Flame Clockwork User manual

manual
Version 1.03
last update: april 2009

FFOORREEWWOORRDD33
FFIIRRSSTTSSTTEEPPSS
Security Advices 4
Consignment 4
Short describtion 4
Short overview 5
Front panel 6
Connections 6
Cable 6
RREEFFEERREENNCCEE
TTRRAACCKKSS11--33
Beat 7-8
Gate 9
Shift 10
CV 11
LFO 12
Random (Random functions) 13
Record 13
Analogue - outputs / logic of sum outputs 14
GGLLOOBBAALLFFUUNNCCTTIIOONNSS
Tempo / Sync 15
Random-Pot 15
Shuffle 16
MMIIDDII1177
SENDING 17
Control Change 17
Note On / Velocity 18
RECEIVE
MIDI-to-CV-Interface 18
MIDI-clock / sync 18
AAPPPPEENNDDIIXX
Applications 19
List of MIDI-Data 19
Additional informations
Distribution 20
Technical details 21
Warranty 21
Terms of production 21
Disposal 21
Support 21
CCOONNTTEENNTT
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A SHORT HISTORY OF THE CLOCKWORK ...
In the year 2006 I worked at a "MIDI-to-soundbox"-steering for a piece of thea-
tre, "history tilt" by Daniel Dorsch, sound-artist and friend of mine, who at that
time was using almost analougue equipment, like effect pedals of the "mooger-
fooger"series, (TM). He came to me with the idea to build a simple analogue
Multitrack-clock-generator, which should mutually move the different clock
tracks. Whith this tool, one should be able to start envelopes earlier, to produ-
ce shuffels and to play uncommon rythms.
After one year of first drafts we started the development under very helpfull
influence and innovative ideas of some musician friends (many thanks especi-
ally to Robert Junge as well as to Paul Schultz from Schneider's Büro!). So the
original Clockwork-concept enlarged with additional CV-outputs, Sum-outputs,
Random functions, LFO's and MIDI-functions (MIDI-to-CV-interface, MIDI-con-
trollers). The result of the Clockwork offers many possibilities with high fun-
qualities.
Due to the fact that we`ve had a great demand for a modular system version,
now here comes the module in euro rack format. The layout is adapted and
some functions are amplified and advanced.
Much fun!
Per Salzwedel
Berlin, march 2009
FFOORREEWWOORRDD
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FFIIRRSSTTSSTTEEPPSS
4
SSEECCUURRIITTYYAADDVVIICCEESS
Please read carefully all advices before starting the tool.
Don't use the tool in humid environment.
Don't install close to heating places (radiators, stoves, open fire).
Don't put into direct sun-radiation.
Don't let the tool fall down, even if it is quiet robust.
Don't put external voltage at the output-jacks.
For cleaning, don't use chemical cleanser or solvent, but only dry cloths.
CCOONNSSIIGGNNMMEENNTT
We deliver following accessories with the tool:
Set of mounting screws / grommets
Quickstart manual, optionally additional informations
SSHHOORRTTDDEESSCCRRIIPPTTIIOONN
The Flame Clockwork is a versatile clock and tempo generator. In first line it´s
designed to generate clock/trigger/gate signals for clocking units with tap and
clock inputs, to fire envelopes or to control sequencers and sample&holds. The
clock can also be shuffled and shifted before/after the master clock!
Further can be produced flexible Shuffle-Beats by different manners.
Additionally it can send MIDI clock and a fixed MIDI note per channel. Some con-
trols transmit MIDI control data and there´s also a simple MIDI/CV interface.

SSHHOORRTTOOVVEERRVVIIEEWW
Internal tempo generator
(but the Clockwork can also be synchronized to external MIDI-Clock)
Three independent clock-channels with adjustable divisor factor
(BEAT-switch including triplets and punctuated notes)
GATE sets the gate length and allows a conitnuous gate signal (HOLD) or to
turn off the channel.
SHIFT/CV control has two functions:
SHIFT can shift the clock BEFORE or AFTER the master clock, maximum
shift is half of the chosen divisor!
CV affects the signal at CV output and controls clock level between zero and
MAX (0...5V). In maximum position the CV out turns into a LFO. A MIDI-
synchronized LFO in a triplet or punctuated notes?
No problem for the Clockwork!!
Complex RANDOM functions SHUFFLE (8th or 16th grid) and TEMPO affect all
three channels simultaneously.
RECORD:
Recording and looping the movements of each track´s controls (besides BEAT)
possible over the length of two bars.
CLOCK:
ca. 0/5V (on/off-logic)
CV adjustable between 0-5V
SUM outputs mix the CV- and Clock-signals (two different logic functions!). A
set of LEDs visualises the different clocks.
Additional 16th clock output.
The simple yet fully independent MIDI/CV-interface follows 1V/oct characteri-
stic. It is limited to MIDI channel 1 and five octaves range.
Each channel sends a MIDI note on channel 10 in the rhythm ot the chosen
divisor factor.
The least timing unit of all internal timing activitys is one MIDI-clock.
Please look below for the exactly MIDI-data (appendix).
FFIIRRSSTTSSTTEEPPSS
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FFIIRRSSTTSSTTEEPPSSFFRROONNTTPPAANNEELL//CCOONNNNEECCTTIIOONNSS//CCAABBLLEE
6
CCOONNNNEECCTTIINNGGCCAABBLLEE

BBEEAATT
The BEAT-switch determines the division-factor of the internal or external
MIDI-CLOCK in musical units.
Following 12 pulse grids can be adjust:
TT= Tick = MIDI-pulse (24x per quarter note = least MIDI-clock unit)
3322= 1/32 pulse
1166= 1/16 pulse
88= 1/8 pulse
44= quarter note pulse
22= half note pulse
1166..= punctuated semiquaver
88..= punctuated eight
44..= punctuated quarter
1166TT= 16th triplet
88TT= 8th triplet
44TT= quarter triplet
The length of the impulse is determined by GATE (see below).
After switching, the change always becomes effective with the beginning of the
next complete measure (on ONE of the next BAR). The change will not be recor-
ded by RECORD; so it can be used further by looping the track. A looped
sequence can be switched to Double or Halftime e.g., so by the way other appa-
rent velocities or variations of the track can be produced live.
RREEFFEERREENNCCEETTRRAACCKKSS11--33
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RREEFFEERREENNZZCCEETTRRAACCKKSS11--33BBEEAATT
BBEEAATT::BBAASSIICCPPUULLSSEEGGRRIIDDSS
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GGAATTEE
With the switch GATE you can change the length of the Clock/CV-signal (length
of the positive impulse = GATE), as well as the duration of the Midi-note (Note
On/ Note Off) sended by the according chanel.
In position OFF the track remains switched off and no data will be produced or
sended.
In position POINT the GATE has the exact length of one tick.
In position HOLD the note will be bound (endless GATE). The Clock/Gate-output
remains on maximal level. An exception is the Midi-note, which can be switched
off by Note Off.
RANDOM can affect the GATE-length. The GATE is partially placed on 32th grid
at some (bigger) BEAT- adjustments.
RREEFFEERREENNCCEETTRRAACCKKSS11--33
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SSHHIIFFTT
With the SHIFT-function the track in timing can be moved ahead or behind the
masterclock.
The left switch beyond the controller must be in lower position SHIFT. Now the
control-dial works as SHIFT-controller. In middle-position the track runs syn-
chronously to internal/external masterclock in BEAT-grid. Out of this middle-
position the track can be moved chronologically ahead or back and that in Tick-
raster. Pay attention to the smaller the BEAT-grid the smaller the dissolution
gets, and if BEAT is = tick adjustment is no more possible, because there is no
adjustment within two Timing-Clock-orders.
At stop-position left or right of the ruler the track runs exactly displaced by the
half. So you can generate easy Offbeats e.g. (e.g. push-pull of Bassdrum and
Snare). With help of two tracks can be generated flexible Shuffle-Beats and this
yet with triplet or punctated notes.
The Clockwork minimum needs one measure after start to adjust the correct
beat with the according adjustment.
RREEFFEERREENNCCEETTRRAACCKKSS11--33
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CCVV
If the left switch above SHIFT/CV-ruler is in upper position CV, the voltage at
CV-output can be adjusted between 0 and 5 V (between zero and position MAX)
with the control dial.
The modification always happens in the chronologically grid of adjusted BEAT.
RANDOM can affect on control voltages.
Tipp:
If GATE is adjusted on HOLD, on CV-jack permanently fits the voltage which is
adjusted on CV-ruler. Changing the factor you´ll get rasterized upstair/down-
stair voltage (Sample & Hold) in adjusted BEAT. The agitation of the CV-switch
can be taped over two measures with RECORD and so generate individual two-
bar-CV-loops (hand-played LFO-waves).
RREEFFEERREENNCCEETTRRAACCKKSS11--33
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LLFFOO
If the left switch above SHIFT/CV-ruler is in upper position CV and the control-
dial is in end-position (pot on right stop-position) the CV-output-jack converts
into LFO.
The right switch determines now the curves-form. In upper position the trian-
gle-form is available to all three tracks. Differences are in lower position:
Track 1 = saw up
Track 2 = saw down
Track 3 = alternated saw up and down.
Keep in mind that LFO`s are rasterized per smallest chronologically unit.
Because of this, the LFO is Midi-synchronous and could be moved by SHIFT.
RANDOM has no influence on LFO. (But this can be achieved easily via CV-sum-
output combinating two tracks).
RREEFFEERREENNCCEETTRRAACCKKSS11--33
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RRAANNDDOOMM
Some parameters of the tracks can be divercified by accident (RANDOM). The
right switch of the track must be placed on RND (the LFO may not be activated
at the same time). With the global RANDOM-switch can be adjusted various
influences by accident, out of middle-position. The further the switch is moved
from middle-position, the bigger is the effect.
Per track RANDOM effects on following values:
CLOCK On/Off
GATE duration
CV
Velocity of the transmitted MIDI-note
Play with the different ruler-positions to test the various effects!
You can graduate very animated variations.
See too: GLOBAL FUNCTIONS, RANDOM-POT
RREECCOORRDD
When RECORD-switch(-es) of the track are in upper position, the ruler-switch-
modification of the according track will be recorded continously over two mea-
sures (in tick-raster). All ruler/switches of the track belong to this (except the
BEAT- switch and RECORD-switch).
To activate the recording, turn the RECORD-switch down. The last two measu-
res will be played automatically (LOOP). Now a changing of the rulers/switches
is not possible (except BEAT) while the recorded data are running.
Tip:
When the LOOP is activated (and RECORD-switch down):
a short RECORD-switch up, adjusting the ruler/switch a little and then swit-
ching RECORD back, the loop is now diversified.
RREEFFEERREENNCCEETTRRAACCKKSS11--33
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AANNAALLOOGG--OOUUTTPPUUTTSS
Per track CLOCK/GATE (0/5V) and CV/LFO (0...approx.5V) come out of seperate
jacks. Similar is the case with CLOCK and CV. They differ only in the expensed
voltage. That means on the CLOCK-jack is while the duration of GATE a voltage
of approx. 5V and during the breaks zero Volt. At the CV-jack while the duration
of GATE there is a voltage between 0 and 5V (determined by CV-switch and pos-
sibly RANDOM) and during the breaks zero Volt.
When CV-output is switched to LFO the according LFO-voltage between 0 and
approx.4V continuously comes out, not influenced by GATE or RANDOM.
All three Clock-outputs flow into a Clock-sum-output and a Gate-sum-output
(arranged as a stereo-plug). The signals of the three tracks are connected by
different ways. The according generation of both sum-outputs you can see in
the schedule below.
The three CV-output of the tracks are also put on an extra CV-sum-output.
Thereby one-third of the voltage of the according track is mixed on the output.
The sum-voltage ranges as well between 0 and 5 V. By means of this output dif-
ferent LFO - actions are mixable or Random can be influenced.
SSUUMMLLOOGGIICCSSHHEEMMAATTIICCSS
RREEFFEERREENNCCEETTRRAACCKKSS11--33
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1 2 3 CLOCK GATE

TTEEMMPPOO//SSYYNNCC
For internal Clock put the SYNC-switch down on INT (internal Clock). The posi-
tion of the TEMPO-ruler now determines the tempo between approx. 20 and 220
Bpm (Beats per minute). You start or stop the sequenzer with switch
START/STOP. By synchronisation of an external sequenzer via MIDI-CLOCK put
the SYNC-switch on EXT (external Clock) and the other switch aside on STOP.
Now the sequenzer can only get startet from external connected master.
RRAANNDDOOMM--PPOOTT
The RANDOM-Pot always works globally on all three tracks. In middle-position
the function is deactivated.
If you want to leave the analogue-outputs (Clock/CV) on chance, put the right
switch of the track down to RND (and SHIFT/CV between 0 and MAX, not! on
LFO).
Starting from middle-position, going to both sides the by-accident-function
amplifies. The two directions differ in effect, you should try. The by-accident
effects work on velocity of the transmitted note of the track too, and that inde-
pendent from position of RND-Pot.
The changing of the values per RANDOM will be recorded and played using
RECORD.
Follwing parameters get influenced:
Pot positions left:
Step (Clock) of track on/off
Level of control voltage (CV-out)
Velocity
Pot positions right:
Step (Clock) of track on/off
Level of control voltage (CV-out)
Velocity
Gate-duration
RREEFFEERREENNCCEEGGLLOOBBAALLFFUUNNCCTTIIOONNSS
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SSHHUUFFFFLLEE
By means of the SHUFFLE-ruler on all tracks running on 16th or 8th can be
generated a shuffle. In middle-position the function is deactivated. Turning left
on track(s) with 8th BEAT you can generate three Shuffle-steps, turning right
only one step on track(s) with 16th BEAT. The SHUFFLE-function has no influen-
ce on the sended Midi-Clock.
To improve Your Shuffles, don`t use global SHUFFLE-ruler but two tracks.
Here a short discription:
MMOORREEFFLLEEXXIIBBLLEESSHHUUFFFFLLEE((wwiitthhoouuttSShhuuffffllee--rruulleerr))
1. Analogue Shuffle (on output Clock-sum= tip)
At first:
The Shuffle-ruler should last now in middle-position. For a 16th-shuffel put
the Beat from track 1 and 2 on 8th and move track 1 with the SHIFT-ruler on
the half (ruler SHIFT on 0 or max). Now both tracks are running on 8th push-
pull and generate on the Clock-sum-output a 16th pulse-sequence.
Now move track 2 with the SHIFT-ruler of this track out of middle-position
and you´ll have on every second 16th on the sum-output the according
Shuffle. So the SHIFT-ruler from track 2 becomes a SHUFFLE- ruler, and
that with a much higher dissolution.
At 8th-shuffle put the tracks accordingly on fourth. Further on, now you have
the possibility of shuffles with triplets or punctuated notes! Only choose the
according beat on both tracks. There is one restriction with this procedure:
the third track should stay switched off, because it affects the sum-output
too. But for interesting experiments you can dare some tests. Off course you
can choose the tracks as you want (changing the order and shuffeling with
Shift 1).
2. Midi Shuffle (on Midi-out via note-numbers)
The procedure stays the same as with analogue shuffle (see above). But to
both sended note-numbers on the sampler (or sound-expander) should be
assigned the same samples or sounds, to be sure that both tracks appear as
ONE SOUND. Aditionally you could use the third track without any constric-
tion. Here is much place for experiments, because of more parameters
could take infuence on the shuffle.
RREEFFEERREENNCCEEGGLLOOBBAALLFFUUNNCCTTIIOONNSS
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MMIIDDII
The CLOCKWORK basically is intented to generate analogue Gate/Trigger/CV-
voltages, so it offers only limited MIDI-functionality. E.g. it is not possible to edit
MIDI-chanels. All MIDI-parameter according to the switches and rulers are
defined and not changeable.
The triggering of MIDI-data can be different and is not always according to the
analogue function of the Clockwork.
For example you could send controller-data via turning the potentiometer, alt-
hough the track is switched off (GATE= OFF)
MMIIDDII--SSEENNDDIINNGG
The CLOCKWORK only can send MIDI-data, when the internal sequencer is star-
ted, or has been started via external MIDI-clock. If a track is switched off per
GATE = OFF, no note-number of the track can be sendet, but the ruler/switches
of the track can send nevertheless controller-data.
All MIDI-data of the track (except switches) are sended always with the adjusted
BEAT-raster of the track.
Tip: If you want a quasi-continuous contoller, put the track on T (Tick).
CCOONNTTRROOLLLLEERR((CCoonnttrrooll--CChhaannggee))
All potentiometers and switches (except RECORD, SYNC, START, BEAT) can
send contoller-data. The determined data please see schedule of MIDI-data in
the appendix. A controller- value is always sendet in BEAT- determined time-
grid. The control-dial offer data contiuous between 0 and 127. The switches
send according to the switch-position only two determined values (0 and 127,
see schedule in appendix).
The MIDI-controller of RANDOM-potentiometer, SHUFFLE-potentiometer and
TEMPO-potentiometer as well as switches START/STOP and SYNC send no
midi-control data.
RREEFFEERREENNCCEEMMIIDDII
17

NNOOTTEEOONN//VVEELLOOCCIITTYY
Per track at a time can be sended one fixed note on fixed MIDI-chanel 10 with
velocity variing or by accident. If a track is activated (GATE-switch from POINT
to HOLD), this track sends a note whereas the velocity can be switched with
GATE-ruler from starting-magnitude decimal 79 to 127. Despite of inactivated
RANDOM-switch on the track you can arouse effects by accident with RANDOM-
ruler on velocity. That means, if you don`t want any or very small velocity-vari-
ations, RANDOM-ruler always have to be in middle-position. This is made, that
you can put RANDOM on velocity, even if the track is inactivated by RANDOM.
Please note, also with activated HOLD the note will be sended again in the
raster of BEAT (in opposite to clock-output, which is than contiuously on maxi-
mum pegel). The velocity-by-accident-algorythm bases on emperical value and
simulates nearly the differently strong percussive clapping by hand. That will
sound different at external sound-modules, because velocity works differently
on sounds.
MMIIDDII--ttoo--CCVV--IINNTTEERRFFAACCEE
On fixed midi-chanel 1 the CLOCKWORK understands note-numbers from 24 to
84 (notes outside this area are ignored).
In integrated MIDI-to-CV-INTERFACE these notes are graduated into analogue
voltages, namely into CV-voltage from 0 to 5V (5 octaves, at 1V/octave, MOOG-
compatible) and a GATE of 0/5V per duration of the note. The velocity will not be
evaluated. This interface works autonomous of the sequencer and can be used
by running or stopped sequencer. All other received data (except midi-clock)
will be ignored. Arriving data are signalised by yellow Led over the SYNC-
switch.
Advice: You should avoid sending bigger gratuitous data-amounts (like e.g.
SysEx) to the CLOCKWORK, because the timing-behaviour could become inse-
cure. With every arriving midi-message the processor is occupied with the ana-
lysis of data and from a certain amount it doesn`t have the time to administra-
te its programm correctly.
MMIIDDII--CCLLOOCCKK
Via midi-clock the CLOCKWORK can be synchronized with other sequencers
and act as a master or slave. The running CLOCKWORK always sends MIDI-
clock-data (internal clock the same as external clock). In STOP-mode no clock-
instructions are generated. It sends or receive the START/STOP-command. It
cannot send or receive CONTINUE.
RREEFFEERREENNCCEEMMIIDDII
18

AAPPPPLLIICCAATTIIOONNSS
The Flame Clockwork is a versatile device for example:
Rythmical filter-modulations
Creating of rythmical CV/gate-patterns
Trigger + shift of envelopes
Sample & hold
Loops (changing in realtime)
Complex shuffle-beats
Controlled random patterns
Furthermore you can use the Clockwork like a:
Midi-controller
MIDI-to-CV-interface
Drum - sequencer
Universal Clock/pulse-generator
Tap-synchronizer
LLIISSTTOOFFMMIIDDII--DDAATTAA
MMIIDDII--CCVV--IINNTTEERRFFAACCEE
Receive: MIDI-Channel 1 Note numbers: 24..84
DDRRUUMMNNOOTTEENN
Sending: MIDI-Channel 10 Track1 Track2 Track3
Note numbers: 36 37 42
CCOONNTTRROOLLLLEERR--RRuulleerr(Value = 0..127)
Sending: MIDI-Channel 10 Track1 Track2 Track3
Gate: 73 Gate: 81 Gate: 84
Shift/CV: 70 Shift/CV: 80 Shift/CV: 83
CCOONNTTRROOLLLLEERR--SSwwiittcchheess(Value = 0 oder 127)
Sending: MIDI-Channel 10 Track1 Track2 Track3
Shift/CV: 64 66 68
Random: 65 67 69
AAPPPPEENNDDIIXX
19

DDIISSTTRRIIBBUUTTIIOONN
UUSSAA
AAnnaalloogguueeHHaavveenn
1223 Wilshire Blvd. # 597
Santa Monica, CA 90403
USA
phone: [phone]
email: [e-mail]
web: www.analoguehaven.com
EEUURROOPPEE
SScchhnneeiiddeerrssBBuueerroo--SSaalleess&&DDiissttrriibbuuttiioonn
Andreas Schneider
Adalbertstr. 80
10997 Berlin - Kreuzberg
Germany
phone: [phone]
fax: [phone]
email: [e-mail]
web: www.schneiders-buero.de
JJAAPPAANN
FFuukkuussaannKKiiggyyooCCoo..LLttdd..
Le Ponte Bldg.4F, 1-14-2 Jingumae
Shibuya-Ku, Tokyo, 150-0001
Japan
phone: [phone]
fax: [phone]
email: [email protected]
web: www.fukusan.com
AAPPPPEENNDDIIXXAADDDDIITTIIOONNAALLIINNFFOORRMMAATTIIOONNSS
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