The Modular G2 Editor is the G2's editor and librarian software, and will run on both Windows and Macintosh platforms. With it, you can arrange and organize programs and performances, and back up individual programs, performances, and banks. It's true purpose is as means to construct and edit modular synth models. All the component modules you need for advanced sound creation are included.

There are 16 groups of modules, all listed below. You can use multiple modules from any group you desire, organize them in whatever order you like, choose colors for particular modules (or modules grouped into circuits), and even change the size and shape of the connecting cables between the modules. This is just a general overview of these modules; details can be found in the Modular G2 User Manual.

The G2 alone can handle a lot of signal processing, but some programs and performances need a little more power. Adding the optional Modular G2 Expander will not only double the G2's processing power, but double its potential polyphony as well.

This group controls all of the G2's physical and virtual audio routing. Physically, the G2 has four mono outputs, four mono inputs, and a microphone input. Using the modules in this group, you can direct the flow of audio signals from oscillator to output, or - if you're using external audio sources - into the G2, though a virtual audio chain, and back out again.

This group also contains several modules the use of which controls parameters related to the G2's keyboard, pitch stick, and other general uses.

The heart of every synthesizer is its oscillators, the tone generators for the instrument.

For traditional synthesis, there are seven single oscillators and a dual oscillator, giving you access to all the fundamental analog oscillators - sine, sawtooth, square, and others. Because of its modular nature, though, subtractive synthesis isn't the only form of synthesis available. Physical modeling is also possible, which is done using several types of generators which generate the source for acoustic "imperfections". Among them are a noise oscillator and noise generator, a metallic noise generator, and a string oscillator.

The G2 also features sequencer modules (see below), which give rise to the need for drum sounds. To this end, a drum synthesizer and percussion oscillator are added to this group. Oscillators aren't the only sources of sound. Added to them are an FM operator and a DX router, making the Modular G2 capable of FM synthesis as well as subtractive and physical modeling forms.

You can use any number of oscillators you like (or that the G2's processor can handle), so it's entirely possible to mix a violin-like model with an FM tone and a multi-oscillator analog signal, then route them all through countless permutations of filters, effects, etc.

Random signal generators can be used to create random variations in a sound. This class of modules is closely related to audio noise generators, as noise is also a random signal. But while noise is an audio signal where each frequency in the hearing range is present, randomness is not about audio frequencies but about generating sequences of random values to be used as control signals. Random values can be used to e.g. give human feel to musical events like key presses, sequenced notes, etc.

A filter is one of the primary tools for coloring the sound in a synthesizer. It can attenuate and amplify different frequencies in oscillator waveforms and other signals, and drastically change the timbre of the sound. Most of the Nord Modular G2 filters can be dynamically controlled from various modulation sources.

In the Nord Modular G2 you have several different filter modules to choose from, ranging from traditional LP/HP/BP filters to complex special filters such as the Vocoder and the Vocal filter. Filters can be combined with each other and with Shaper distortion modules to extend the G2 sonic range to a virtually unlimited amount of timbres.

The Delay module group features a variety of audio delay modules, from basic static delay lines to modulate-able stereo delays with feedback and filter controls. The delay modules are designed for use with audio signals but of course you can use them for other types of signals as well.

The Level group features modules for adding, subtracting, multiplying and modulating signal levels in the Patch.

In the Switch group you will find different types of switches for signal routing tasks and Control/Audio signal multiplexers etc.

The sequencer modules are commonly used to sequence note and modulation patterns. At the heart of a sequencer is a short row of ‘step memory locations’ where information like note values and trigger states can be stored. The idea is to step through this row by means of a clock signal and outputting the information from the current step memory location in the row.

The sequencer modules in the Nord Modular G2 system have (up to) 16 steps each. They can easily be linked together in series to provide longer sequences and they can be clocked by various clock sources, originating from other modules or from the G2 Master Clock/MIDI CLOCK.

The sequencer modules can be synchronized to each other in a number of ways. By assigning a sequencer module to the G2 front panel ASSIGNABLE KNOBS AND BUTTONS it will become real easy to vary and reprogram the sequencers in a live situation. The current step positions will be shown by the LEDs below the knobs on the front panel. Step values will be shown in the displays and by the LEDs around the knobs. And the LEDs above the pushbuttons will show if event buttons in trigger-rows are On or Off.

Modules in this group do operations on (virtual) CV signals that represent keyboard note information. In this group you will find modules that can rescale and quantize pitch control signals to half note scales, chord scales, harmonic scales and extract pitch control signals from audio signals.

LFOs or Low Frequency Oscillator modules are used to create varying control signals for periodic modulations.The waveforms they produce can be used for vibrato, tremolo or as clock sources. Some of the LFOs in Nord Modular G2 have a very wide frequency range, from very low to frequencies in the audio range.

An envelope generator produces a control signal which resembles the volume envelope of a single note played on an acoustic instrument. This control signal can be used to control a filter or an amplifier, for example. The envelope starts when it receives a logic HIGH trig or gate signal and it decays after the trig/gate signal switches back to a logic LOW signal.

Envelopes go through some specific stages, each denoted by an abbreviation character. During these stages, some envelopes can be retriggered. The output control signal from an envelope is usually unipolar, with a range of 64 units (+ or -), but can also be bipolar.

All Nord Modular G2 envelope generators feature a built-in envelope controlled amplifier (known as VCA’s on analog synths). This makes it possible to patch an oscillator output signal directly into the VCA section of an envelope generator and take out an enveloped signal with the desired “envelope contour”.

The FX modules are useful tools for changing and transforming audio signals. Among the FX modules you’ll find effect modules like the Reverb, Flanger, Phaser etc.

This group is especially useful for processing incoming audio signals that you want to mix with those generated by the G2 itself. You can, for instance, create a step-sequence in the G2 Editor's virtual analog area, then an effects chain in the FX section. Drop a 4-input module (see above) into the FX section, route the virtual analog through inputs 1 and 2, and assign outputs 3 and 4 to an external audio source.

Any incoming signal - like a drum machine - will share the same effects as the step sequencer model.

In the Shaper module group you will find modules that changes the shape of an input audio signal in different ways. Distortion modules can be found here, for example.

The mixer modules in Nord Modular G2 can mix audio signals as well as control signals.

If you connect several sound sources to a mixer with high or amplified levels, the signal may distort. If this happens, attenuate the input signals.

These modules can generate and combine logic signals in a number of different ways. A logic output signal will have one of only two states: a logic HIGH, which always corresponds to a value of +64 units and a logic LOW, which always corresponds to a value of 0 units. But the edges of logic signals can be very important as well, edges are when a logic signal changes from LOW to HIGH, which is named the positive edge or from HIGH to LOW which is named the negative edge. Edges can specify a precise moment in time when you want something to happen, like playing a note or advance a sequencer to its next step.

The MIDI module group contains modules for sending and receiving various types of MIDI data, both internally between Patches in the four Slots, and to and from external MIDI equipment. This makes it possible, for example, to automatically control external synths from the G2 sequencer modules. The modules can use the public “external” MIDI channels ‘1-16’ (for use mainly with external MIDI gear), the four internal MIDI channels ‘Slot A-D’ and also ‘This’ which is a short-cut to the Slot’s current MIDI channel. This gives you great flexibility of “synching up” functions in Patches in different Slots to each other and also for interacting with external MIDI equipment.