• 4 Part multitimbral
• 16 voices
• Synthesis mix of Virtual Analog, Waveform & 2-Operator FM
• Spectral Generator
• Sub-Oscillator
• Noise Module
• Ring Modulator
• Resonant Multimode Filter
• Saturator Module
  
• 2 meta envelopes
  
• 3 Custom LFOs (2 per voice, 1 per part)
• Modulation matrix with 3 slots
• Arpeggiator per part
• Stereo Delay (mono, ping-pong, stereo) with BPM sync
• Equalizer
• Insert reverb
• 300 presets
• 32 multi-presets
• polyphonic Aftertouch (MPE MIDI)
• complete MIDI implementation
• high-quality 24-bit Burr Brown DACs
• Stereo & Aux Audio Outputs
• headphone output
• MIDI In, Out & Thru
• analog clock input

The digital sound generation in detail

The digital sound generation for a single voice starts with the oscillator block, which is called the Spectral Generator in the Manatee. This generates a melodious synthesis mix of virtual analog, waveform and 2-operator FM. With a manageable number of parameters, a spectrum rich in overtones is created that can be manipulated in many ways and, above all, modulated. The Spectral Generator is complemented by the Sub-Oscillator, which is capable of much more than just sounding an octave lower thanks to various waveforms including Super Saw and Super Pulse. If you want, you can even import your own short waveforms to make the sound generation even more versatile. The noise generator in the Manatee can be adjusted in the sound spectrum with a lowpass/highpass filter and allows the sample rate to be reduced until only crackling, hissing and glitches can be heard. This is perfect for atonal sounds, percussive and effect-like sounds. The final part is the ring modulator, which is fed by the two oscillators and delivers inharmonic and metallic sounds in the usual manner.
The algorithm of the resonant Multimode filter has been rewritten based on the latest findings in analog modeling technology. In terms of sound, the filter impresses with a very soft and natural character and can also color matching in extreme settings. Functionally, the filter offers the characteristics lowpass, Bandpass and Highpass in 12 and 24 dB respectively; the circuit also responds very well to fast envelopes and LFO modulations.
The last component of a sound is the overdrive section. This is where the elaborately generated sound comes to the fore. The analog-sounding distortion models range from light saturation and tube overdrive to aggressive variants such as clipping and bitcrush. Both soft pad sounds and hard acid basses benefit from the possibilities of the overdrive section.
Finally, all four parts end up in the mixer section; here a delay effect with mono, ping-pong or stereo mode including BPM sync, an equalizer with cut, boost or shelf modes and the very good sounding insert reverb are just waiting to add the finishing touches to the sounds.

Modulations above the standard

The Meta envelopes share their attack, sustain and release parameters, while each decay stage is independent. The envelope stages can be switched on and off, allowing for a variety of shapes, from a full ADSR to a simple gate. The parameters Attack and Decay can be modulated via Velocity and there is even a loop mode for each envelope.
With the freely assignable custom LFOs, of which there are two per voice and one per part, Fred's lab has created something special: with an impressive 16 waveforms that can run freely or be synchronized to Clock , complex modulation patterns can be created, which can also be adapted even better in Patch with their own attack/release envelope.
To complete the modulation happiness, a modulation matrix with three slots is implemented, in which modulation sources such as eg. Velocity, modulation wheel or Aftertouch can be linked to any destination.