Fred’s Lab Buzzzy Troubleshooting guide

BUZZZY! module
User and service Manual
Revision 1.0 EN - 27/01/2020
for Firmware V1.21 - 08/10/2019
Fr´ ed´ eric Meslin / Fred’s Lab
January 27, 2020
1

Introduction
Thank you for purchasing the Buzzzy!
Be sure I have put all my talent, skills and efforts to design this music instrument!
Hopefully, you will like its compactness, love its sonic personality ... and come up with so
many great ideas and new sounds for your music.
Love from Germany!
Fred, from Fred’s Lab
Legal notices
Fred’s Lab cannot be liable for any 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 pre-
cise 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.
Copyright Fred’s Lab - Fr´ed´eric Meslin 2019
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 personally thank all friends, relatives and colleagues, for their support,
advises and reviews during the development of the Buzzzy!.
•Fanny & Neal Homberger
•Jacques & Marie-Francoise Meslin
•Serge Beauchamp,Benoit Ruelle,Emilie Gillet,Oliver Rockstedt
Front panel graphics (except the Bee) were designed by Serge Beauchamp. The German
version of this user manual was translated by Fanny Homberger and the French version
by Benoit Ruelle. Also, this project wouldn’t have been possible without the financial
support from the Kickstarter Backers. Thank you for your trust!
Precautions
Before plugging in the Buzzzy! 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 quality and 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
•Never connect the headphone output to a line output of any device
•Only modify the unit at your own risk!
The Buzzzy! 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!
3

Contents Contents
Contents
1 Presentation 6
2 Requirements 6
3 Instrument setup 8
4 Instrument operation 9
4.1 Connections.................................... 9
4.2 Potentiometers .................................. 10
4.3 Switches&indicators .............................. 11
5 The synthesis 13
6 Engines 13
6.1 Pulse........................................ 13
6.2 FM......................................... 14
6.3 Wave........................................ 15
6.4 Noise........................................ 16
7 Envelope 17
7.1 AttackandDecay ................................ 17
7.1.1 ADenvelope ............................... 17
7.2 Hold, Velocity & Looping . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
7.2.1 AHDenvelope .............................. 18
7.2.2 Loopingenvelope............................. 19
7.2.3 Velocity.................................. 19
8 Mixer 20
8.1 Volume&Pan .................................. 20
9 FXs 21
9.1 Selection & configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
9.2 SpaceFXs..................................... 22
9.2.1 Fort .................................... 22
9.2.2 Reservoir ................................. 22
9.2.3 Abyss ................................... 22
9.3 DelayFXs..................................... 23
9.3.1 Mono ................................... 23
9.3.2 Ping-pong................................. 23
9.3.3 Chorus/Flanger............................. 23
9.4 FilterFXs..................................... 24
9.4.1 Low-pass ................................. 24
9.4.2 Band-pass................................. 24
9.4.3 High-pass ................................. 25
9.4.4 Modulation ................................ 25
9.4.5 Distortion................................. 25
9.4.6 Editing .................................. 25
4

Contents Contents
10 Arpeggiator 26
10.1On&Hold .................................... 26
10.2Tempo&Clocking ................................ 26
10.3 Divisions, Repetitions & Gate length . . . . . . . . . . . . . . . . . . . . . . 26
11 Parts 27
11.1Initializingapart................................. 27
11.2 Setting a part MIDI channel . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
12 Store 28
12.1Loadingamulti.................................. 28
12.2Savingamulti .................................. 28
13 MIDI implementation 29
13.1 Channel Voice Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
13.2 System Real Time Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
13.3 Controller Changes / CCs . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
14 Sysex implementation 33
14.1Sysexrequests .................................. 33
14.2Sysexdumps ................................... 33
15 Firmware update 36
16 Technical details 37
17 Schematics and BOM 38
18 Norms 45
18.1Europe:CE.................................... 45
18.2 Canada: Interference regulation . . . . . . . . . . . . . . . . . . . . . . . . . 46
18.3USA:FCCInformation ............................. 46
5

2 REQUIREMENTS
1 Presentation
The Buzzzy! is a 16-voices polyphonic, 4-parts multi-timbral, digital sound MIDI module.
•Polyphonic means it can play several notes at the same time.
•Multi-timbral means it can play several instruments at the same time.
•Digital sound means the sound is created using audio algorithms.
•MIDI module means it needs a MIDI controller to generate notes.
What is MIDI?
MIDI stands for Musical Instrument Digital Interface. It is a technical standard
allowing music instruments to communicate and be used in concerto. 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 Buzzzy! is a digital instrument, it computes the sounds using mathematical models
and algorithms, executed by a powerful ARM micro-processor.
Remarks on polyphony
The 16-voices 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.
The Buzzzy! uses a dynamic allocation mechanism for the processor resources. When
using multiple audio FXs and more processing hungry voices, polyphony decreases. Always
disable the FXs and mute the voices you are not actively using to get the maximum
polyphony out of this instrument.
2 Requirements
To play with the Buzzzy! you need:
•An audio system with line-level inputs or a pair of headphones
•A MIDI controller, a sequencer or a computer
•A USB power source
An audio system
can be a HiFi stereo system, a power mixing desk connected to speakers or a pair of active
speakers.
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 a 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.
6

2 REQUIREMENTS
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.
Remarks on USB noise
If you keep hearing irritating hum and noises when the Buzzzy! is connected via USB,
you may experience a USB ground loop problem. Fortunately, there are several solu-
tions to overcome this problem.
Solution 1:
•Use an other 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.
7

3 INSTRUMENT SETUP
3 Instrument setup
Step 1: Audio
Connect the Buzzzy! line-level outputs (left & right) to your audio system inputs using
two 6.35mm unbalanced jacks.
Or
Connect the headphones output (head) to your headphones pair using the 3.5mm stereo
jack cable. An adapter is required if your headphones have a 6.35mm jack cable.
Step 2: MIDI
Connect the Buzzzy! MIDI DIN input (MIDI IN) to your MIDI compatible controller or
sequencer / computer using a MIDI DIN cable.
Or
Connect the USB port (USB - 5V) to your computer, laptop, tablet or smartphone.
Step 3: Power
Connect the Buzzzy! power input (USB - 5V) to your power source of choice.
Switch on you audio system, adjust the volume and play some notes!
8

4 INSTRUMENT OPERATION
4 Instrument operation
Once the instrument is properly installed and you can hear some sounds when playing
notes, let’s have a good look at its front panel:
4.1 Connections
1USB - 5V
This is the USB-B connector for both power and MIDI over USB function. It should be
attached to a source to power up the Buzzzy!.
2MIDI IN
This is the MIDI Input DIN connector for a MIDI compatible controller or sequencer. It
should be attached to a MIDI Output DIN connector of an other device.
3HEAD
This is the headphones output connector to attach an headphones pair. The amplifier is
designed for low to medium impedance headphones. It can also be used as an additional
line-level stereo audio output.
4 5 LEFT & RIGHT
This is the headphones output connector to attach an headphones pair. The amplifier is
designed for low to medium impedance headphones. It can also be used as an additional
line-level stereo audio output.
9

4.2 Potentiometers 4 INSTRUMENT OPERATION
4.2 Potentiometers
Turning a potentiometer adjusts the principal sound parameter, labeled above it, in white
with the bigger font. This parameter is only modified for the currently selected part.
To access the secondary sound parameter, labeled below the potentiometer, the Alt switch
must be pressed or the alt function locked.
Arpeggiator parameters, in italic font, can be adjusted by turning the potentiometer
WHILE maintaining the Arp switch pressed.
WAVE
this potentiometer
1. selects which variation of sound algorithm
2. selects which engine (Pulse, FM, Waves, Noise)
for the next note played.
With the Arp switch pressed, the Arpeggiator tempo
can be adjusted.
DECAY
This potentiometer
1. adjusts the envelope decay time
2. adjusts the envelope attack time
of all notes currently played.
With the Arp switch pressed, the Arpeggiator clock division
can be adjusted.
LEVEL
This potentiometer
1. adjusts the volume
2. adjusts the panning
of all notes currently played.
With the Arp switch pressed, the Arpeggiator
”note repeat count” or pattern can be adjusted.
RANGE
This potentiometer
1. adjusts the FX range parameter
2. adjusts the FX depth parameter
3. controls the FX mix level or the filter modulation
amount and rate of the FX currently selected.
With the Arp switch pressed, the Arpeggiator gate length
can be adjusted. While a specific FX switch is still pressed,
turning the RANGE potentiometer adjusts the FX mix or
the modulation amount.
10

4.3 Switches & indicators 4 INSTRUMENT OPERATION
4.3 Switches & indicators
1PART
This is the Part switch.
By pressing it multiple times, the currently edited part can be selected.
The LEDs below the switch display the edited part.
This switch also allows:
1. initializing the selected part sound
2. changing the selected part MIDI Channel
These two extended functions are accessed by pressing the switch long enough
(in combination with Alt for MIDI channel learn) and are described later in
this user manual.
2ALT
This is the Alt switch.
Pressing it down allows access to the secondary sound parameters. The alt state can be
locked by performing a ”double-click” (two rapid successive presses) on the switch. The
state can be unlocked by pressing the alt switch once.
When the alt state is locked, the part LEDs are all blinking.
3ARP
This is the Arp enable switch.
By pressing it, the Arpeggiator is either enabled or disabled. The LED above
the switch display the current state of the Arpeggiator.
By pressing the Arp switch long enough, the Arpeggiator hold function is en-
abled.
Keeping the Arp switch pressed while turning potentiometers allows the edit-
ing of the Arpeggiator specific parameters.
More information about the Arpeggiator can be found in the Arpeggiator section.
4HOLD
This is the Hold enable switch.
By pressing it multiple times, the mode of the Envelope is selected.
When the Hold LED is lit, the Envelope an AHD envelope.
When the Velocity LED is lit, the controller transmitted velocity affects the
volume of the notes played.
By pressing the Hold switch long enough, the Envelope becomes a looping
envelope and the Hold LED blinks.
More information about the Envelope can be found in the Envelope section.
11

4.3 Switches & indicators 4 INSTRUMENT OPERATION
5SPACE
This is the Space switch.
By pressing it, one of the Space FX is either enabled or disabled. The FX is enabled for
the edited part. If a Delay FX was previously enabled, it is immediately disabled as Space
and Delay FXs are mutually exclusive.
The Space LED, at the switch left, indicates the state of the FX.
Using the Alt switch, one of the 3 available Space FX can be selected.
6DELAY
This is the Delay switch.
By pressing it, one of the Delay FX is either enabled or disabled. The FX is enabled for
the edited part. If a Space FX was previously enabled, it is immediately disabled as Space
and Delay FXs are mutually exclusive.
The Delay LED, at the switch left, indicates the state of the FX.
Using the Alt switch, one of the 3 available Delay FX can be selected.
7FILTER
This is the Filter switch.
By pressing it, one of the Filter FX is either enabled or disabled. The FX is enabled for
the edited part. The Filter LED, at the switch left, indicates the state of the FX.
Using the Alt switch, one of the 3 available Filter FX can be selected.
8STORE
This is the Store switch.
By pressing it shortly, the selected multi slot is recalled. A multi consists in the state
of all sound parameters from the 4 parts. By pressing it long enough, the current edited
multi is saved on the selected multi slot.
Do not forget to save your changes before recalling a multi or the modifications of
the current multi will be forever lost!
12

6 ENGINES
5 The synthesis
6 Engines
The Buzzzy! is equipped with 4 distinct sound engines:
Pulse,FM,Wave and Noise.
Each engine offers a set of sound variations.
The selected engine makes the core of a note sound and a unique timbre palette. Let’s
explore the different facets of these engines.
6.1 Pulse
Pulse is an engine made to produce clean and anti-aliased waveforms with sharp edges.
It generates the squares, the pulses, the alternative pulses (with richer bass) waves, all
with or without pulse-width modulation and vibrato.
List of the variations available:
N◦Name Description
1 Square Square wave
2 Pulse25 Pulse with 25.00% PW ratio
3 Pulse12 Pulse with 12.50% PW ratio
4 Pulse6 Pulse with 6.25% PW ratio
5 Alt38 Alternate pulse with 37.50% PW ratio
6 Alt25 Alternate pulse with 25.00% PW ratio
7 Alt12 Alternate pulse with 12.50% PW ratio
8 Alt6 Alternate pulse with 6.25% PW ratio
9 SquareSlow Square with slow 87.50% PWM
10 PulseSlow 25.00% pulse with slow 43.75% PWM
11 SquareFast Square with fast 50.00% PWM
12 PulseFast 25.00% pulse with fast 25.00% PWM
13 Alt50Slow 50.00% alternate pulse with slow 87.50% PWM
14 Alt25Slow 25.00% alternate pulse with slow 43.75% PWM
15 Alt50Fast 50.00% alternate pulse with fast 50.00% PWM
16 Alt25Fast 25.00% alternate pulse with fast 25.00% PWM
13

6.2 FM 6 ENGINES
6.2 FM
FM is an engine made to produce both rounder and grittier waveforms based on tra-
ditional linear phase modulation, using 2 operators in series. It generates classic and
distorted FM tones, with sinus, triangle or sawtooth waveforms as carrier and modulator.
Vibrato is also available for this engine.
List of the variations available:
N◦Name Description
1 HalfSoft 1/2x Sine/Sine with 10% phase modulation
2 HalfMedium 1/2x Sine/Sine with 30% phase modulation
3 HalfHard 1/2x Sine/Sine with 60% phase modulation
4 1xSoft 1x Sine/Sine with 15% phase modulation
5 1xMedium 1x Sine/Sine with 30% phase modulation
6 2xSoft 2x Sine/Sine with 15% phase modulation
7 3xSoft 3x Sine/Sine with 15% phase modulation
8 3xSoft 3x Sine/Sine with 30% phase modulation
9 TriSoft 1/2x Triangle/Sine with 10% phase modulation
10 1xTri 1x Triangle/Sine with 15% phase modulation
11 2xTri 2x Triangle/Sine with 10% phase modulation
12 3xTri 3x Triangle/Sine with 10% phase modulation
13 HalfSaw 1/2x Saw/Sine with 20% phase modulation
14 2xSaw 2x Saw/Sine with 10% phase modulation
15 SawHard 1/2x Saw/Saw with 5% phase modulation
16 Trash 2x Saw/Saw with 10% phase modulation
14

6.3 Wave 6 ENGINES
6.3 Wave
Wave is an engine made to produce low resolution waveforms, as they would be directly
played from a ROM, like in some early sound generators.
Vibrato is also available for this engine.
List of variations available:
N◦Name Description
1 Sinus A regular sine wave
2 FlatSine A slightly clipped sine wave
3 SlantedSine A phase distorted sine wave
4 DoubleSine Sum of two sine waves (octaves)
5 Triangle A regular triangle wave
6 FlatTri A slightly clipped triangle wave
7 SlantedTri A phase distorted triangle wave
8 DoubleTri Sum of two triangle waves (octaves)
9 Smooth A smoothed random wave
10 Random A harsh random wave
11 SawSoft A soft fake saw wave
12 SawHard A hard fake saw wave
13 Sin2Tri A wave evolving from sine to triangle
14 Tri2Dbl A wave evolving from triangle to double sine
15 Smo2Rnd A wave evolving from smooth to random wave
16 Soft2Hard A wave evolving from soft to hard wave
15

6.4 Noise 6 ENGINES
6.4 Noise
Noise is an engine made to produce colored noises with different kind of filtering (low
pass and band pass), loudness compensation, as well as at different sampling rates.
Pitch-bend control can be used to adjust the noise filters respective cutoff frequencies.
List of variations available:
N◦Name Description
1 NoiseLP low passed colored noise
2 NoiseBP band passed colored noise
3 HalfLP Under-sampled low passed noise
4 HalfBP Under-sampled band passed noise
5 CrapLP Crappy low-passed noise
6 CrapBP Crappy band-passed noise
16

7 ENVELOPE
7 Envelope
The envelope controls the dynamic level of a note. It also acts on several other sound pa-
rameters (depending on selected engine and variation). The Buzzzy! offers one envelope
per voice. While this can sound limited, the envelopes offer different modes.
7.1 Attack and Decay
The basic attributes for a simple envelope are its attack time and decay time.
The attack time defines the time taken by the volume of a note to rise from mini-
mum to its maximum.
The decay time defines the time taken by the volume of a note to fall from its re-
lease level to the minimum.
Times range from very short (<1ms) to extended (18s).
7.1.1 AD envelope
This is the default behavior of the envelope.
When a note is triggered, its associated voice AD envelope rises from the minimum to
the maximum level. When the maximum is reached, the envelope immediately falls from
the maximum back to the minimum level. After this cycle, the note is considered to be
terminated and its related voice is consequently released.
The envelope can be interrupted in its attack phase, if the note is released before the
maximum level is reached. In this situation, the envelope will fall from its release level to
the minimum, at the specified decay time.
Remark
AD envelopes are very useful for percussive sounds, short melodic bleeps and plucks but
also for arpeggiated patterns.
17

7.2 Hold, Velocity & Looping 7 ENVELOPE
7.2 Hold, Velocity & Looping
For longer notes or chords, an additional hold stage is often required.
By pressing the hold switch several times, the AHD mode can be enabled or disabled. To
select the envelope looping mode, press the hold switch long enough.
The hold and velocity LEDs, located above the switch, indicates the current envelope
mode and its sensitivity to velocity. When the hold LED blinks, the envelope is in
looping mode.
7.2.1 AHD envelope
This mode is similar to the AD envelope, excepting it has an hold phase.
When a note is triggered, its AHD envelope rise from the minimum to the maximum
level. When the maximum is reached, the envelope stays at this level until the note
is released. When this happens, the envelope level falls from the maximum back to the
minimum level. After this cycle, the note is terminated and its related voice is released.
As in AD mode, the AHD envelope can also be interrupted in its attack phase. The
AHD behavior is then strictly identical to the AD envelope one.
Remark
AHD envelopes are perfect for chords or drone sounds.
18

7.2 Hold, Velocity & Looping 7 ENVELOPE
7.2.2 Looping envelope
This mode is similar to the AD envelope, excepting the envelope immediately restarts
when it reaches its minimum level.
When a note is triggered, the looping envelope rises from the minimum to the maximum
level. When the maximum is reached, the envelope immediately falls from the maximum
back to the minimum level. When the minimum level is reached, the cycle restarts. This
loop repeats until the note is released. When this happens, the envelope level falls from
the current level to the minimum level and no longer loops. The note is then terminated
and its related voice is released.
Remark
Looping envelopes have great use for sound effects, percussion noises and pulsating chords.
7.2.3 Velocity
If the envelope velocity is enabled, notes velocity information sent by the MIDI controller
or the sequencer to the Buzzzy! affects the volume of the notes played on the edited part.
This gives more expressiveness to an instrument by letting the musician control the loud-
ness of the notes separately.
Remark
Velocity variations come in handy to accentuate or de-emphasize elements in a rhyth-
mic pattern. When playing complex chords, different velocity levels can help to finely
distribute the predominance of the chord degrees or notes.
19

8 MIXER
8 Mixer
The mixer sets the level and the panning of a part. It is meant to adjust the music
instrument loudness and position in the stereo space. The mixer uses a sinus / cosine
panning law.
8.1 Volume & Pan
Only two parameters are available: level and pan.
To adjust the level, turn the Level potentiometer.
To adjust the pan, maintain the Alt switch pressed (or lock the alt state)
and turn the Level potentiometer.
Remark
To avoid sound distortion or even hard-clipping when mixing together several parts or
instruments, try to leave some safe level margin.
The Buzzzy! has no master level control. The overall volume is the result of the
sum of each part sound volume.
20