Thank you for choosing Manatee!
You have just adopted the most advanced and flexible digital synthesizer from Fred's Lab!
Drawing inspiration from classics of the early 2000s, Manatee combines nostalgic elements with modern
twists. Beyond its ability to recreate iconic Pop / Dance / Trance / Electro / Ambient sounds, Manatee
stands out with its extensive modulation options, full MPE support and built-in effects.
This project embodies three years of dedicated hardwork with much research and development, resulting in
a completely fresh design with unique DSP algorithms, crafted from the ground up.
Combining my best efforts and knowledge, Manatee is intended to be intuitive to operate, fast to brew
original sounds with while offering very rich synthesis capabilities.
After trying out the factory presets, I encourage you to take time to explore the instrument.
I hope it surprises you and sparks new ideas for your music!
Love from Bonn / Germany!
Fred
The Manatee desktop synthesizer was conceived, designed and programmed by Frédéric Meslin, Fred for short,
with great attention to detail and the courage to innovate. Fred himself is a keyboardist in a jazz band
and has many years of experience in programming and developing synthesizers in his own company. Before that,
he worked for two well-known European synthesizer manufacturers after completing his studies.
Till & Bert
The Manatee owes much of its qualities to the following persons:
Fred's Lab is a registered trademark in Germany. In the context of this manual and all associated documentation,
"Fred's Lab" refers to the legal entity Frédéric Meslin Audiogeräte. All content included in this manual,
including but not limited to text, illustrations, specifications, schematics, and other communication materials, is the
exclusive property of Fred's Lab. You "the end user" are granted the non-transferable right to reproduce parts or the
entierty of the documentation for your personal use only.
Any use of this documentation or of Fred's Lab materials for the training of artificial intelligence systems
is strictly prohibited.
Any software provided by Fred's Lab, in binary form or source code, is intended solely for execution on original hardware
devices manufactured and distributed by Fred's Lab. Use of such software on other platforms, devices, or emulators is not
permitted.
Fred's Lab cannot be held responsible for any errors or inaccuracies that may be present in this manual.
Every effort has been made to ensure the information provided is accurate and up to date. However, the content
of this manual may be revised at any time to improve clarity, correct errors, or reflect changes in the operating
system or product behavior. Fred's Lab assumes no liability in relation to this documentation beyond the obligations
required by applicable local laws.
Here is the Fred's Lab company legal information:
•Address:
Frédéric Meslin Audiogeräte
Herwarthstraße, 20
53115 BONN
Germany
• Website: https://fredslab.net
• E-Mail: info@fredslab.net
• Support: support@fredslab.net
• VAT ID Number: DE307477586
• LUCID Number: DE3290376457863
• WEEE Number: DE13166103
For all support requests, you can contact our team via one of the following channels:
• Support System:
https://support.fredslab.net
• Email:
support@fredslab.net
• Postal Mail:
Using the company address listed earlier in this manual.
• Forums:
https://fredslab.net/forum
Our community forums also provide a dedicated space for support and discussion.
When submitting a support request, please include the instrument model, serial number, and a detailed description
of the issue you are experiencing. This helps us resolve your case more efficiently.
Remark: please do not contact us via social media or telephone. These channels do not allow us
to properly track and manage support cases. Thank you for your understanding!
Fred's Lab warrants this product to be free from manufacturing defects for a period of three (3) years
from the date of purchase. This warranty covers the cost of repair or replacement, provided the product
has been used under normal operating conditions and in accordance with its intended purpose.
However, this warranty does not cover the following:
This product has been designed and manufactured in accordance with applicable European safety regulations,
including the General Product Safety Regulation (EU) 2023/988.
Please observe the following general safety instructions:
The Manatee, like any musical instrument used with headphones, earbuds, speakers, or PA systems, can produce high sound levels across a wide frequency range. Your hearing is extremely sensitive and can be permanently and irreversibly damaged by excessive volume. Please always protect your ears, and those of your audience, by keeping volume at safe levels.
The following technical and musical terms are used consistently throughout this manual. Below are brief definitions to help you better understand their meaning in this context.
To ease the reading and understanding of explaination found in this user manual, a few conventions were used: • CAPITAL LETTERS denotes a sound engine or system parameter. • <KNOB> denotes a physical knob. • [BUTTON] denotes an illuminated switch or a button. • -LED- denotes an LED - Light Emitting Diode. • "DISPLAY" denotes a text or representation on the display.
The Manatee user interface was designed with two objectives in mind: • Allowing quick creation of effective sounds. • Simplifying live edits with one hand. To achieve this, the layout does not closely follow traditional synthesizer conventions. Instead, the controls are arranged to make the operation fast and easy. Some modules are intertwined, and some sections may not be where your muscle memory expects them, at first. Please do not worry, after a couple of hours practicing it will feel simple and logical. This manual is here to guide you through that learning curve. Some things to keep in mind: there are specific sections with dedicated knobs, LEDs and buttons and there is the central section with the LCD display and the 3 macro knobs located below it. While physical controls from the specific sections always edit the same parameter from the selected part, the <MACRO> knobs always edit the parameters being displayed on the screen. Up to 3 parameters can be displayed at a time, depending on the selected editing page.
Let us have a first look at the synthesizer front panel:
The front panel of Manatee is organized into five main sections: Envelopes, Sources, Macro Knobs,
Filters, and Mixing + Effects. LFOs and advanced modulations share the the Macro Knobs section
controls. At the top of the instrument, are found all the connectivity options, while the central section
allows you to select the currently edited part and access deeper setting menus via the ALT button.
All knobs on the Manatee are potentiometers, not encoders. This choice was made to offer precise
control and an analog-style tactile feel. However, this also means that the physical position of a knob
does not always reflect the current value of a parameter, especially after loading a preset or switching
between multi's parts. This is also particularly noticeable in the Macro Knobs section, where parameters
change depending on the currently selected page.
No need for great concern: each potentiometer can operate in one of three modes, JUMP, OFFSET, or CATCH,
allowing you to tailor the response to your editing style. These modes will be explained in detail later.
Pay close attention to the navigation arrows located just below the Macro Knobs. These arrows are used
to navigate between parameter pages or to select the current Preset or Multi, depending on the context.
The layout flows from top left to top right, like the shape of a smile. It begins with the contour of the sound (Envelopes), moves through timbre and movement (Sources and Macro Knobs), continues into the body of the sound (Filters), and finally reaches the ambiance stage (Mixing & Effects).
One distinctive characteristic of the Manatee is its shared envelope design. While there are two separate
envelopes, one for the filter and one for the amplifier, some of their time parameters (ATTACK, SUSTAIN,
and RELEASE) are initially linked. This shared control makes it quick and intuitive to shape the overall
contour of a sound with just a few adjustments. When more detailed shaping is needed, the envelopes stages
can be individually enabled or disabled, allowing more independence of the envelopes.
With the exception of the three LFOs and the Modulation Matrix, each synthesis block has its own section.
The edition of these modules is performed exclusively through the <MACRO> Knobs. Dedicated buttons
labeled [LFO•1], [LFO•2], and [LFO•F] are provided, allowing you to quickly jump to the corresponding
editing pages without having to scroll manually.
Let's look at the signal flow. Aside from its unique Spectral Generator, multitimbrality, and MPE support, the Manatee’s architecture is quite conventional. It features two oscillators, two envelopes, three LFOs, and two filters with a distortion unit. What truly sets it apart are the innovative functionalities coming within each module, the powerful and flexible modulation system, and the high-quality built-in effects and mixing tools (EQs and Mix reverb).
When exploring the internal modules of the Manatee, it's important to distinguish between Voice, Part, and
Multi level modules. Most modules operate per voice, meaning each of the 16 voices has its own independent
instance. However, some modules are shared across voices within a part. These include LFO•1, LFO•2, the dual
equalizer, delay, spectrum maker, and arpeggiator, all of which are per Part, producing a common output for
all voices assigned to that part. Finally, the reverb module is at the Multi level, it is global, with only
one instance shared across the entire instrument.
The Manatee is powered by two dual core DSPs, with the processing load being dynamically distributed between
them. The resource allocator continuously optimizes performance to deliver the best possible results.
To maximize polyphony, you are encouraged to disable unused modules, this frees up DSP cycles. As a rule of
thumb, the simpler a preset is, the more voices it can support simultaneously.
At the home page of a Multi or a Part, the screen top left indicates "MUL" or "P1" to "P4" respectively.
One reaches the home page by pressing part buttons [1] to [4] or the [MULTI] button.
By default, if the synth is left untouched for 30 seconds, the display will automatically return to the
currently edited part home page. This return behavior can be disabled in the system menu.
At a part home page, the configured MIDI channel is displayed after the "C:". The number of voices currently
active is displayed after "V:". The percentage on the far right of the top line indicates the processors load. When
using effects, this value can be greater than zero even if no notes are played.
The bottom line of the display shows the memory location of the multi (M1 to M16) or bank (A-D or I with the
numbers 1 to 64) for parts, as well as the eight-character alphanumeric name assigned to the part and the category
name with three letters.
If a Multi has been changed compared to the saved values, i.e. has been edited, an inverted "E" (for Edited) is shown
at the top right of the display after "MUL" or the number of the part. An inverted I (for Imported) indicates that a
Multi or a Part has been freshly received via SysEx and can now be tried out, but has not yet been saved. Without
saving, multis or parts loaded via SysEx are replaced after the program change. This prevents accidental overwriting
of data stored in the Manatee by multis and parts received via SysEx.
There are three <MACRO> knobs below the display. These are used to edit the parameters seen on the display, e.g.
to select the memory bank and the memory number. Sometimes less than three <MACRO> knobs are used. Which <MACRO>
knob does what is determined by the arrangement of the parameters on the display.
If you maintain pressed or lock the [ALT] switch while using a <MACRO> control, the value is changed in coarse steps.
This eases the setting of bipolar parameters to exactly zero or some specific values.
You can navigate within the menus using the [ARROW] buttons to the right and left of the middle <MACRO> knob.
The [ARROW] buttons can not only be used to scroll within menu pages, allowing access to the "advanced" parameters but also
to click through from one section to another, as all menus are chained together, figuratively speaking. And once the last
page of the last section is reached, another press of the [ARROW] in the current direction will jump back to the beginning,
performing a full loop in the pages order.
There are some functions that can ONLY be accessed using the [ARROW] buttons.
The [ALT] switch grants access to advanced options and hidden features! You can lock the ALT mode by performing a double-click
(two quick presses in a row) and unlock it with a single press. When ALT is active, the [MULTI] and part [P1] to [P4] switches
become shortcuts to key menu pages like SETUP, MIDI, REVERBERATION, and ARPEGGIO. Additionally, pressing the [LFOx] switches
while holding ALT gives quick access to the Modulation Matrix slots.
ALT is also used in combination with any knob to enable coarse parameter editing. A full list of ALT combinations and their
functions can be found later in this manual.
The -MIDI- LED above the left <MACRO> knob is context-dependent.
If a part switch, [P1] to [P4] below the display is active (lit red), MIDI note events received on the selected part MIDI
channel will blink the -MIDI- LED. However, the LED does not take into account the selected note range of a part. All other
MIDI messages on the channel is ignored. Aftertouch, controller change or MIDI clock messages are not displayed.
If the [MULTI] switch below the display is active, all MIDI note events triggering one the four parts will blink the -MIDI- LED.
Here is a exhaustive list of the button combinations one can perform:
• [ALT] + [P4] switch: scans all knobs at once and transfers their values to their respective parameters for the
currently edited part. This is often called "manual" or "panel" mode. It synchronizes all potentiometers state with
their corresponding Preset parameters value.
• [ALT] + [SAVE] button: opens the Utility menu. Right now, only the clock monitor is available. From left to right,
this first shows the internally set tempo in BPM (beats per minute), then the tempo received via MIDI clock (rounded to
compensate for fluctuations) and the tempo measured at the analog clock input. The internal tempo is configured in the
SETUP menu on page 2 with the other clock settings. The prefered clock source and the PPQ (pulse per quarter) are also
selected there.
• Hold [DRIVE] button: MIDI panic! All voices played by the Manatee are stopped. All MIDI controllers are also reset
and the working memory of the delay is blanked. This function comes in handy when notes are stuck due to corrupted MIDI
transmission or when you want to release on-going drones.
• Hold part [P1] to [P4] switch: sends a data dump of the part edit buffer via MIDI SysEx. Please refer to "Sending
and receiving SysExes" part of this manual.
• Hold [MULTI] switch: sends a data dump the multi edit buffer via MIDI SysEx, consisting of the Multi data and
the content of the four Parts contained therein, as a total of five SysEx dumps.
• [ALT] + [GEN] button: opens the secret Spectrum Editor.
• Hold [ALT] + Power switch: forces the Manatee to stay in bootloader. The display then shows "...AWAITING SYX...".
A new firmware version can then be loaded via SysEx. To abort this procedure, just restart the instrument again
without holding any switch or button.
At the back of the Manatee, on the left side, you'll find the main power switch used to turn the unit on and off.
The Manatee comes with a universal power supply unit, compatible with 100–240 V and 50/60 Hz AC mains. It outputs
a regulated 12 V DC through a 2.1 mm barrel connector (center positive), and includes a set of interchangeable
mains plugs for international use.
The power supply provides up to 420 mA, while the Manatee typically consumes around 350 mA.
To save energy, it is recommended to either unplug the power adapter from the socket or use a switchable power strip
to turn it off when the instrument is not in use.
The Manatee features both a Main and an Auxiliary audio output, each configured as stereo pairs using standard
6.35mm jack sockets. These outputs can also be reconfigured as four separate individual outputs, or one stereo
output and two individual outputs, providing flexible routing options.
The Auxiliary output employs a TRS (Tip-Ring-Sleeve) socket. This allows an external audio signal to be fed into
the Manatee through the ring contact of any of the Auxiliary output jacks. The input signal is then mixed directly
to the Main output without processing, enabling you to connect an external instrument without the need for a mixer
or inserting external audio effects on the Auxiliary bus by using the appropriate cables.
With an insert or Y-cable, you can use the Auxiliary outputs and inputs simultaneously. Typically, the two separate
ends of such cables follow this convention:
• Black (tip) = output
• Red (ring) = input
Alternatively, the Auxiliary output can be used as a regular simple output, but in this case, an unbalanced TS
(Tip-Sleeve) jack cable MUST be used to avoid signal issues.
Finally, the Manatee includes a stereo headphones output over a 3.5 mm socket for private monitoring.
At the back of the Manatee, next to the power input, you will find the familiar trio of DIN sockets for MIDI IN, THRU, and OUT. These ports are fully compliant with the standard +5V MIDI specification. Nothing fancy, just the reliable, standard MIDI connectivity one can always count on!
1. Manufacturer and Representative Information
Frédéric Meslin Audiogeräte
Herwarthstraße, 20
53115 BONN
Germany
Contact: info@fredslab.net
Telephone: +49 228 53451657
2. Product Unique Identification
Manatee Digital Synthesizer
European Article Number: 4170000145219
3. Product Description
Desktop Electronic Music Synthesizer
Belonging to the category "multimedia electronic equipment"
4. Product Class
CLASS B Multimedia Equipment
5. Object of the declaration:
This equipment conforms to the following requirements:
• 2014/35/EU - Low Voltage Directive (LVD)
• 2014/30/EU - Electromagnetic Compatibility Directive (EMC)
• 2011/65/EU - Restriction of Hazardous Substances (RoHS) Directive
• 2012/19/EU - Waste Electrical and Electronic Equipment (WEEE) Directive
Harmonized Standards Applied:
• EN 55032:2015 / Interference voltage / 150 kHz - 30 MHz
• EN 55032:2015 / Interference field / 30 MHz – 1000 MHz
• EN 61000-4-2:2009 / Immunity to electrostatic discharge (ESD)
• EN 61000-4-3:2006 + A1:2008 + A2:2010 / Immunity to HF electromagnetic radiation
• EN 61000-4-4:2012 / Immunity to fast transient electrical disturbances
• EN 61000-4-5:2014 / Interference immunity against surge voltages
• EN 61000-4-6:2014 / Immunity to conducted interference induced by HF fields
• EN 61000-4-11:2004 / Immunity to voltage dips, interruptions and voltage fluctuations
• EN 61000-4-8:2010 / Immunity to magnetic fields with energy frequencies *
* The Manatee does not contain any components that are sensitive to magnetic fields.
The test is therefore not required according to EN 55035.
2011/65/EU (ROHS 2), 2012/19/EU (WEEE)
6. Testing entity
EMV Transferstelle
Hochschule Koblenz
Konrad Zuse Straße 1
56075 Koblenz
Germany
Additional Information:
The product has been tested by the specified independent laboratory in accordance with the
above-listed harmonized standards and meets all applicable requirements.
Report: Testreport 1511/ 2023
Place and Date of Issue:
Bonn / Germany – 12/01/2023
Name and signature:
This device does not exceed the Class B limits for radio noise emissions from digital apparatus
set out in the Interference-Causing Equipment Standard (ICES-003) of the Canadian
Department of Communications.
Cet équipement n’émet pas de bruits radiofréquence dépassant les limites applicables aux appareils
numériques de la Classe B prescrites dans le règlement sur les interférences radioélectriques (ICES-003)
édicté par le Ministère des Communications du Canada.
This device has been tested and found to comply with the limits for a Class B digital device,
pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable
protection against harmful interference in a residential installation. Operation is subject
to the following two conditions:
1. This device may not cause harmful interference.
2. This device must accept any interference received, including interference that may
cause undesired operation.
Important: Changes and modifications made to the device without the approval of
the manufacturer can void your authority to operate this device.
This device generates, uses, and can radiate radio frequency energy and, if not installed and
used in accordance with the instructions, may cause harmful interference to radio
communications. However, there is no guarantee that interference will not occur in a
particular installation.
If this device does cause harmful interference to radio or television reception, which can be
determined by turning the device off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the device and receiver.
• Connect the equipment into an outlet on a circuit different from that to which the
receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.