Fred’s Lab TOORO Troubleshooting guide

T¨ O¨ OR¨ O module
User and service Manual
Revision 1.0 EN - 24/03/2021
for Firmware V1.20 - 08/03/2021
Fr´ ed´ eric Meslin / Fred’s Lab
March 29, 2021
1

Introduction
Thank you very much for purchasing the T¨o¨or¨o!
This is the second multitimbral synthesizer from Fred’s Lab and our best attempt at
hybrid polyphonic synthesis.
By carefully blending analog and digital technologies, mixing 1970’s and 2020’s electronics
and pouring it in a compact and rugged package, the T¨o¨or¨o was born.
With its 6 characterful voices, the wild FL A847 filters and an advanced delay on board,
the T¨o¨or¨o has high sonic potential, just release it and create!
Love from Germany
Fred, from Fred’s Lab
Legal notices
Fred’s Lab cannot be liable for erroneous information contained in this manual. The
contents of this manual may be updated at any time without prior notice. We have put
best effort to ensure the information provided here is useful and accurate. Fred’s Lab
extends no liabilities in regard to this manual other than those required by the local laws.
Fr´ed´eric Meslin Audioger¨ate
Herwarthstraße, 20
53115 Bonn, Germany
[email protected]
http://fredslab.net
Support requests
For support requests, you can reach me per e-mail at:
[email protected]
or per post, using the previously mentioned company address.
For each support request, please include the instrument model, serial number and a precise
description of the problem encountered with a maximum of details and supporting elements
for a quick resolution.
Copyright information
This original manual, its content, including the graphics & descriptions are the property
of Fred’s Lab. No part of this manual should be reproduced other than for customer
personal use and backup needs without a written permission from Fred’s Lab.
2

Warranty
Fred’s Lab warranty this product free of defects 3 years from its date of purchase.
This warranty covers product from manufacturing defects, when the product is used ob-
serving normal operating conditions. However, the warranty does not cover:
 Normal product wear-out
 Damages caused by failure to observe the rules of use
 Damages due to negligence of the user
 Products having been modified or repaired by the user or a third person
More information about product warranty can be found in the General Terms and
Conditions of Sale document available at:
https://fredslab.net/en/terms.html
Special Thanks
I would like to thank the following persons for their contributions to this project:
 Panel and logo designs: Serge Beauchamp
 Kickstarter communication / Press kit: Alex Theakston
 Factory sounds: Espen Kraft
 Quality insurance: Benoit Ruelle, Ren´e Schmidt, Pierre Studievic, Mathieu Meslin,
Thomas Billiou, Oliver Rockstedt
 User manual: Oliver Rockstedt, Fanny Homberger (DE)
 Audio demos: Laurent Pelletier, Fabien Labonde
And Fanny & Neal Homberger for their continuous support and their regular contributions.
This project has been made possible through the financial support from the Kickstarter
Backers.
Precautions
Before plugging in the T¨o¨or¨o! and go rocking the World, have a sit and read this
precautions through:
 Always use the device in a dry and warm environment
 Never drop the device or expose to too much pressure or vibration
 Never spill liquids or bath the device in beer
 Never clean the device with an aggressive solvent
 Only use certified USB power adapters to power the device
 Never wiggle the plugs to disconnect the cords
 Never connect the line outputs to the power outputs of an amplifier
 Only modify the unit at your own risk!
3

The T¨o¨or¨o! used in conjunction with headphones and speaker systems can produce very
loud sounds in a wide range of frequencies.
Human hearing is very sensitive and can be damaged quickly. So watch out your hears
and those of your audience!
4

Contents Contents
Contents
1 Presentation 9
1.1 WhatisMIDI? .................................. 9
1.2 Remarksonpolyphony.............................. 9
2 Requirements 9
2.1 Anaudiosystem ................................. 9
2.2 AMIDIcontroller ................................ 10
2.3 AUSBpowersource............................... 10
2.4 RemarksonUSBnoise.............................. 10
3 Instrument Setup 11
4 Instrument Operation 12
4.1 Connectors .................................... 12
4.2 Controls&Indicators .............................. 13
4.3 EditingParameters................................ 14
4.3.1 ParameterLEDs ............................. 14
4.3.2 ParameterDisplay ............................ 14
5 Preset & Multi Management 15
5.1 SelectingaPart.................................. 15
5.2 Setting the MIDI Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
5.3 SelectingaPreset................................. 15
5.4 SavingaPreset.................................. 16
5.4.1 Overwriting the Current Preset . . . . . . . . . . . . . . . . . . . . . 16
5.4.2 Saving a Preset to a Different Memory Location . . . . . . . . . . . 16
5.5 CopyingPresets.................................. 16
5.6 InitializingaPreset................................ 16
5.7 Dumping a Preset via Sysex . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
5.8 SelectingaMulti ................................. 17
5.9 SavingaMulti .................................. 17
5.9.1 Overwriting the Current Multi . . . . . . . . . . . . . . . . . . . . . 17
5.9.2 Saving a Multi to a Different Memory Location . . . . . . . . . . . . 17
5.10CopyingMultis.................................. 18
5.11InitializingaMulti................................ 18
5.12 Dumping a Multi via Sysex . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
6 Preset Parameters 19
6.1 Overview ..................................... 19
6.2 VoiceMode .................................... 19
6.3 Oscillators..................................... 20
6.3.1 Wave ................................... 20
6.3.2 Table ................................... 20
6.3.3 CoarseTune ............................... 21
6.3.4 FineTune................................. 21
6.3.5 FMAmount ............................... 22
6.3.6 FMRate ................................. 22
6.3.7 Level.................................... 22
5

Contents Contents
6.3.8 Sync.................................... 22
6.4 Extra ....................................... 23
6.4.1 NoiseLevel ................................ 23
6.4.2 Ringmodulator Level . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
6.5 Filter ....................................... 24
6.5.1 Cutoff................................... 24
6.5.2 Resonance................................. 24
6.5.3 EnvFAmount .............................. 24
6.5.4 LFO1Amount.............................. 24
6.5.5 PitchTracking .............................. 25
6.5.6 Aftertouch Amount . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
6.6 Shaper....................................... 26
6.6.1 CutoffFrequency............................. 26
6.6.2 Resonance................................. 26
6.6.3 EnvAAmount.............................. 26
6.6.4 LFO2Amount.............................. 26
6.6.5 PitchTracking .............................. 27
6.6.6 Mode ................................... 27
6.7 LFOs ....................................... 28
6.7.1 Shape ................................... 28
6.7.2 Speed ................................... 28
6.7.3 Rise .................................... 29
6.7.4 Phase ................................... 29
6.8 Envelopes ..................................... 30
6.8.1 AttackTime ............................... 30
6.8.2 DecayTime................................ 30
6.8.3 SustainLevel............................... 30
6.8.4 ReleaseTime............................... 31
6.8.5 VelocityAmount............................. 31
6.8.6 HoldTime ................................ 31
6.8.7 Aftertouch Amount . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
6.8.8 TriggerMode............................... 31
6.9 Amplifier ..................................... 32
6.9.1 Level.................................... 32
6.9.2 Pan .................................... 32
6.10Arpeggiator.................................... 33
6.10.1 Mode ................................... 33
6.10.2 Grid.................................... 33
6.10.3 Tempo................................... 34
6.10.4 Hold.................................... 34
6.11ModulationMatrix................................ 35
6.11.1 Entering the Matrix Programming Mode . . . . . . . . . . . . . . . 35
6.11.2 Programming a Modulation Assignment . . . . . . . . . . . . . . . . 35
6.11.3 Replacing a Modulation Assignment . . . . . . . . . . . . . . . . . . 35
6.11.4 Clearing a Modulation Assignment . . . . . . . . . . . . . . . . . . . 35
6.11.5 Exiting the Matrix Programming Mode . . . . . . . . . . . . . . . . 35
6.11.6 Modulation Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
6.11.7 Modulation Destinations . . . . . . . . . . . . . . . . . . . . . . . . . 36
6.11.8 Default Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
6

Contents Contents
6.11.9 Example 1: Applying LFO 1 Modulation on Osc 1 Pitch . . . . . . . 37
6.11.10 Example 2: Applying Pitch Modulation on Amplifier Pan . . . . . . 37
7 Multi Parameters 38
7.1 Overview ..................................... 38
7.2 PartsMixer.................................... 38
7.3 MultiFX ..................................... 39
7.3.1 Length................................... 39
7.3.2 Feedback ................................. 39
7.3.3 Mix .................................... 39
7.3.4 Mode ................................... 39
7.3.5 Speed ................................... 40
7.3.6 Depth ................................... 40
8 Filter Tuning 41
9 Firmware Update 41
10 Specifications 42
10.1SoundEngine................................... 42
10.1.1 General .................................. 42
10.1.2 Oscillators................................. 42
10.1.3 Filter ................................... 42
10.1.4 Shaper................................... 42
10.1.5 Envelopes................................. 42
10.1.6 LFOs ................................... 42
10.1.7 Arpeggiator................................ 42
10.1.8 DCA.................................... 43
10.1.9 MultiFX ................................. 43
10.2Memory ...................................... 43
10.3LineOutputs ................................... 43
10.4AudioResolution................................. 43
10.5MasterClocks................................... 43
10.6Power ....................................... 43
10.7Connectors .................................... 43
10.8UserInterface................................... 44
10.9Dimensions&Weight .............................. 44
10.10Mechanics..................................... 44
10.11Accessories .................................... 44
11 MIDI Implementation 45
11.1 Channel Voice Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
11.1.1 NoteOff.................................. 45
11.1.2 NoteOn.................................. 45
11.1.3 Polyphonic Aftertouch . . . . . . . . . . . . . . . . . . . . . . . . . . 45
11.1.4 Controller Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
11.1.5 ProgramChange............................. 46
11.1.6 Channel Aftertouch . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
11.1.7 PitchBend ................................ 46
7

Contents Contents
11.2 System Real Time Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
11.2.1 ClockStart ................................ 46
11.2.2 ClockContinue.............................. 46
11.2.3 ClockStop ................................ 47
11.2.4 ClockTick ................................ 47
11.2.5 ActiveSensing .............................. 47
11.3MIDICCAssignments.............................. 48
12 Sysex Implementation 50
12.1Requests...................................... 50
12.1.1 MultiRequest .............................. 50
12.1.2 PresetRequest .............................. 50
12.2Dumps....................................... 50
12.2.1 MultiDump ............................... 50
12.2.2 PresetDump ............................... 51
12.2.3 DataPacking............................... 54
13 Schematics 55
14 Norms 65
14.1Europe:CE.................................... 65
14.2 Canada: Interference Regulation . . . . . . . . . . . . . . . . . . . . . . . . 66
14.3USA:FCCInformation ............................. 66
8

2 REQUIREMENTS
1 Presentation
The T¨o¨or¨o is a 6-voice polyphonic, 4-part multi-timbral, hybrid ”digilog” MIDI sound
module.
 Polyphonic means it can play several notes at the same time.
 Multi-timbral means it can play several instruments at the same time.
 Digilog means the sound is created using audio algorithms and then converted into
the analog domain for further processing.
 MIDI sound module means it needs a MIDI controller to generate sound.
1.1 What is MIDI?
MIDI stands for Musical Instrument Digital Interface.
It is a technical standard allowing music instruments to communicate and be used in con-
certo. It defines a protocol, messages, a digital interface and cables / connectors formats.
A MIDI connection carries notes, controller changes, clocks and various configuration data.
The T¨o¨or¨o is a hybrid instrument. It initially computes the sounds using mathematical
models and algorithms, executed by a powerful ARM micro-processor, which are then
converted into analog domain and shaped by an FL A847 low-pass filter.
1.2 Remarks on polyphony
The 6-voice polyphony is the absolute maximal number of notes that can be played at
the same time. If you try to play more notes simultaneously, the older voices will be muted
and reused for newer notes. This mechanism is called ”voice-stealing” and will result in
audio artifacts or parts of your music not being played when triggered. In order to avoid
it, keep in mind the module limitations while composing your music.
2 Requirements
To play with the T¨o¨or¨o you need:
 An audio system with line-level inputs
 A MIDI controller, a sequencer or a computer
 A USB power source
2.1 An audio system
can be a HiFi stereo system, a power mixing desk connected to speakers or a pair of active
speakers.
9

2.2 A MIDI controller 2 REQUIREMENTS
2.2 A MIDI controller
can be any master keyboard, wind controller, surface... that sends MIDI notes. You can
also attach the instrument to a hardware or software MIDI sequencer. It can run on a
computer, a laptop or a tablet/smartphone. You may need a dedicated external MIDI
interface or just use the USB connection.
2.3 A USB power source
can be a USB host, a power bank or a USB wall adapter/charger. Never use cheap USB
chargers that can be very noisy.
2.4 Remarks on USB noise
If you keep hearing irritating hum and noise when the T¨o¨or¨o is connected via USB, you
may experience a USB ground loop problem. Fortunately, there are several solutions
to overcome this problem.
Solution 1:
 Use another USB power source (power bank or wall adapter)
 Connect the instrument to the computer with a MIDI DIN cable
Solution 2:
 Use a USB galvanic isolator
Example: Olimex USB-ISO module
https://www.olimex.com/Products/USB-Modules/USB-ISO
MIDI DIN connections are, by design, prevented from ground loop problems. It is the
preferred solution to avoid these annoying issues.
10