Analogue Solutions NYBORG 12 User manual

NYBORG 12/24
user manual!

Analogue Solutions | Nyborg | Manual
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Nyborg - Nov 2017 | Page !2

Analogue Solutions | Nyborg | Manual
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Nyborg - Nov 2017 | Page !3

Analogue Solutions | Nyborg | Manual
Introduction
Congratulations on buying the Nyborg synthesiser. Nyborg is part of the Analogue
Solutions range of analogue music equipment. Nyborg is a precision electronic musical
instrument. It combines all the often needed music electronic circuitry to make a music
synthesiser in one compact module.
No compromise has been made with the construction of Nyborg. Cheaper options in
parts have not been used
• Full rugged steel/aluminium case - no plastic mouldings
• Good quality smooth potentiometers, fully sealed against dust
• Good quality knobs with spun aluminium caps
• High grade double sided circuit board
• High Quality 16bit DAC for MIDI-CV conversion
• Very stable MIDI to CV
• Very stable analogue oscillators
• Hand built by humans
• True retro analogue voice and modulation circuits to give an authentic retro
sound
WHY DO I NEED THIS SYNTH? WHAT’S SO SPECIAL?
Nyborg is a compact true analogue mono synth in a neat, smart, small package.
When we say ‘real analogue’ we mean that the entire audio patch and all modulation is
entirely analogue, using circuits based on awesome sounding vintage 1970s designs.
There circuits are not locked down by CPUs, controls are quantised and read by CPUs.
With exception of the MIDI to CV circuit, which by its nature must have a digital
element, Nyborg really is analogue and the sound benefit is immediately apparent!
We get may good comments about how good Analogue Solutions sound, how good,
warm and full of character they are.
The synth has been designed by a musician who is a big fan of electronic music, and
knows how to program a synth, not designed by an engineer. So, the modulation
choices and range of sounds they produced have all been carefully thought out and
quickly give you those sounds you want: huge bass, synth leads, percussion, effects,
modular style sounds.
Nyborg - Nov 2017 | Page !4

Analogue Solutions | Nyborg | Manual
What are the Differences Between Nyborg-12 and
Telemark?
They essentially share the same circuits, so will sound similar. The main differences are
outlined below:
Nyborg12 Advantages / Additions
Octave switches on the VCO.
‘Free run’ setting - disconnects VCO from MIDI pitch. Good for effects or using the VCO
as a modulator.
Wide setting - allowing the VCO Tune knob to have a super wide range - good for when
the VCO is used as a modulator.
Q Boost on the filter - to make resonance go insane.
VCO Sub Osc is hard wired to the Mixer - for super convenience.
Much smaller than Telemark - for those with limited space.
Lower price point.
Two Nyborgs can be racked side by side using the optional rack kit.
Telemark Advantages / Additions
Plenty of signal patch points! Telemark can be more fully integrated into an existing
modular system. Cross patching between the two is possible.
The patch points enable additional modulation, effects and sounds that cannot be done
with the switches alone.
Ring Modulation.
The Sub Osc is not hard wired. This means it can be patched up in other ways, like a
clock divider, or to half the rate of the LFO square wave.
So in summary - which to choose?
Main points are
Size
Cost
Do you want the advantages the extra sockets give?
There are points personal to your situation!
If price and size are not an issue - then
Nyborg - the fact it has Sub Osc hard wired allows a wider range of sounds to be made
without patching.
Telemark - it will do far more, but requires the work of patching.
So the summary here is Telemark will do much more than Nyborg but requires the extra
effort (some patching). Nyborg will do more than an un-patched Telemark.
Nyborg - Nov 2017 | Page !5

Analogue Solutions | Nyborg | Manual
Nyborg Layout
Note: Nyborg24 is just about identical. But see notes on filter section.
Nyborg - Nov 2017 | Page !6

Analogue Solutions | Nyborg | Manual
NYBORG: SYNTH – PERCUSSION – AUDIO
PROCESSOR
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Nyborg - Nov 2017 | Page !7

Analogue Solutions | Nyborg | Manual
MIDI (DAW Use) or CV & Gate?
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Oscillators
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Nyborg - Nov 2017 | Page !8

Analogue Solutions | Nyborg | Manual
Amplifier
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Nyborg - Nov 2017 | Page !9

Analogue Solutions | Nyborg | Manual
Mounting Options
Nyborg can be orientated and configured in several ways;
VERTICAL (TALL)
As standard, it comes as a vertical desktop unit just like it’s big brother Telemark.
HORIZONTAL (FLAT)
It is possible to reconfigure it so that it is a flat table top unit, like its cousin Leipzig-S is.
This requires some minor screwdriver work.
WITH WOOD SIDES
In either of the above two configurations, optional wood side panels can be fitted.
These screw on from the inside of the unit, so no ugly screws will be visible on the
beautiful wood.
TWO (OR MORE!) SIDE BY SIDE
Two (or more!) units can be bolted side by side. And of course you can also fit the
optional wood sides to these, or, reconfigure them to be horizontal flat units. Two units
can be MIDI daisy chained for a duo-phone synth.
TWO UNITS RACKED
Two units can be bolted together (like above) and then you can also fit the optional rack
ear brackets, and rack mount the whole assembly. !
Nyborg - Nov 2017 | Page !10

Analogue Solutions | Nyborg | Manual
Safety Instructions
PLEASE READ CAREFULLY BEFORE USING:
• Only use the correct power adaptor - 230V for UK/EU (110V for N.America).
• Never handle the adaptor with wet hands
• Never excessively bend the adaptor cable or get it trapped or place heavy objects
on it. If the adaptor cable becomes damaged, replace the adaptor.
• Ensure the unit is disconnected from the mains before moving or cleaning.
• Always disconnect the unit from the mains if there is lightning in your area.
• Ensure the unit is on a stable surface, and never place heavy objects on top of it.
• Never allow young children or animals to operate the unit or adaptor.
• Do not use excessive force when using the controls or inserting cables to the
connectors.
• The unit should not be operated in the rain or near water and should not be
exposed to moisture.
• If the unit is brought from a cold environment to a warm one, the unit should be
left to reach the ambient temperature.
• Keep away from heat sources, such as radiators, ovens, heaters etc.
• Never allow it to get wet. Do not operate it near water, like pools, sinks,
bathrooms etc.
• Do not place beverages on or near it.
• Never open the case or attempt to make repairs. Refer any servicing to qualified
service personnel.
PREVENTING DAMAGE TO OTHER CONNECTED DEVICES
Nyborg has a very high dynamic range. It is capable of produce loud signals of very
high and sub-sonic frequencies that could blow inadequate speakers if played too loud.
It is recommended that input levels to external equipment (mixers, amp's etc.) are kept
low when first connected, and then slowly increased to a useable level.
MAINTENANCE INSTRUCTIONS
Any cleaning of the Nyborg case should be done with a clean lint-free cloth. "
DO NOT USE SOLVENTS OR CLEANERS, as this will deteriorate the exterior
appearance of the equipment. Do not use a car wash or jet wash to clean this synth.
PLACE
Nyborg soundly on any stable surface so it cannot fall off or over, causing it or yourself
injury.
POWER
The unit needs a 12 to 15V AC supply, minimum 500mA. DC Power supplies will not
work.
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Getting Started
POWER
Nyborg comes with a power supply. It uses a power supply with an AC
output (not DC!)
If your power supply comes with a selection of connector plugs, use the one
with the yellow coloured centre. You’ll know it’s the right one as the fit will
feel right.
It does not matter which was around you insert the plug into the end of the
power supply lead.
Plug the power leads into the rear of Nyborg.
MIDI
Nyborg has;
MIDI In for sequencing from DAW or playing via MIDI keys.
MIDI Thru outputs a copy of what comes into the MIDI In socket
Example set up;
Connect MIDI Out from your computer DAW MIDI interface or MIDI
keyboard to MIDI In of Nyborg.
Optionally connect MIDI Thru from Nyborg to the MIDI In of another device.
Note;
If MIDI Thru appears not to work then Nyborg may be in Poly Chain mode.
See that section in this manual on how to disable Poly Chain.
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Initial Tuning
Once the MIDI and audio connections have been made it may be necessary to tune in
the VCOs to the rest of your music set-up. Allow a five minute warm up time as these
are true analogue VCOs – that’s why they sound so great!
First set up the controls of Nyborg to make a simple sound. It is usually best to leave
the VCA on BYPASS. Turn VCO2 to zero volume so you can only hear VCO1.
Play, say, middle C on the keyboard. Using a digital keyboard as a reference, adjust the
tuning of VCO1 until it plays in tune with your reference.
Finally, turn up VCO2 so both VCOs can be heard. Using the tune controls of VCO2,
tune it to VCO1.
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Circuits in Detail
Here follows details on the sockets and controls, with brief simplified explanations of
what the circuits do. We have not gone into technical details on how or exactly what
each circuit does but tried to explain each control's function and effect.
This synth has been designed to be simple and intuitive to use, just like the original
analogue synth’s of the 70s and 80s. There are no multi-layered menus to work
through.
Anyone who has used synthesisers before should be familiar with the terms used and
therefore be able to predict their behaviour and how they affect the sound. The best
way to learn how to use Nyborg is to go straight ahead and play with it. Reading of this
manual may only be necessary for finer operational detail.
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VCO 1 & 2
The voltage controlled oscillators (VCOs 1
and 2) produce the raw audio waveform
usually used as the initial source for sound
creation.
They provide cyclic audio waveforms that
can be pitched.
VCOs usually receive treatment from the
VCF to turn their basic tones into pleasant
sounds. Both VCOs have almost identical
controls. Both are described below.
TUNE
Controls pitch adjustment of the VCO. Use
this to tune the VCOs to each other, and to
themselves.
OCTAVE
The VCOs can be transposed up one or two
octaves.
When VCO1’s Octave switch is on the first
setting FREE, then MIDI-CV Pitch will no
longer change the pitch.
FREE (run) allows VCO1 to be used like a
LFO – that is as a CV control source,
unaffected by pitch. Or, it is good for VCO
Sync effects.
When VCO2’s Octave switch is on the first
setting WIDE, then the Tune range of the
TUNE control becomes extremely wide. It will be harder to set a specific pitch, but the
wide range allows some great effects when used in conjunction with other settings.
MODULATION
This controls the amount of modulation to either pulse width or pitch from the
modulation source selected by the SOURCE switch.
Turn this knob clockwise in increasing amounts to apply pulse width modulation (PWM)
to the VCO’s square wave. This will have the effect of thickening up the VCO sound.
Extreme settings of modulation may result in the sound cutting out (which can be used
for creative effect!) Turn this knob anti-clockwise in increasing amounts to apply
frequency modulation (FM) to the VCO. In a central position, there will be no
modulation to either PW or Frequency
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MODULATION SOURCE ROTARY SWITCH
This selects the modulation source for either PWM or FM and is routed to the control
above.
The source options are;
EG1/2 For pitch sweeps. Good for percussion sounds.
EXT A signal patching into the EXT socket s used as a modulation source.
LFO For vibrato and trill effects
VCO2/1 For frequency modulation effects
PULSE WIDTH
This control allows manual shaping of the pulse wave output. It alters the pulse width
(duty cycle) of the pulse wave. In a central position a square wave is produced (approx.
50% duty cycle). Try this control and listen to how the tone of the waveform changes.
When using Pulse Width Modulation, it is best to set the Pulse Width control to centre,
otherwise the sound may cut-out (which can be used for creative effect!)
SYNC
SYNC forces one VCO (the slave VCO) to start a new cycle each time the other does
(the master VCO). This means that the slave VCO can only play the harmonics of the
master. Particularly interesting effects can be made when the pitch of the slaved VCO
is changed, for instance, by sweeping with an EG.
SYNC SWITCH
This switch selects the routings for oscillator sync. The options are: 1>2 VCO2 slaved
to VCO1 LFO>2 VCO2 slaved to LFO OFF Off / no sync effect 2>1 VCO1 slaved to
VCO2
Oscillator sync is where the master signal will reset the waveform of the slave signal
each time the master waveform starts a new cycle.
Try the different settings and listen to their effect. You may have to modulate the pitch
of either VCO1 or VCO2 to enhance the effect. There is a balancing act between the
pitch of the two sound sources (usually the 2 VCOs) to get a good effect, once found
you'll know you've found it!
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Audio Mixer
NOISE GENERATOR
The noise generator produces white noise which contains all audible frequencies at
equal volume. This is like the hiss you hear between radio stations. The signal is
available for filtering via the Noise/Sub mixer control. Noise would be used for sound
effects such as breath, wind, percussion, etc.
SUB OSC A sub oscillator is a signal taken from a VCO that is then taken down one or
more octaves below the source VCO. In this case the Sub is taken from VCO1, and is
one octave lower. Sub Osc is used typically for creating deeper and more powerful
bass sounds. The Sub Osc waveform is a square wave.
MIXER
The mixer is used to bring various audio source signals together for filtering. There are
3 mixer controls.
SAW/PULSE VCO1 LEVEL
Turning the control clockwise in increasing amounts sends VCO1s pulse signal to the
mixer. Turning the control anti-clockwise in increasing amounts sends VCO1s sawtooth
wave signal to the mixer. In a central position no signal is sent from VCO1 to the mixer.
SAW/PULSE VCO2 LEVEL
Turning the control clockwise in increasing amounts sends VCO2s pulse wave signal to
the mixer. Turning the control anti-clockwise in increasing amounts sends VCO2s
sawtooth wave signal to the mixer. In a central position no signal is sent from VCO2 to
the mixer.
NOISE / SUB LEVEL
Turning the control clockwise in increasing amounts sends the Sub Osc signal to the
mixer. Turning the control anti-clockwise in increasing amounts sends white Noise to
the mixer. In a central position no signal is sent from the Noise generator or Sub Osc to
the mixer.
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VCF - Nyborg-12
The voltage controlled filter (VCF) is used
to alter the tone of the VCOs/Noise and is
the heart of what gives an analogue synth
its character.
The main character of the filter is a 2 pole,
12dB/Octave ‘oberheim’ style filter.
There are 4 types of filter available; Low
Pass High Pass Band Pass Notch Pass
(variable between Low/High)
FREQUENCY
This sets the cut-off frequency, the point at
which the filter begins operating and will
start to filter out harmonics.
RESONANCE
Resonance only acts at the filter cut-off
point. The effect amplifies the frequencies
around the cut-off point. As the control is
increased to higher levels the filter will start to self-oscillate. Use Resonance to alter the
tone of the filter effect. It can be used to create squidgy sounds, pulse hits and effects.
(RESONANCE) Q-BOOST
12dB filters typically don’t have very ‘strong’ resonance. Not a bad thing, they just
respond differently to 24dB filters.
Q BOOST increases the strength of the resonance and when the RESONANCE control
is at full it will really scream!
The main use for this, in our view, is for cross modulation from the VCO:
Q Boost ON
RESONANCE at Maximum.
MOD SOURCE to VCO2
MOD amount to maximum.
With these settings the audio from VCO2 will modulate the filter. This sounds great with
Q BOOST off, but with it on, it sounds wild!
MODULATION AMOUNT
Turning the control clockwise will increase the amount that the modulation source
selected by the MOD.SOURCE switch (outlined below) will modulate the cut-off
frequency. Turning the control anti-clockwise works just like clockwise except that the
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modulation signal is inverted (negative). In a central position the selected modulation
source will not affect cut-off modulation.
NOTCH
This sets the relative mix between the low pass and high pass filters that is fed to the
Filter Type selection switch
MOD SOURCE ROTARY SWITCH
This selects the modulation source that will affect the filter cut-off and is routed to the
control above.
There are 4 modulation sources;
EG1 EG1 is used as a modulation source. Use for tonal changes.
LFO LFO is used as a modulation source. Use for filter sweeps (wah-wah).
VCO2 Pulse wave of VCO2 is used as a modulation source. Use for effects.
EXT Signal at the EXT socket is used as a mod source. Use for external filter control.
FILTER TYPE ROTARY SWITCH
LP - Low Pass: Signals above the cut-off frequency are attenuated at a rate of
12dB/octave.
BP - Band Pass: Signals above and below the cut-off frequency are attenuated at a
rate of 12dB/octave.
HP - High Pass: Signals below the cut-off frequency are attenuated at a rate of 12dB/
octave.
Notch Notch: signals at the cut-off frequency are attenuated at a rate of 12dB/octave.
Nyborg-24 Filter
Since the Nyborg-24 does not have a multimode filter (not possible with its transistor
ladder design) there are no need for the NOTCH and FILTER MODE switches. So
these have been replaced with additional Modulation SOURCE and Modulation
AMOUNT controls which work in the same kind of way as the other set.
Nyborg-24 does not have, or indeed need, a Q Boost switch. The 4 pole filter design
gives a resonance characteristic that enables it to already heavily self-oscillator.
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FILTERING EXTERNAL SOUND SOURCES
External sound sources, such as vocals, guitars, mixer sends, samplers, etc. can be
sent through the filter for extra treatment. Note, mic's and guitars may need pre•amping
use if the signal is too quiet.
Simply plug the sound source into the front panel EXT4 socket.
Turn the mixer control Noise/EXT4 to EXT4, and up to a suitable level.
You may wish to return the VCO1 and VCO2 mixer controls to their centre positions
so the VCOs cannot be heard.
Turn the VCA mode switch to ON. This will leave the VCA open so a constant signal
can be heard.
Finally, play around with the filter and modulation settings as necessary. The VCO
signals can also be introduced, and use the various VCA modes and envelopes if you
wish to contour the sound level and add additional effects.
Note; The rear panel input sockets are wired direct to the mixer input.
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