VAZ 2010 v1 vs v2

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3914 posts since 15 Dec, 2009

Post Mon Feb 28, 2011 1:07 am

Strange, but I can't seem to find any info either on the site or here what the difference is? :?

511 posts since 9 Nov, 2000

Post Mon Feb 28, 2011 1:14 pm

Hi V'ger,

Copy & paste from the 2010 v2 help file follows, the features I think are the biggest deal are the Type K (MS-20 inspired) and Type R (SH-101 plus Xpander inspired) filters along with the poly unison plus voice number to pan. The patches in the demo are very focused on showing off the new features.


New Features in 2.0

Version 2 of VAZ 2010 incorporates many new features and improvements to all areas of the program, many of which are derived from the flagship VAZ Modular 3.


The synth engine has been enhanced to improve flexibility and new features make even more types of sound possible.


The oscillator algorithms have been improved to the standard found in VAZ Modular 3. This is most obvious in the much cleaner Multisaw waveform and higher quality sample transpostion. The Link button on Oscillator 1 applies the first modulation input to all oscillators, allowing for instance vibrato on all oscillators why only using the single input.


Each channel can now select from a list of sources, adding additional flexibility. One example is that Oscillators 1 and 2 could each be routed through a Mod Amplifier while Oscillator 3 can still be seleted on the third channel. This allows morphing of the oscillator mix. Holding the Control key while moving a level slider with the mouse moves the other sliders in proportion which allows easier setting of the total audio level to the filter.


A further 8 filter modes have been added, bringing the total to 22 different modes. The older algorithms have been improved in line with VAZ Modular 3 and the Cutoff is smoothed to avoid stepping.

Type K is a 2-pole Sallen-Key filter with a dirty sounding self-oscillating resonance. This is available as a lowpass and also as a dual highpass and lowpass in series.

Type R is a 4-pole integrator cascade filter which can self-oscillate. A one-pole highpass filter is also included. The 2-pole options tap the centre of the cascade for a brighter sound. The are variants of the 2 and 4 pole modes with a modulation input for Resonance and the Highpass Cutoff.

The Comb Filter is a tuned delay line with feedback.

Type C now has a one-pole highpass filter on all variations with an extra 2-pole mode added with modulation of the highpass cutoff.


Pan Modulation has been added to allow stereo effects. A common use of this is to add panning of voices by selecting the new Voice Number signal as the modulation source. This can be very effective when combined with Unison.


The waveshapes spread across LFOs 1 and 2 are now all available on both these LFOs along with the new variations Saw + Delay, Sine + Delay, Square + Delay and Sample & Hold + Delay.

Both LFOs 1 and 2 can now be tempo synced with the period selectable in a wide range beetween a 32nd note and 256 beats.

LFO 2 also has an input for modulation of its Rate allowing effects such as the LFO speeding up and slowing down and a variation in LFO rate between voices.


Envelope 2 now has a modulation input which controls any combination of the Attack, Decay and Release time.

Mod Amplifiers

Mod Amplfier 1 gains SQ, or Single Quadrant, mode which instead of amplifier the input signal around the middle of its range instead amplifies is from the bottom. A basic Mod Amplifier 2 is also added to enable even more complex control of modulations.

Voice Number

This new signal can be used to add variation between each voice, for instance to pan position, filter cutoff or LFO 2 rate.


There are now separate detune parameters for both Poly and Unison play modes. There is a new control UniV to select the number of voices played for each key pressed in Unison mode. If the total number of Voices is sufficient then polyphonic playing of Unison is possible. When this is the case the Poly and Unison Detune amounts set the detune between the groups of voices playing each note and the detune between the voices within each group respectively.

The maximum number of Voices has been increased to 32 to allow more scope with polyphonic-unison.


The Sequencer has been upgraded to include improvements made for VAZ Modular 3 and a few steps further.


The Swing slider varies the ratio of length between odd and even steps to create syncopation.


Timebase allows the note value of each step to be selected.


Sequencers will now follow the global tempo unless the Local option is selected. A display and buttons allows the local tempo to be set.


The Free button disconnects the sequencer from the global transport. This allows it to be disabled, run continuously to provide modulation or triggered by MIDI. Triggering happens when either of the Performance modes is enabled, in Trigger Free mode or when the Arpeggiator option Trigger Free is set. The combination of the Arpeggiator and Free mode allows rhythmic patterns.

Performance 2

Performance 2 mode has been added which controls transposition of the sequencer across the whole keyboard making it a "phrase sequencer".


The built-in effects have been updated with the ability to sync LFOs to tempo and stereo processing in all effects. The Chorus now has a parameter for stereo width and the Flanger and Phaser have a parameter to control phase offset between the modulation of the left and right channels. The Delay has been upgraded to have Sync of the delay times tempo and a full set of parameters is available for both channels with an option to Link changes. New Compressor and Equalizer effects have been added.


The Compressor is a hard-knee peak following design with variable Threshold, Ratio (from no compression to hard limiting), Attack and Release times, and Makeup Gain. There is a Gain Reduction meter to show how much compression is being applied.


The Equalizer is a 4-band fully parametric design. The High and Low bands can also be set to shelving and filter responses.



A global tempo can be set on the status bar or the Sync button locks tempo to the plugin host or MIDI Clock. This tempo is used by LFOs which have Sync set and Sequencers unless they are in Local mode.


Capture of output is now possible in the plugin versions as well as the standalone version.

Oversample x2

There is an Oversample x2 option for even higher sound quality if the extra cpu time needed can be spared.

In-place Plugin Editor

The plugins can now appear as a conventional editor within the host as an alternative to the separate window in previous versions.

User avatar
3914 posts since 15 Dec, 2009

Post Mon Feb 28, 2011 6:01 pm

Some interesting new stuff there. Any changes to the preset handling?

511 posts since 9 Nov, 2000

Post Tue Mar 01, 2011 11:09 am

V'ger wrote:Some interesting new stuff there. Any changes to the preset handling?
Only cosmetic changes iirc.


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