Eowave Quadrantid Swarm User manual

SAFETY INSTRUCTIONS
Before using Quadrantid Swarm, please follow the instructions for use of the instrument as this will warrant
proper operation of the instrument. Due to the fact that these instructions touch on product liability, we
recommend reading them carefully. Any claim for defect will be rejected if one or more of the topics have not
been observed. Ignoring the instructions can eventually void warranty.
• RISK OF ELECTRIC SHOCK! DO NOT OPEN OR MODIFY Quadrantid Swarm.
• REFER SERVICING TO QUALIFIED SERVICE PERSONNEL ONLY.
• TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO
USER-SERVICEABLE PARTS INSIDE.
• The instrument may only be operated at the voltage noted on the power input on the rear panel. Before
plugging in Quadrantid Swarm, always check for the correct voltage. Before using Quadrantid Swarm in a
foreign country, check whether the mains voltage is compatible with the unit.
• When Quadrantid Swarm is not in use, disconnect the power supply from the power outlet. This will save
energy (and keep your electric bill within reason).
• Never attempt to repair Quadrantid Swarm on your own. Never open the casing. For technical support,
please get in touch with Eowave.
• The instrument is not to be operated outdoors (never ever!) but in dry, closed rooms only. Never use the
instrument in a moist or wet environment or near flammable materials.
• Do not allow liquids or conductive materials to get into the instrument. If this occurs, the instrument is to be
disconnected from mains power immediately and examined, cleaned, and eventually repaired by a qualified
person (that would be us).
• Never expose the instrument to temperatures above +50 °C or below -10 °C. Before powering up, the
instrument should have a temperature of at least +10 °C. Do not place the instrument in direct sunlight. Do
not install the instrument near heat sources such as radiators, open fire places, or thermo-nuclear testing
sites (or power plants that would employ people like Homer Simpson).
• Keep the top of the instrument clear in order to warrant proper ventilation, otherwise the instrument may
overheat and malfunction.
• Never place heavy objects such as beer crates, trucks, or mothers-in-law on the instrument.
• Before roaming with Quadrantid Swarm, make sure the unit is disconnected from other devices (external
controllers, mixers etc.). If not, watch for cables and other pit-falls. Funny films can be uploaded to the
internet.
• Transport the instrument carefully, never let it drop or be rude to it. Make sure that, during transport and
while in use, the instrument is properly supported (no pizza cartons or king-size buckets of chicken-wings)
and cannot fall or slip from your (possibly greasy) fingers – people might get injured and, even worse, sue
you for this.
• Never use the instrument in the immediate proximity of interfering electronic devices (e.g. computers and
monitors, power supplies, speakers, flux compensators, or hadron colliders) since this might cause
Quadrantid Swarm to behave erratically – and may result in corrupted memory data as well.
• Before cleaning Quadrantid Swarm, make sure the unit has been unplugged.Use a soft, dry cloth only to
clean Quadrantid Swarm. Never use any liquids, abrasive cleaners or cleaners containing solvents such as
alcohol, turpentine, or other spirits (such as cask strength Scotch Single Malt).
• The instrument is to be shipped in the original packaging only. Any instruments shipped to us for return,
exchange, repairs covered under warranty, update or examination must be in their original packaging! Any
other deliveries will be rejected. Therefore, you should keep the original packaging and this user
documentation – if only as a doorstop.
• The instrument may only be used for the purpose described in this operating manual. Due to safety
reasons, the instrument is never to be used for purposes other than musical (e. g. disintegrating neighbours,
bending the space-time continuum, impressing girls etc.).
• When using the instrument in Germany, ACHTUNG: the appropriate VDE standards are to be obeyed. The
following standards are of special and utmost importance: DIN VDE 0100 (Teil 300/11.85, Teil 410/11.83,
Teil 481/10.87), DIN VDE 0532 (Teil 1/03.82), DIN VDE 0550 (Teil 1/12.69), DIN VDE 0551 (05.72), DIN
VDE 0551e (06.75), DIN VDE 0700 (Teil 1/02.81, Teil 207/10.82), DIN VDE 0711 (Teil 500/10.89), DIN VDE
0860 (05.89), DIN VDE 0869 (01.85). VDE papers can be obtained from the VDE-Verlag GmbH, Berlin.
German readers will know where to turn to, all others do not really need to bother.

QUADRANTID SWARM
Paraphonic synthesiser
We designed the QS for immediate use without having to worry about complex patching. Pre-patching is
therefore used to make connections in logical places. Some of these are highlighted using arrows,
particularly the modulation sources and connections, the audio routing hasn't been highlighted to keep the
design clean but as expected runs from mixer, to filter, to reverb then to VCA. Some pre-patched points can
be interrupted by inserting a cable, allowing you free reign over patching on the QS.
The VCO section is Digital, while the filters, the VCA and the spring reverb are analog.
VCO
The QS offers 8 different VCO models and an additional percussive sound
The VCO has 3 parameters - Freq, Spread Character.
The Percussive sound has one parameter - perc, which determines the length of the percussion decay
Freq : controls the base pitch of the VCOs. It can be modulated by the CV in input associated to it's
attenuator : freq mod.
Spread : this function only works in monophonic mode. It controls the frequency ratio between the 8 VCOs.
Depending on the model this ratio can be harmonic (organ and string) or inharmonic (the others).
Character : this parameter has different functions depending on the VCO model Organ, String, Drone,
Reed : it determines the amount of signal passing through a wavefolder. The more character you add the
more distorted you sound will be.
Metal : adjusts the amount of modulation the modulating oscillator has on the 8 main VCOs
Chiptune : adjusts the amount of modulation the LFO has on the pulse width of the 8 main VCOs
Grains, Noise : adjusts the amount of short delay
To switch between models, press shift and the dedicated touch key.
Organ : 8 sine VCOs
Strings : 8 saw VCOs
Drone : 8 triangle VCOs
Reed : 8x2 VCOs the second VCO is slightly detuned
Metal : 8 sine VCOs with an additional 9th that modulates the frequency of the other VCOs
Chiptune : 8 square VCOs with pulse width modulation
Grain : 8 grain generators based on sine wavelets
Noise : digital pitched noise
FILTER
The signal coming from the VCO's is feed into a 3 input mixer. You can mix the main VCO, the percussion
VCO and an external signal. By default input 3 i connected to the output of the reverberation (useful for
feedback). The 2 x 12dB filters are connected in serial. Filter 1 can be switched between Low pass and Hi
pass. Filter 2 is Low pass only. You can control the frequency and amount of resonance for each filter,
separately. An extra Modulation input associated with associated attenuator can modulate the Filter's
frequency. By default Filter 1 modulation is pre-patched to the envelope, and filter 2 modulation to the LFO.
VCA
The VCA has an audio input, a control and an audio output. By default the envelope is pre-patched to the
VCA control. If you want to generate drones, you should connect a constant positive voltage 0-10V to the
VCA input.You can also use very long attack and release times with a slow sequence.
SPRING REVERB

The VCA has an audio input, a control and an audio output. You can externally control the amount of
reverberation by the mod input.
By default the reverberation output is connected to the third input of the mixer. That allows you to create
feedback effects.
MODULATIONS
The modulation sources unlock the expressivity of the synth. The first is an envelope, pre-patched to the
cutoff on filter pole 1.
Envelope
The envelope offers 2 modes of operation - AR and AD
In AR mode (attack/release) the trigger input acts as a gate. The envelope stays open until the gate is
released.
In AD mode (attack/decay) the envelope continues up to the end of it's cycle even if the gate is released.
If you want to play chords we suggest you to use AR mode and if you play with the sequencer the AD might
give better results, but of course experiment with both to create your own approach.
LFO
The LFO section is pre-patched to cutoff pole 2 and features seven selectable waveforms - triangle , sine,
ramp down , ramp up , and 3 different random modes. The 8th selection which is the sequencer CV out
(allowing the sequencer to be patched to the input of other compatible devices). Speed is set using the
'speed' knob. An additional square output has been included which can be useful for triggering clock resets.
The square pulse width is determined by the LFO waveform, the random mode won't give you a perfect
square.
A slew limiter (with CV signal in and out) enables you to round the waveforms coming from the LFO. By
default the main LFO output is connected to the slew in.
Noise
A noise output gives you an additional modulation source, which can also be used as an audio source
SEQUENCER
The internal sequencer offers you 8 steps. On each step you can control the CV and the gate. To active a
gate, simply press on the touch keyboard. To change the pitch use the individual potentiometers on each
step. The CV is internally connected to the VCO's frequency. And the gate output to the gate of the
envelope. It is not possible to control an external sound source from the internal sequencer except by using
the 8th preset on the LFO. In this mode you will have the sequencer output with a 0-5v range. It's speed is
controlled by the LFO and not the sequencer clock.
The sequencer clock has its individual output. To sync the sequencer to an external clock, use the clock
input. A trigger signal at the reset input reset the sequence to step 1.
The start button enables you to start and stop the sequence.
POLYPHONIC MODE
By holding shift and pressing the start button you can switch for monophonic mode to polyphonic mode.
In polyphonic mode the spread mode will have no function. Each of the 8 vcos is controlled by the 8 touch
keys. The individual frequency of each vco is controlled by the potentiometers above each key. Each VCO

has its own VCA controlled by the touch key.
MIDI
By default the QS responds to MIDI channel 1. To change the MIDI channel simply press SHIFT while
powering up the unit. Send a note on the new midi channel, and press START to validate your choice. The
new MIDI channel will be stored in the internal memory.
By pressing the 8th key (noise) you can also activate the external MIDI clock.
It will be available at the clock output.
The QS also responds to MIDI CC for a couple of parameters;
CC1 to CC6 will add some modulations to lfo Speed, spread, fold, perc, attack and decay. The CCs are
added to the current potentiometer value.