Leipzig -R/-K User manual

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Leipzig
-r / -k

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SPECIFICATION
Brief Overview:
Leipzig is a self contained TRUE analogue synthesiser. The voice circuitry is entirely
analogue, using all discrete and op-amp components. There is no voice DSP.
Leipzig has a similar sound and specification to the classic Moog Prodigy / Rogue
synthesisers, but with many improvements such as MIDI and more modulation paths.
VCO1
Tune, Glide, PW , PWM, Mod Source & Amount controls, Saw out, Pulse out
VCO2
Tune, Glide , Sync, PWM, Mod Source & Amount controls, Saw out, Pulse out
VCF
Low pass filter: Cut-off, Emphasis, Key Track, ENV1 Mod, Mod Source & Amount
controls
Mixer
Audio source mixer, including external audio inputs
VCA
Mode switch, Output volume
ENV1
ASR envelope with trigger LED
ENV2
ASR envelope with trigger LED
LFO
Square & Triangle waves
Noise Generator
White noise
SUB oscillators
-1 from VCO1
-2 from VCO2
MIDI to CV Converter
16 bit high resolution with auxiliary controller CV2 output (modulation CV)
Many modulation possibilities.
Rotary controls:
25
Rotary switches:
6

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Push button:
1
LEDs:
6
Jack sockets (6.35mm, mono);
3
MIDI Sockets;
2
Rugged steel contruction
Dimensions:
Height: x 5U
Weight:
xKg
Power:
x
Accessories:
Manual
Mains adaptor (230v)
Leipzig-k has the addition of;
Headphone output socket.
CV1, CV2, Gate input and output sockets.
2nd LFO (and VCA) used for modulation, via 4 rotary controls.
Additional rear panel MIDI LED.
LFO2 LED.
Mod wheel.
Pitch Bend Wheel.
LCD, backlit display.
8 eidting buttons.
37 velocity sensative keys.
MIDI Out

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INTRODUCTION
Congratulations on buying the Leipzig synthesiser. Leipzig is part of the Analogue
Solutions range of analogue music equipment. Leipzig is a precision electronic musical
instrument. It combines all the often needed music electronic circuitry to make a music
synthesiser in one compact module.
No compromise has been made with the construction of Leipzig. Cheaper options in
parts have not been used;
Full rugged steel case - no plastic mouldings
Good quality smooth potentiometers, fully sealed against dust
Good quality knobs with spun aluminium caps
High grade double sided lead free circuit board
All power and signal input/outputs have EM filters to remove external noise and im-
prove immunity
High Quality DAC for MIDI to CV conversion - 16bit!
Very stable MIDI to CV conversion
Very stable analogue oscillators
Expensive blue LEDs
Hand built by humans
Lasting quality and appeal with a life far longer than any software plug-in or DSP
synth
APPLICATIONS
MONOSYNTHESISER
Leipzig is for use any time you need analogue sound effects, fat basses, screaming
leads, beeps, tones, zaps, and all the other crazy sounds associated with analogue syn-
thesis. Use in place of your boring digital synths and DSP soft synths.
EFFECTS PROCESSOR
Leipzig has an audio input socket, so you can feed external sounds into the onboard
analogue filters for analogue processing.

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SAFETY INSTRUCTIONS
Please read carefully before using:
• Only use the correct power adaptor - 230V (or 115V whatever your country
needs)
• Never handle the adaptor with wet hands
• Never excessivly bend the adaptor cable or get it trapped or place heavy objects
on it. If the adaptor cable becomes damaged, replace the adaptor.
• Ensure the unit is disconnected from the mains before moving or cleaning.
• Always disconnect the unit from the mains if there is lightning in your area.
• Ensure the unit is on a stable surface, and never place heavy objects on top of it.
• Never allow young children or animals to operate the unit or adaptor.
• Do not use excessive force when using the controls or inserting cables to the con-
nectors.
• Theunitshouldnotbeoperatedintherainornearwaterandshouldnotbeexposed
to moisture. If the unit is brought from a cold environment to a warm one, the unit should
be left to reach the ambient temperature.
• Keep unit away from heat sources, such as radiators, ovens, heaters etc.
• Never allow the unit to get wet. Do not operate it near water, like pools, sinks, bath-
rooms etc. Do not place beverages on or near it.
• Never open the case or attempt to make repairs. Refer any servicing to a qualified
service personnel.
Preventing damage to other connected devices;
Leipzig has a very high dynamic range. It is capable of produce loud signals of very
high and sub-sonic frequencies that could blow inadequate speakers if played too loud. It
is recommended that input levels to external equipement (mixers, amp's etc.) is kept low
when first connected, and then sowly increased to a userable level.
Maintenance Instructions
Any cleaning of the the case should be done with a clean lint-free cloth. DO NOT
USE SOLVENTS OR CLEANERS, as this will deteriorate the exterior appearance of the
equipment.
Mounting
Mounting does not mean 'place on the wall' or 'to make love to' in this instance. Place
the unit soundly on any stable surface so he cannot fall off or over, causing it or yourself
injury.

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CIRCUITS IN DETAILS
Here follows details on all the sockets and controls, with brief simplified explanations
of what the circuits do. We have not gone into technical details on how and exactly what
each circuit does but tried to explain each control's function and effect.
Anyone who has used synthesisers before should be familiar with the terms used and
therefore be able to predict their behaviour and how they affect the sound. The best way
to learn how to use Leipzig is to go straight ahead and play with it. Reading of this manual
may only be neccessary for finer operational detail.
VCO 1 & 2
The voltage controlled oscillators
(VCOs 1 and 2) produce the raw audio
waveform usually used as the initial source
forsoundcreation.Theyprovidecyclicaudio
waveforms that can be pitched. VCOs usu-
ally receive treatment from the VCF to turn
their basic tones into pleasant sounds.
TUNE
Left TUNE is a master tune affecting BOTH
oscillators.
Right TUNE is a detune affecting only oscil-
lator 2.
The detune TUNE control can be used for
playing VCO2 at intervals, like, say, a 3rd
up from VCO1.
GLIDE
Two independent GLIDE controls (por-
tamento) for the oscillators. Each time you
play a new note, the pitch will glide from
the last note to the new note. The GLIDE
control alters the speed. At minimum there
is no glide.
Pulse Width
(Just below VCO1 GLIDE control). For
VCO1 only. This alters the pulse width for
VCO1'ssquare wave (altersthe'duty cycle').
If you do not understand this, don't worry
about it! Just turn it and hear how the tone changes.

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SYNC
VCO2 only. This switch routes a sync signal to VCO2. Oscillator sync is where a
master signal (selected by the switch) will reset the waveform of a slave signal (VCO2 in
this case) each time the master waveform starts a new cycle.
Try the different settings and listen to the effect. You may have to modulate the pitch
of either VCO1 or VCO2 to enhance the effect. There is a balancing act between the pitch
of the two sound sources (usually the 2 VCOs) to get a good effect.
Sync source choices are;
VCO1 square wave
LFO square wave
EXTernal signal
Off (flat line symbol)
PWM
Two independent pulse width modulation controls (PWM), one for each VCO. This
allows modulation of the square wave 'duty cycle'. Once again, don't worry about this
technically, just enjoy the effect!.
Turn to the left for LFO triangle wave modulation.
Turn to the right for Envelope 2 modulation.
Centre is zero (no modulation).
For VCO1, it is best to first put the Pulse Width control to the centre before using
PWM, otherwise the sound might cut (unless that is the effect you want!)
NOISE GENERATOR
Thenoise generator produces white noise. This is likethehissyou hear between radio
stations. The signal is available for filtering via the EXT/NOISE mixer control.
Noise would be used for sound effects such as breath, wind, percussion, etc.

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MIXER
Themixer isused to bringvarious audiosourcesignals together
for filtering. There are four mixer controls. In all cases, centre is
zero volume, or turn to the left or right to select either of two sound
sources.
NOISE/EXT1 level
Turningthe control anti-clockwise in increasing amountssends
the signal (if any) coming in off the rear panel EXT1 socket to the
mixer.
Turning the control clockwise in increasing amounts sends
white Noise to the mixer.
In a central position no signal is sent to the mixer.
-1/-2 SUB level
SUB is a duplication of the VCO square wave output, but at a
lower octave. Use to beef up the sound.
Turning the control clockwise in increasing amounts sends a -2 octave VCO2 square
wave signal to the mixer.
Turning the control anti-clockwise in increasing amounts sends a -1 octave VCO2
square wave signal to the mixer.
In a central position no signal is sent to the mixer.
Saw/Pulse VCO1 level
Turning the control clockwise in increasing amounts sends VCO1s pulse signal to
the mixer.
Turning the control anti-clockwise in increasing amounts sends VCO1s sawtooth
wave signal to the mixer.
In a central position no signal is sent to the mixer.
Saw/Pulse VCO2 level
Turning the control clockwise in increasing amounts sends VCO2s pulse wave signal
to the mixer.
Turning the control anti-clockwise in increasing amounts sends VCO2s sawtooth

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wave signal to the mixer.
In a central position no signal is sent to the mixer.
LED indicators
Each oscillator has it's own 'frequency' LED. This is taken from the VCO's pitch, but
of course divided down enough octaves so you can see it flash!
VCF
The voltage controlled filter low pass filter (VC LPF) is used to
alter the tone of the signal coming from the mixer output (VCOs/
Noise ) and is the heart of what gives an analogue synth its char-
acter.
CUT OFF
This sets the cut-off frequency, the point at which the LPF will
start to filter-out harmonics.
EMPHASIS
Emphasis (Resonance, Q or Feedback) is a feature of adding
feedback to the filter circuit. The output of the filter is fed back into
the filter input. Emphasis sets the level of feedback. As the control
is increased to higher levels the filter will self-oscillate. The oscil-
lation frequency is set by the cut-off control.
Use Emphasis to alter the tone of the filter effect. It can be
used to create 'squiggy' sounds and 'pulse hits'.
KEY TRACK
The pitch CV (CV1) also controls the filter-cut off. The KEY-
TRACL control alters how much this happens. Key Track is some-
times also known as Key Follow. This is used when you want a
brightersoundasyou play a higher pitch, since an increasing pitch
means higher CV1, which in turn increases the cut-off frequency
(assuming the KEY TRACK control is up). This brightening of
soundis how real sound behaves.'Real'instrumentsusually sound
brighter in their higher registers.
KEY TRACK can also be used to 'play' the resonance, but setting EMPHASIS to
self-oscillate.
ENV1 MOD
This control alters how much the cut-off is modulated by envelope generator 1. Bal-
ance this control with the CUT OFF control.
Filtering External Sound Sources
External sound sources, such as vocals, guitars, mixer sends, samplers, etc. can be
sent through the filter for extra treatment. Note, mic's and guitars may need pre-amp'ing;
use if the signal is too quiet.