.

MIDI Tab Parameters Right-Click

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Right-clicking on an assigned parameter opens the menu above.
MIDI Learn- This is used to change the controller assigned to a particular
parameter.
Unlearn- Deletes the selected automation parameter.
Unlearn All- Deletes all controller assignments for the patch. A warning
dialog pops up prior to deletion in order to thwart potential unlearn-related
disasters.

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If you don't have a MIDI keyboard attached to your computer, the standard
QWERTY computer keyboard can be used to play notes - we're pretty sure
you've got one of those! We'll refer to this as the "MTK." Following is a list of
MTK keyboard modifiers and functions:

Opening and Closing the MTK - click the the circular keyboard icon in the
top toolbar. To close the MTK, click the keyboard icon in the top toolbar, or
click the X in the top right corner.
Play Notes- To trigger notes, simply press the corresponding computer
keyboard key or mouse click the onscreen keys.
Adjust Currently Visible MTK Range- Slide the purple scroll bar
horizontally to adjust the currently visible keyboard range.
Adjust Overall Visible Keyboard Range- Clicking and dragging the right
edge of the MTL window allows the overall size of the window to be adjusted.
This lets you view more or less of the onscreen keyboard. Note that the MTK
window's borders cannot exceed the overall outside dimensions of the MG-1
Plus window.
Shift Range Up/Down Octave- Click the OCT- and OCT+ buttons at the top
left and right of the onscreen MTK. The current range is displayed above the
keyboard.

Shift Range Up/Down Semitone- Click the STEP- and STEP+ buttons at
the bottom left and right of the onscreen MTK. The current range is displayed
above the keyboard.

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Hide/View Controllers- Clicking CONTROL at the far left hides and displays
velocity, bender, mod, and sustain control parameters. Hiding the control
view makes more space available for the keyboard.
Pitch Bend- To pitch a note or notes, press the + or - computer keyboard
keys while playing a note. Bend depth is a whole step, up or down. Notes can
also be pitchbent by clicking the mouse in the Bend area.
Mod Wheel- To add mod wheel modulation, press the number keys from 0-9
(above the character keys) while playing a note. The modulation amount will
vary from none (0) to full modulation (9). Note that modulation will "stick" at
the selected number; to disable modulation, click the 0 key. Mod can also be
engaged by clicking the mouse in the mod bar area.
Sustain- The Sustain button mimics the functionality of a standard sustain
pedal. Click the [TAB] key to engage sustain, or [SHIFT]+[TAB] to lock it. The
Sustain button can also be engaged by mouse clicking it.
Reset- Initializes all MTK parameters including keyboard range and control
parameters.

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Settings
Clicking the settings gear opens a window with multiple tabs for configuring
various "under-the-hood" settings. These are mostly set-and-forget kind of
parameters - all the stuff you'll want to tweak is on the front panel, as it
should be!

General

Add Undo For Control Changes With the Mouse- Enabling this allows
undo of knob/slider/button adjustments. You’ll want this on if you want the
ability to undo all aspects of patch editing and programming.
Create A Log File For Usage- This creates a text doc of all internal and
routines during use. It is mainly intended for our tech staff should you
experience any issues. Clicking Show Log Folder opens the folder
containing Synthesizer Expander Module log file docs.
Load Last Preset On Startup (Standalone Only)- Automatically loads
the last preset used when the standalone version is started.
Preset Folder- Displays the current location of sound presets. This can
be changed by clicking and typing in the field.

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 Browse... - Displays the current location of preset folder in the file
manager.
Set Default- Sets the current displayed Preset Folder path as the
default location
Clear Cache Files- Deletes all log files, temporary sounds, and the
image cache.

Interface

Allows customization of user interface settings.

Reset To Default Window Size- Resets the workspace to default size.
Use this to reset the window size if the window somehow becomes too
large for your display and can't be resized (pretty sure we fixed that bug a
while back though!).
Tooltip Delay- Tooltips are those informative bits of text that pop up
when hovering over a control (go ahead and try it, we’ll wait…). The
Tooltip Delay setting defines how long you must hover before the tooltip
pops up.

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 Knob Movement- Defines how mouse movements relate to turning
onscreen knobs. It defaults to Vertical Drag, but can be changed to
Horizontal Drag, or Rotary Drag if you're one those folks that cut their
teeth on the Steinberg Model E VST back in 2000.
On Control Double-Click- Defines what happens when the mouse is
double-clicked on a control. If Edit Value is selected, an exact number can
be entered by typing the number and hitting [ENTER] or [RETURN]. If Sets
Default Value is selected, double-clicking a control resets it to its default
value.
Mouse Wheel Adjusts Control Value- Enabling this lets you adjust
knob, slider, and switch values by moving the mouse wheel. This works
great with a standard mouse wheel, but you'll want to disable it if you're
using an Apple Magic Mouse (which will move the control AND scroll the
window).
Show Control Tooltips When Adjusting Controls With Mouse-
Displays parameter tooltips/values when the mouse is hovered over a
control or as a control is moved with mouse clicked.
Show Tooltips When Automating Controls- Displays parameter
tooltips/values next to controls any time a control is changed, i.e. if a
control is moved via an assigned MIDI controller or a Perform panel knob,
etc.
MIDI Program Changes Should Change Current Preset- Allows MIDI
program change messages to change Synthesizer Expander Module
patches.
Ask To Save Modified Presets- This opens a dialog window asking if
you'd like to save changes if a patch has been edited and a new patch is
selected. If you're the type that likes to click through presets and tweak a
control here and there, it can be annoying to have a window pop-up
asking if you'd like to save every time you switch presets - if you're that
person, keep this off.
Remember MIDI Mappings For New Plug-in Instances- When
enabled, all global MIDI Tab controller settings are stored and apply to
new instances.

Account

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Settings for personal login information and account.
Email- Displays the email address of the current login.

Update Login Info- Clicking this opens the same email and password
login screen you’ll see when initially launching.
View Account Settings- This opens your personal account page on the
Cherry Audio Store website containing information about modules
purchased and more.

Software Update
We often fix bugs and make improvements; below are options defining
how Synthesizer Expander Module handles updates.
Check For Update- Click this to see if an updated version is available.
Status-
Automatically Install Updates- Updates are automatically downloaded
and installed.

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 Ask Before Installing Updates- By default, updated versions
automatically download when available. Checking this box defeats
automatic updates and will ask if you’d like to install updates when they
become available.

We’ll never make changes that can potentially “break” existing patches
but we recommend enabling Ask Before Installing Updates if you’re using
Synthesizer Expander Module for live performances or other “mission
critical” situations.
Never Install Updates- Updates are never automatically installed.
Show Updates On Toolbar- Checking this will display an icon in the
toolbar next to the logo letting you know there's an update available.

Show Notifications From Cherry Audio- We occasionally will fire off in-
app advertisements; disabling this checkbox will hide them. We hate
repetitive, annoying ads as much as you, so we won't use this feature too
often. When we do, it'll be for something super cool (like a killer sale), so we
recommend leaving it on.

Audio/MIDI

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Not to be confused with [Link], where I used to work (which ranked
a solid zero on the fun meter), these are settings for audio and MIDI
hardware input and output.
This tab is only visible in the standalone version.
Output- Use this drop-down menu to choose a physical audio output
source. This defaults to Built-In Line Output, i.e. your computer’s onboard
system audio, but you’ll get better fidelity with an external professional
audio interface. The biggest audible difference is usually reduced
background noise or hum, but external audio hardware also offers greater
flexibility in terms of number of inputs and outputs and built-in mic or low-
level instruments pres (i.e. electric guitars). The Test button will produce a
sine wave when clicked; this will help with troubleshooting, aka, “WHY
THE HECK ISN’T THIS MAKING ANY NOISE?!?”
Sample Rate- This sets the global sample rate. Lower sample rates offer
better performance, but if you have a fast computer, high sample rates
may offer slightly improved fidelity.
Audio Buffer Size- As with any digital audio app, this defines
performance vs. note latency, and will largely depend upon computer CPU

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speed. A professional external audio interface will almost always exhibit
better performance than “built-in” system audio. Lower settings will result
in less latency (in the form of faster response to notes played), but will
increase the chances of audio gapping or crackling noise.
Active MIDI Inputs- Enable MIDI input sources, i.e. MIDI/USB keyboards,
pad controls, MIDI knob/fader control surfaces, etc. Check boxes to enable
one or more devices. If a MIDI/USB controller isn't working in
standalone mode, make sure the appropriate box is checked here.
(We put this this piece of info way in the back of the manual, to make it
extra challenging to figure out why things aren't working.)

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