Glou-Glou RENDEZ-VOUS User manual

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CONCEPT
An agreement.
This is what we have here.
Time and place.
Take it slow, get acquainted.
The RDV can be broken down into six parts.
At its core, it is two eects:
6 stage phaser/vibrato (1)
12 db/oct multimode lter (2)
running in parallel.
Each eect can be modulated by one of 3 available methods:
LFO (3)
Envelope (4)
or External CV.
The modulation matrix (5) sets which form of modulation controls which eect.
(Total of 6 possible combinations).
The Rendezvous also features a modulation gate (6). The gates allows for the use of audio rate
LFO without hearing the carrier while playing, for pseudo-ring mod.
The RDV runs on a +/-15V power supply, providing a considerable amount of headroom.
This accomodates the use of any instrument, including line level sources, without suering any
saturation.

2 4 6
Sets the stage of phasing/vibrato.
The more stages, the more pro-
nounced the eect.
SURPRISE: There are also 3 hidden
stages. Continue clockwise beyond 2
stage, to access 1, 3, or 5.
GAIN
Provide a little boost or attenuation, as
needed.
PEAK
Or Q, or resonance, or feedback.
But let’s call it peak.
CCW is at, CW is near self-oscillation.
/ (left)
Select between non-inverted and
inverted feedback. Dierent avour.
VIBE/PHAS
Select between vibrato or phaser.
Phaser being just the vibrato si-
gnal+dry signal.
/ (right)
Choose between in or out of phase
dry signal.
4 possible phaser combinations:
+ = classic phaser
+ = Mutron-like phaser
+ and + = pseudo-chorus.
I call it ghost-chorus because the
vibrato sound is kind of hidden.
Subtle, but really usable.
XED
Manual setting of the phaser.
Should be about 12 o’clock if DEPTH
is full.
DEPTH
How much modulation aects the
phaser.
6 STAGE PHASER/VIBRATO

LP BP HP NP
Selects the lter
Low-Pass, Band-Pass, High-Pass or
Notch Pass.
(If Notch-Pass is selected, try setting
the Peak between 7- 9o’clock. This will
act as a very neutral phaser).
GAIN
Provide a little boost or attenuation, as
needed.
PEAK
(aka Q, or resonance, or feedback).
CCW is at, CW is near self-oscillation
/
Puts the whole lter in or out of phase
with the phaser section.
If the phaser is o, you will hear no
dierence.
When using both eects it can be very
useful, cancelling out excessive bass
for example.
HI/LO
Switch between high and low mode.
Typically low mode is good for bass.
As you wish.
XED
The manual setting of the lter.
It should be at 12 o’clock if depth is
full.
DEPTH
How much modulation aects the
lter.
MULTIMODE LTER

An enhanced version of the
LFO found in the KORG MS-20.
The LFO can be mapped to
either (or both) of the eects.
TRIANGLE/SQUARE
The switch choose between:
saw/triangle/inverted-saw
or variable width square.
The knob above the switch morphs the wave-
form: from saw to triangle to inverted saw
in the up position, width of the square in the
down position.
SPEED
Rate of the LFO.
LO/HI
Choose between 2 speed ranges for the LFO.
LO ranges from a few seconds to classic
vibrato/tremolo frequency.
HI accesses faster frequencies, from wobble
to audio rate.
(Can interact with waveform knob for bit-
crushing/decimating eects).
LFO

Not your classic envelope.
Features a wide variety of
attack speeds for
unconventional results.
SPEED
Choose between 11 dierent rates.
First 3 positions (CCW)
really slow, no ripple envelope
Last 3 position (CW)
fuzz-like land. (Quasi-synth sounds when
playing bass).
5 positions in-between
classic envelope, with variable attack.
SENS
Pre-gain of the envelop.
Use it to adjust the envelope for your instru-
ment.
There’s enough gain to ngerpick with a
single-coil guitar. Or play with a Fender
Rhodes (known for having a weak output
signal).
ENVELOPE
UP/DOWN
Choose between classic
envelop or inverted envelop.
If DOWN is selected, you will have to turn
the xed knob fully CW.

MODULATION SELECTER
6 position rotary switch.
Sets which modulation aects which eect.
Yellow indicates the modulation of the phaser.
Green indicates the modulation of the lter .
From right to left:
1: LFO on phaser, ENVELOP on lter
2: ENVELOP on phaser, LFO on lter
3: LFO on phaser, INVERTED-LFO on lter
(good for leslie-like sounds)
4: ENVELOP on phaser, ENVELOP on lter
5: LFO on phaser, external CV on lter
6: external CV on phaser, ENVELOP on lter
Most useful when the LFO is at audio
rate.
For most applications, the gates
should be left o (up position)
GATE
In the down position, the modulation
is gated when playing stops.
Left corresponds to phaser/vibrato,
right corresponds to lter.
THRESHOLD
Sets the point at which the eect(s)
are triggered
MODULATION MATRIX MODULATION GATE

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